GOODWOOD

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

ÂŁ10.00

Summer 2017

Pastures new

LETTER FROM THE EARL OF MARCH

the future starts here A sense of the past is inescapable at Goodwood, yet this is a place where we’re always thinking about the future. You could even say that there is a tradition of innovation here. Having grown up on an estate which has hosted horse racing for over 200 years, my grandfather, Freddie March, fell in love with another kind of horsepower. He trained as a mechanic in the then-revolutionary world of car manufacturing, subsequently becoming a racing driver, before establishing motor racing at Goodwood. Fascinated by engines and new technology, he also co-founded an aeronautical business, which later applied itself to the urgent business of making Spitfire propellers during the Battle of Britain (a story that has a fascinating addendum, seven decades on, explained on p32).

No surprise then, that this year we are embracing the future with gusto. The inaugural FoS Future Lab at Festival of Speed is a compelling exhibition that celebrates some of the world’s most revolutionary new technologies. In this issue, we bring you highlights of the exhibition and explore the automobile revolution that is just around the corner (p36).

This part of the country has always been home to new ideas and bold thought, seemingly at odds with its bucolic downs and villages. In Sussex Modern on p62, the art historian Vanessa Nicolson celebrates the radicalism born here that changed British art for ever. In Made in Britain (p96), some of the nation’s most imaginative fashion designers and makers explain why home-grown design and craft matters.

As Nick Ashley, the designer behind Private White VC, says, you have to look back before you look forward.

And in looking ahead, nothing is as important as the way we safeguard the land for future generations, something at the forefront of our thinking at Goodwood – and ideas that we explore in the magazine in a special focus on food and farming.

I look forward to welcoming you to Goodwood soon.

Earl of March

8

FOOD STORY

9

CONTRIBUTORS Editors Gill Morgan, James Collard Assistant editor Alex Bagner Art director Sara Martin Publisher Crispin Jameson Project director Sarah Glyde Commercial director Chris Wilson Luxx Media – chris@luxx-media.com

Vanessa Nicolson Art historian Vanessa Nicolson’s many books include a family memoir, Have You Been Good? Living at Sissinghurst, home of her grandmother Vita Sackville-West, she knows all about English creative radicalism, which she writes about here.

Mark Hooper As editor of the influential magazine Hole & Corner, which celebrates British craft and the making of beautiful things, Mark Hooper is just the person to interview the men and women at the vanguard of Britain’s new fashion makers’ movement.

Peter Fiennes Peter Fiennes’s forthcoming book, Oak and Ash and Thorn, is a reverie on British woodlands – a mix of memoir, history and polemic. A wood walker, he's surely the right person to investigate the threat facing the country’s much-loved ash trees.

Frieda Hughes Artist, poet, bird-lover, motorbike fan: Frieda Hughes defies categorisation. The daughter of poets Sylvia Plath and Ted Hughes, she was widely praised for her book Alternative Values. Her paintings are being exhibited at Chichester Cathedral.

Tamasin Day-Lewis An advocate of seasonal, local ingredients and author of countless books, including foodie memoir Where Shall We Go for Dinner?, Tamasin Day-Lewis interviews the Duchess of Richmond and the Countess of March about their organic crusade.

Rob Widdows Journalist and broadcaster Rob Widdows created Track Torque, the UK's first motor-racing radio show. He is a co-founder of the Goodwood Festival of Speed and Revival, and a feature writer for MotorSport magazine.

Picture director Lyndsey Price Design Sophie Dutton

Fashion editor Alice Newbold

Goodwood Magazine is published on behalf of The Goodwood Estate Company Ltd, Chichester, West Sussex PO18 0PX, by Brave New World Publishing, 6 Derby Street, London W1J 7AD. Tel: +44 (0)20-3819-7520 Project managed for Goodwood by Catherine Peel: catherine.peel@goodwood.com.

For enquiries regarding Brave New World, contact Sarah Glyde: sarah@bravenewworld.co

8

For all advertising enquiries please contact Chris Wilson, Luxx Media: chris@luxx-media.com © Copyright 2017 Brave New World Publishing 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

REX FEATURES

Sub-editors Damon Syson Mel Bradman

CONTENTS

START Shorts And she's off Sarah Ayton’s racing debut 14 The woof factor Animal fashion statements 16 The drive of a lifetime Fangio’s 1957 comeback 18 Fantastic beasts ...by Jake and Dinos Chapman 20 Saddle up Equine-inspired bags 22 Special ranch Architect-designed stables 24 Personal portrait gallery The art of Frieda Hughes 26 Seeds of recovery Saving Goodwood's ash trees 28 King of the track Bernie Ecclestone's story 30 Blades of glory The return of Spitfire propellers 32 Boy racer and Rallying call Kartell's Discovolante and Montblanc's Rally Timer 33 The write stuff Luxury stationery 34

Features Automotive: The Future of Cars As Goodwood prepares to host the first FoS Future Lab, we talk to the “queen of the electric car biz” and look at the new connectivity revolution 36 Land girls Why the Duchess of Richmond and the Countess of March introduced organic farming to Goodwood 46

Go wild A forager’s guide to nature’s free-food cabinet 74

She's got the look How to transform your urban face into a natural beauty 94

English pastoral Dreamy dresses for hazy summer afternoons 82

Made in Britain The leaders of the UK’s fashionmanufacturing boom 96 Calendar Dates in the Goodwood diary 104

Sussex modern The story of southern England's avant-garde art scene – in words and pictures 62

Lap of honour The world according to Michelin-starred chef Heston Blumenthal 112

Food A toast to England Sussex is leading the wine-making boom 54

Farmer, Butcher, Chef Meet the trio who cooked up Goodwood's new gate-to-plate restaurant 56

FINISH

Meat masterclass Goodwood's master butcher on lesser-known delicious cuts of meat 60 COVER PHOTOGRAPH BY TIM FLACH

START

Welcome to the Summer edition of Goodwood Magazine. We're celebrating the estate's pioneering role in organic farming in this issue, so what could be more fitting than asking photographer Tim Flach – renowned for his iconic images of animals – to create a series of related images for the Cover, Start and Finish pages.

Tim captured our lovely cover star on a breezy June morning at Home Farm. She is one of the herd of 200 milking cows, mostly Dairy Shorthorns, a breed that originated in the 16th century, the best milking cow of its time.

Our much-loved cows produce 21,000 litres of milk each week.

Non-homogenised, Goodwood organic milk tastes like milk used to, retaining its fat particles to give a creamy texture that is perfect for a cool morning glass, a frothy cappuccino – or a glorious, tangy farmhouse cheese.

SARAH AYTON

14

SHORTS MAGNOLIA CUP

and she's off Olympic gold medallist Sarah Ayton OBE is trading sails for stirrups as she prepares to compete in this year’s Magnolia Cup. Charlotte Hogarth-Jones caught up with her before the big race Photography David Goldman

“I’m a bit of an adrenaline junkie,” says 37-year-old Sarah Ayton OBE, the Olympic sailor who will race in the renowned charity event the Magnolia Cup this year – one of the highlights of the Goodwood Qatar Festival – having only sat on a horse twice in her life before commencing training in December.

“I love speed, so going 35-38mph on a horse was pretty appealing to me. I didn’t hesitate to sign up.”

It’s this passion for all things exhilarating, combined with an affinity for perfecting technique, that led Sarah to Olympic gold medals for sailing in Athens (2004) and Beijing (2008).

Now she has set her sights on mastering a very different sport – and all in less than eight months.

“I’m giving this 100 per cent of my attention,” says Ayton, who rides at least three times a week and trains in the gym each day. “Making sure I’m really fit is a quick win for me, so I want to be one of the fittest jockeys out there. I’m lucky in that you use the same core strength you need for sailing.”

It’ll take more than just fitness, though, to give Ayton the lead. As any experienced jockey will tell you, horse racing is as much a mental challenge as a physical one. “Going fast is the easy bit,” she says. “What I’m struggling with is how to relax. Confidence comes with time and experience, so I’ve been working on harnessing my nerves so the horse doesn’t pick up on them. You need to be calm but also aggressive.”

There are certain advantages, however, in entering the race as a novice. Learning under the guidance of horse racing trainer Amanda Perrett and her husband, Mark, she has the benefit of an expert team behind her, and coming to riding later in life means she has “no bad technique, only good”. As with sailing, jockeys need to be aware of multiple different factors around them while retaining focus – but of course it’s a different challenge entirely when you’re dealing with animals.

“Being on this unpredictable, living thing adds a completely different dimension,” Ayton says. “I’m very fortunate that my horse, Archangel Raphael, who I call Archie, is an experienced racing horse. He’s solid and I trust him, and we have a good relationship – although I always have to show him who’s boss.”

Managing a time-consuming training regime with the demands of family life is another challenge, with Ayton fitting in her trips to the stables after the school run and training in a home gym in her shed in nearby Birdham, West Sussex, as well as on the Goodwood Estate. “It’s pretty tiring,” she says.

“The hard bit is trying to get the rest you need when you’re pushing yourself physically. My days are quite exhausting mentally too. Every evening though, I always sit down with the boys [Oscar, five, and Thomas, seven] and we all discuss our stories. They’re coming to watch me on race day and I hope this teaches them that you can’t just give up when things are tough, and that you should always be up for trying something new – you really can do anything if you’re brave enough.”

For Ayton, what began as yet another personal challenge has been rewarding in unexpected ways. “It’s given me back that sense of achievement and fulfilment I used to have when I was sailing,” she says, “and it’s a form of total escapism.

When I’m on a horse I’m completely living; all my senses are firing and I don’t think about anything else.”

Although she already has her sights set on doing another race, Ayton won’t comment on her chances of winning. For her, it’s simply about getting off the start line and being in control. “When you’re standing on the podium at the Olympics and you’ve delivered, it’s not really about you – it’s the people all around you, who’ve helped you on this incredible journey.

I’m my toughest critic – and I know my children will give me a hard time if I don’t win – but I’ve been overwhelmed with how supportive everyone has been. Amanda, Mark, everyone else… it’ll just be amazing to enjoy that final day with them.”

The Magnolia Cup will take place at Goodwood on Thursday August 3, and will raise funds for Place2Be, a charity that provides emotional and therapeutic services for children in primary and secondary schools

'It's a form of total escapism.

When I'm on my horse I'm completely living. All my senses are firing and I don't think about anything else' 15

SHORTS FASHION

the woof factor Animal prints are on trend, with dogs, horses and birds making their mark on the catwalk

Photography Katya de Grunwald

Lace Western blouse, ÂŁ350, Coach 194, uk.coach.com Charlie (schnoodle) and Archie (dalmatian), photographed at Hound Lodge, Goodwood

16

FLY YOUR DREAMS.

Join the conversation on #B_ORIGINAL.

Big Pilot’s Watch Perpetual Calendar Edition “Antoine de Saint Exupéry”. Ref. 5038: As a writer and pilot, Saint-Exupér y made his dreams come true and created stories that would last for eternity. IWC tells a similarly fascinating tale with the perpetual calendar. The date display will see the watch through to 2499 while the IWCmanufactured 52610 calibre, which draws on the power of twin barrels to generate a seven-day run time, will no doubt set the pulse of the technically

versed racing. With so much watchmaking finesse, it is no wonder that many of us will dream of wearing one of the 750 timepieces in the limited edition I WC . E N G I N E E R E D FO R M E N . on our wrists.

Limited edition of 750 watches, Pellaton automatic winding, IWC-manufactured 52610 calibre, 7-day power reserve when fully wound, Perpetual calendar with displays for the date, day, month, year in four digits and perpetual Moon phase, Rotor in 18-carat red gold, Screw-in crown, Sapphire glass, convex, antireflective

coating on both sides, See-through sapphire-glass back, Water-resistant 6 bar, Diameter 46 mm, Calfskin strap by Santoni

London Boutique | 138 New Bond Street | W1S 2TJ | +44 (0) 203 618 3900 | www.iwc.com

SHORTS GRAND PRIX

THE DRIVE OF A LIFETIME Sixty years ago, in the German Grand Prix, Juan Manuel Fangio came back from a disastrous pit stop with a near-miraculous drive. By Peter Hall

Juan Manuel Fangio drives his Maserati 250F V-12 in 1957

18

GETTY IMAGES

The greatest driver’s greatest race? Sunday August 4, 1957. A warm summer afternoon in the Eifel mountains, where 200,000 spectators had gathered to watch the German Grand Prix – 22 laps of the Nürburgring Nordschleife, a terrifying 14.1-mile circuit of 172 corners leaping and twisting through dense forest.

In pole position, with a qualifying lap time of nine minutes and 25.6 seconds, Argentinian maestro Juan Manuel Fangio – four times and reigning World Champion, at the wheel of a Maserati 250F, a development of the car that had delivered his second title in 1954. By now 46 years old, Fangio was likewise in the twilight of his career; a new generation of English drivers respectfully called him “The Old Man”. Among them was Stirling Moss, recent winner of the British GP, but his Vanwall had problems. The challenge of beating Fangio thus fell to Ferrari drivers Mike Hawthorn and Peter Collins.

The Ferrari was no slouch. Fangio himself had driven it to victory in 1956, breaking a 17-year lap record in the process. Yet even at that pace it would take more than three-and-a-half hours to complete the 311.67-mile race. Noting that the Ferraris had full fuel tanks, evidently intending to run nonstop to the finish, Fangio chose to start with half-full tanks and softer tyres – less weight and more grip, giving him greater speed at the cost of a 30-second mid-race pit stop.

At first, everything went to plan. Leading from lap three, Fangio smashed the lap record time and time again. After 12 laps he was 28 seconds ahead of the Ferraris, and duly pulled into the pits for fresh tyres and fuel.

As the Maserati crew poured 100 litres into the tank and hammered off the wheel nuts, he had time to change goggles, sip lemonade and speak with the chief mechanic. But even as the left-rear wheel nut hit the ground, the pit stop turned to disaster. Unseen, the nut rolled beneath

the car. It took almost half a minute to find and replace it. Hawthorn and Collins howled past.

By the time Fangio accelerated away, he was 48 seconds adrift and he lost three more while bedding in the new tyres.

What followed has passed into legend.

Fangio defied the laws of physics as he hurled his Maserati at the circuit, flying over the crests and drifting so close to the scenery that his front suspension was jammed with foliage. By lap 16 he had closed the gap to 33 seconds; three laps later it was 13.5. He drove lap 20 in a scarcely believable 9m 17.4s, gaining 11 seconds in just 14 miles, and as Hawthorn and Collins crossed the line he was right behind them.

He needed two attempts to pass Collins, but his move on Hawthorn was decisive, pushing past on the inside of a turn with two wheels on the grass. With a loose seat, he was now straining to hang on to the car, but Hawthorn's pursuit was futile. Fangio won by 3.6 seconds, securing a fifth world title.

Retiring at the end of the year with a 46 per cent win rate unmatched to this day, the humble champion knew it had been the race of his life.

“Whenever I shut my eyes, it was as if I were in the race again, making those leaps in the dark on those curves where I had never before had the courage to push things so far... I believe that day I took myself and my car to the limit, and perhaps a little bit more. I had never driven like that before, and I knew I never would again.”

Fangio’s 1957 Grand Prix win will be celebrated at this year’s Goodwood Revival

Fangio defied the laws of physics as he hurled his Maserati at the circuit, drifting so close to the scenery that his front suspension was jammed with foliage

19

SHORTS SCULPTURE

Above: The Meek Shall Inherit the Earth But Not The Mineral Rights (2007). Left: a creature from Two Legs Bad, Four Legs Good (2007). Below: the artists Jake and Dinos Chapman

20

fantastic beasts

Image courtesy © Cass Sculpture Foundation; photography: Barny Hindle; courtesy of Jake & Dinos Chapman © Nic Serpell Rand

If you go down to the woods today, you’re sure to see some spectacular scary monsters created by British artists Jake and Dinos Chapman. By Jenny Hall

At the Cass Foundation at Goodwood, there’s a new energy in the air. To those in the know, this outdoor sculpture gallery and park, nestled on the edge of the Goodwood Estate, has always had a magical quality. As a Cass innocent, it proves a revelation. My father, the director Sir Peter Hall, was deeply involved in the opera at Glyndebourne, and we spent a lot of time there as a family. Cass seems to me to have a similar otherworldly quality: great art being nurtured in the heart of the leafy English countryside.

This year, for the first time, the Cass has become eligible for Arts Council funding as well as a Lottery grant. The team, led by Clare Hindle, is launching three new strands to its work: “Cass Projects”, which kicks off with a residency for Florence Peak at West Dean College; “Cass Commissions” (in development – an open-call competition), and “Cass Presents”. This last strand is underway, with the chance this summer to see two large works – dinosaurs, no less – by Jake and Dinos Chapman. The 26 acres of dappled Sussex woodland is probably the very best setting they could have.

The Chapman brothers are, of course, those celebrated YBAs who looked Hell in the face, working over two years to fashion the most vile Nazi atrocities in miniature across the form of a giant swastika. Their show at the Cass Foundation is very different.

First of all, I discover – in a glade, and towering over eight metres towards the light – the three cut-out Corten steel dinosaurs titled The Meek Shall Inherit The Earth But Not the Mineral Rights (2007, a quote from J Paul Getty/The Bible).

These huge, listing beasts have graced the Royal Academy forecourt and were placed briefly on Hampstead Heath.

Named The Good, The Bad and The Ugly, they were originally made as papier-mâché miniatures for part of a work called Hell 65 Million Years BC. In rusting steel cut to resemble

In rusting steel cut to resemble friendly slot-together nursery toys, they fill the glade at Cass with a powerful sense of surprised vulnerability

friendly slot-together nursery toys, they fill the glade at Cass with a powerful sense of surprised vulnerability.

The day I visit, Jake Chapman himself is in the glade with the Dinosaurs, wearing dark glasses and accompanied by a curator and a group of actors dressed as Neanderthals.

He’s being interviewed, and proceeds to transform the Q&A into unexpected performance art. When asked about the inspiration for The Meek…, Chapman passes his microphone to the first Neanderthal, who says, “Your mind is a nightmare, trying to eat you – now eat your mind” (a quote from Kathy Acker, apparently). Chapman looks delighted.

When asked what he thinks of the Cass Foundation, Chapman turns his implacable mirrored glasses towards the light. “This place is really, really good,” he says gently. “I love it. They’ve been brilliant. We’ll support Cass any way we can.”

It is particularly appropriate that the second Chapman piece on show, Two Legs Bad, Four Legs Good (2007), should be displayed in a gallery in the countryside. Like the dinosaurs, it delivers considerable bite. The title comes from George Orwell’s Animal Farm, here played out in 31 mini-denizens of a homestead made of toilet roll, papier-mâché and poster paint. It reflects Orwell’s bitter satire, a macabre allegory of the dark heart of tyranny. The demented farmer, the ominous crows wheeling above and even a bucket of blood and eyeballs – every element is created in a messy, childlike idiom.

The sloppy execution conveys a nonchalant satirical humour with all the energy of the playroom. To treat this subject with exquisite craftsmanship would be to risk being conquered by the bullies and everything they represent. Instead, by its very carelessness, Two Legs… lands a wonderful punch to the tyrants. I heartily recommend it as a vivacious antidote to some of the world’s more depressing current events.

Cass Presents: Jake and Dinos Chapman runs until November at Cass Sculpture Foundation, Goodwood

21

SHORTS STYLE

From left Small saddle leather cross-body bag, £378, Diane von Furstenberg at matchesfashion.com; saddle leather shoulder bag, £625, Mansur Gavriel at matchesfashion.com; amber saddle bag, £120,

The Cambridge Satchel Company, cambridgesatchel. com; Nestor Bag, £635, Jérôme Dreyfuss at net-a-porter. com; vintage saddle bag, £120, The Cambridge Satchel Company, cambridgesatchel.com. Photographed at Hound Lodge, Goodwood

saddle up This season's most stylish bags take their lead from the equine world. Here's the pick of the (riding) crop

22

Photography Katya de Grunwald

Raise your limits.

720S

Super Series

cars.mclaren.com Official fuel consumption figures in UK mpg (l/100km) for the McLaren Super Series 4.0L (3,994cc) petrol, 7-speed Seamless Shift Dual Clutch Gearbox (SSG): urban 17.1 (16.5), extra urban 38.2 (7.4), combined 26.4 (10.7). Official combined CO2 emissions: 249g/km. The efficiency figures quoted are derived from official NEDC test results, are provided for comparability purposes only, and might not reflect actual driving experience.

special ranch The tradition of housing horses in beautiful buildings goes back a long way, as anyone who has seen Goodwood’s 18th-century stables knows. But the practice continues, with a new wave of modernist equestrian architecture springing up across the world.

By Emma O’Kelly

Photography Andy Barter Above: San Cristóbal ranch, a labour of love from the late Mexican architect Luis Barragán

24

Last year French actress Léa Seydoux and fashion photographer Patrick Demarchelier touched down in Mexico City with a haul of Louis Vuitton. They headed straight to the ranch of San Cristóbal, and while horses were mustered as extras, Seydoux modelled the fashion house’s pre-AW16 collection against the ranch’s brilliant pink and purple walls.

Designed in 1968 on a seven-acre plot in the north of the capital, San Cristóbal has graced as many covers as the 32-year-old Seydoux. Its creator, the late Mexican architect Luis Barragán, was a horse lover, and in addition to the main house, guesthouse and stable block, he created two L-shaped swimming pools, the largest of which was for the horses, not their owners.

For centuries, great emphasis has been placed on the design of “horse houses”. In 1754, Georgian architect John Carr invented the “grandstand” at his Grade II-listed York Racecourse (parts of which have been recently been refurbished by Phelan Architects), and Goodwood’s stable block, built between 1757 and 1761 by William Chambers, is, some say, more architecturally distinguished than the estate's main house.

VIEW

SHORTS MODERNIST STABLES

For the past 50 years, though, Barragán’s iconic compound has been a major reference point for contemporary equestrian architecture. Last year, when Argentinian polo player Nacho Figueras opened a breeding centre and stables on his 30-acre ranch outside Buenos Aires, he recalled Barragán’s use of water features as inspiration.

Argentinian architect Juan Ignacio Ramos (who also created the polo player’s nearby family home) used concrete, wood and iron to conjure a striking modernist landmark in which Figueras houses his 44 world-class polo ponies.

Construction took three years. “We wanted to create a place that was practical, yet as inspiring as an art museum,” says Figueras. “Seeing our vision come true and our beloved horses in a place that few could dream about was a great moment.”

Oblivious to the architectural pedigree of their surroundings, the pampered beasts graze on a lush grass roof and drink from sculptural pools before bedding down at night. “One of my favourite things to do is to sit on the stable roof at sunset with my friends and a bottle of wine. When you’re up there, you forget about anywhere else.”

Stable blocks make good homes for humans too. The no-frills template of an agricultural outbuilding – the lack of decorative detailing and an uncomplicated layout – lends itself to a paredback redesign. Andy Ramus, founder and director of Winchester-based architect AR Design Studio, loves working with agricultural outbuildings: “They were not built for aesthetic reasons, so the challenge is to create beauty from their functionality.” This he has done with great success at Manor House Farm in Hampshire. The 400-year-old country pile and its outbuildings are Grade II-listed, so when Ramus was asked to convert the one-storey stable block into a modern home, he kept everything, right down to “the big old nails that the tack was hooked around”.

The former horse stalls now house three bedrooms, a kitchen, dining room, lounge and bathroom. Ancient wood panelling, doors and original drinking troughs converted into basins contrast with white walls and slick, contemporary furniture. “We wanted the historical elements to shine,” says Ramus, who christened the stables Lovely Cottage, in honour of the 1946 Grand National

winner of the same name who was stabled there.

Stable buildings are often in stunning remote locations, so there’s the potential to go off-grid too. For his bestselling book Cabin Porn, author Zach Klein spent six years collecting photos and stories of more than 12,000 handmade cabins.

Their simplicity and location in some of the world’s wildest spots tap into our primeval urge to have a hut in the woods. Enter a crumbling stone stable in the middle of nowhere in western Spain. Madrid architect Studio Ábaton converted it into a family home that is heated by solar panels and relies on two nearby streams for its water. Limestone floors, concrete walls and iron beams coexist with wellworn stone and weather-beaten wood.

Similarly remote is Crackenback Stables in the Snowy Mountains of south-eastern Australia.

Sydney-based Casey Brown Architects redefined the classic corrugated shed to make a two-bedroom property, staff accommodation and stables for five horses. Wrapped in a shiny metal shell, its futuristic form has won it countless design awards. Providing sophisticated shelters for our four-legged friends is still clearly something of a tradition.

25

SHORTS ART

In November 2015, the artist Frieda Hughes embarked on a colossal challenge: to paint a picture that illustrated her feelings every day for the next 400 days.

The results, as she explains, were revelatory

The first time I stood in front of the sloping wall of an easel in my studio, stacked with the first month of my daily oil paintings, I was shocked. Left to dry, some side by side, some resting on top of others, they formed a block of active shapes and colours. These 10in by 14in canvases appeared to become more than their separate parts; their visual impact made my stomach churn with a sense of suppressed excitement. If I could just keep going, that wall of colour might take my breath away when done; but could I keep going? And for how long?

My 400 Days project began in November 2015. I had just finished an art exhibition in London, and my latest poetry collection, Alternative Values, illustrated with abstract paintings, had just been published. Many of the poems in Alternative Values explore my increasingly personal look at my childhood with my parents, Ted Hughes and Sylvia Plath, my experiences with love, life and death (there is a section for each), and my sometimes blackly comedic views about life. It has taken years of scratching away at my shell to reach such a point of openness.

The idea that I could paint pictures that corresponded with my feelings about the poems in Alternative Values fed into the idea that I could paint my experiences for each day: I keep a daily written diary, but what would it look like in paint? And could I commit? Could I do a calendar year? Better still, could I start

26

‘Never has it been clearer to me that it’s not what happens, but how I perceive it and deal with it that affects me most' FRIEDA HUGHES

my year in paintings

before the year began to see if I could give myself over to such an idea, dipping my toe in the water before the calendar year began, so if I stopped, it wouldn’t be a failure? This is why the project began in November 2015. But having started it, and felt that shock of astonishment at the growing power of the multiplied imagery, I couldn’t stop. If I ever thought of putting down the brushes, I felt as if I would be a colossal disappointment to myself, because all my efforts to that point would be rendered pointless, and I would have lacked the discipline. It was a personal challenge.

All I had to do was keep going until December 31, 2016.

To get through the nights when, having exhausted myself during the day, I would stand at my easel and paint, no matter how my eyes begged for closure or my brain fogged up, I projected myself into a future when it was done – when it was over, when it was complete. I forced myself not to think of the prison of commitment, but the conversation I would have with myself about my day, at the end of each day, on canvas, albeit often at three in the morning.

As the months passed, I could see psychological patterns emerging. It became more evident to me, which events and commitments gave me joy, and which did not, and how my thoughts about something relatively unimportant could have a powerful impact on me, whereas a ground-shaking event might leave me unmoved and resolute. Never had it been clearer to me that it’s not what happens, but how I perceive it and deal with it that affects me most. The paintings proved to be a far more instantly accessible emotional diary than my written diary.

Colour and shape evolved a purposeful dictionary as the project progressed; yellow and orange = happiness with friends, or exciting news; blue = calm, serenity, contentment; green = writing poems or my next book; brown = the imposition of others, constraint, obligation; black = low or unpleasant happenings or thoughts; red = pain and difficulty; white = calm, space, relaxation; pink = warmth, love, affection; grey = tiredness, exhaustion; purple = a combination of happy stress and challenge, perhaps…

Sometimes one colour would overlay on another, because the feelings did the same.

Shapes dictated themselves too, in reaction to events, and every brush stroke had a meaning on the day, for the day, and in this way, bit by bit, I was able to build up the mosaic that describes, in full colour, 400 days of my life.

400 Days and the paintings from Alternative Values will be exhibited in Chichester Cathedral until August 17

SHORTS TREE CONSERVATION

Ash leaves are known for their ancient healing properties. At Goodwood, the race is on to limit the damage of ash dieback

Darren Norris has been forestry manager on the Goodwood Estate since 2010, an undeniably lovely job that took a nosedive two years ago when he first noticed the tell-tale curl of blackened and withering leaves on several of the estate’s young ash trees. He hoped that the distress of the trees could be put down to a spate of dry springs, but last year it was confirmed: Goodwood had its first cases of ash dieback.

Ash dieback (Hymenoscyphus fraxineus) has so far proved fatal to almost every tree it infects. It can take longer for older trees to succumb – and Goodwood has some glorious ancient specimens – but, as Darren says, for the mid-size trees, it’s a rapid death sentence. The only thing to do is rip them out. And this is what he’s done: thousands of ash trees have been removed this year, first in the most high-profile areas, and the rest will soon follow – although he plans to keep a few, tucked away in obscure woodland, just in case they prove resistant. Perhaps they’ll avoid the fungus altogether, but the odds are stacked against them.

Today, there are more ash trees in Britain than there are people, and it’s maddening to think how little has been done by successive governments to avert the crisis. They’ve known about the disease since it was spotted in Poland in the early 1990s, but the free flow of infected stock from Holland continued long after it was too late to do anything. Now the only hope for the ash, according to the Forestry Commission, lies in “identifying the genetic factors which enable some ash trees to tolerate or resist infection, and using these to breed new generations of tolerant ash trees for the future.

Government scientists… are working hard on this.”

So, a glimmer of hope that’s worth clinging on to, because we’ll miss the ash if it disappears. Its Latin name, Fraxinus excelsior, is a shout of joy and wonder, and there’s more folk magic associated with this lovely tree, dubbed “the Venus of the Forest”, than with any other species.

Culpeper says it can “abate the greatness of those that are

too gross or fat”. And if you place an ash leaf on a wart and recite (perhaps nine times), “Ashen tree, ashen tree, pray buy these warts on me,” you can expect them to disappear.

Newborn babies must be blessed with a bowl of ash leaves in water, and farmers only need to bury a shrew in an ash tree for its leaves to cure sick cattle. To the Vikings it was the Tree of Life, but in Britain people believed the ash had the power to heal. They spooned its sap into their babies to make them strong, scraped and drank its bark to cure constipation, and passed ailing children through a cleft in its trunk to infuse them with strength.

The ash’s timber is beautiful: creamy white and wonderfully supple; smooth yet resilient. It has traditionally been used to make handles and tools. The famous, perky little rhyme is misleading – I’ve never seen ash leaves appearing before the oak’s – but it may also soon be redundant:

SEEDS OF RECOVERY With the ash tree under threat throughout Britain, Goodwood is embarking on an extensive planting programme to replace the much-loved “Venus of the Forest”. By Peter Fiennes

28

The demise of the ash tree will open up a hole in all our lives. This means Darren has a lot to do. After all, the only way to mitigate against the loss of these trees is to get busy planting their replacements. At Goodwood, this means steadily replacing the ashes with a mix of native broadleaf British trees: beech, hornbeam, oak, hawthorn, blackthorn, hazel… but Darren isn’t absolutist about it; he’s also including a few non-natives because, as he says, new threats appear all the time, the climate is changing, and we need all the resilience we can get. Who knows, he adds, with an optimism born out of many years working with wild, unpredictable nature, maybe some of the ash trees will survive. Excelsior!

Peter Fiennes is the author of Oak and Ash and Thorn, a book about the ancient woodlands and new forests of Britain, out this September

GETTY IMAGES

Oak before ash, in for a splash.

Ash before oak, in for a soak.

Have I gone as far as I can?

Can I still grow my business?

Or should I invest in other areas?

Building a successful business is rewarding.

You could keep expanding, but you may also want to start a new venture, or pursue other dreams.

We can help take the worry out of managing your wealth, leaving you free to find even greater rewards.

So, what’s next?

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

Together we can find an answer.

The value of investments can go down as well as up. Your capital and income is at risk. In the UK, UBS AG is authorized by the Prudential Regulation Authority and subject to regulation by the Financial Conduct Authority and limited regulation by the Prudential Regulation Authority. © UBS 2017. All rights reserved.

ubs.com /gone-far

SHORTS BERNIE ECCLESTONE

‘I don’t make plans, never have.

I take opportunities. I won’t be going back, been there, done it. I have no regrets, none at all.

Yesterday is gone – job done’

king of the track

Bernard Charles Ecclestone is a wealthy man. A billionaire, certainly, in anyone’s currency. But does he know the price of a pint? “Depends where you buy it,” is his response, typical of one of the world's great deal-makers. Bernie loves a deal and has done some good ones – for himself, and for those around him.

He has transformed what used to be a travelling circus into the global phenomenon that is Formula One today.

Above all, Bernie is a racer, a man who lives to win. “I won some races, and had some accidents. There was one when someone got hurt in the crowd, so I stopped. Those days, safety was bits of string and some poles. I was a used-car dealer who occasionally got in a racing car. Did I want to risk my life to become a racing driver? No, I didn’t.”

His next step was driver management, first Stuart Lewis-Evans, then Jochen Rindt. Both were friends, both were killed, Rindt a posthumous world champion. “These were friendships, they were mates. I did the finance, they did the driving. But it wasn’t good what happened with Jochen. He could have gone to Brabham in 1970. I told him he had a better chance of winning the title with Lotus, but he had more chance of getting hurt. Like most drivers, he said, ‘It’s not going to happen to me, it’s going to happen to other people, and I want to win the championship.’ He was the most talented driver I’ve ever seen.”

In 1972, Bernie bought the Brabham F1 team from Ron Tauranac.

“Looking at the staff, Ron told me Gordon Murray wasn’t necessary, so I kept him for a start... and he designed all our cars. It was a good time, and the good thing about running a team is, by four o’clock on a Sunday afternoon, you know if you’ve done a good job… or not. I enjoyed the styling on the cars; Gordon and I both wanted them to look right, as well as perform, and we had so many new ideas. We were the first to do so many things. He’d come to me with an idea. I’d say, ‘Let’s try it, see what happens.’ We were the first team to test Ayrton Senna. I’ve always liked Brazilians, both

30

Carlos Pace and Nelson Piquet raced for Brabham. Now my wife and I have a coffee farm in Brazil. She runs it, but I like being involved, to see what we can do with it. If I was to have a team again, they’d be from the Brabham days. I’d have Nelson Piquet and Niki Lauda driving, Gordon engineering, Charlie Whiting and Herbie Blash managing it all. But I won’t be going back. I’ve been there, done it.”

By the mid-1970s, Bernie was effectively running the whole show, taking a share of the prize money and heading up the new Formula One Constructors’ Association. The building blocks of the sport we know today were in place, and later he would be the sport’s rights holder, galvanising the TV coverage and dramatically broadening the global reach of Formula One. “I don’t make plans, I never have, I take opportunities. The team owners asked me to help, get things organised on their behalf. I’m not motivated by money, but you need to want things you can't afford, so if you get enough to buy them, that’s big job satisfaction.

Being able to acquire things you want is nice, I suppose, and I do like to do good deals. I'm upset with myself if I don’t. We did millions of things with Formula One that are now taken for granted. The world has changed, all sports have moved away from what they were. We started all that. Now the cars are delivered from the factory to the pit garages, the teams don’t need to worry how they got there, if they got there. People have passes to get in, they don’t need to queue for ever, and the TV, everyone wants to be on TV. I have no regrets, none at all. Yesterday is gone – job done.”

Formula One now has a new owner, Bernie is no longer in charge, though he remains as Chairman Emeritus. So is there life after F1 for the Ringmaster? “It’s different, very different. I mean, I don’t have to do anything any more. Now nothing is so important; all those decisions don’t have to be made – all those things we had to get done along the way, sometimes on the run. I’m a terrible taskmaster to myself, but now there is more time.” Bernie has been a game-changer, taken the sport to new audiences, new places, new heights. So how would he like to be remembered after his five decades immersed in racing?

“I don’t think about it. I don't care.”

Bernie Ecclestone's career has evolved through five distinct eras – driver, manager, team owner, impresario and legend – each of which is represented on the Central Feature at this year's Festival of Speed with a different car Above, from left: Brabham's Gordon Murray, Bernie Ecclestone, John Watson and Niki Lauda at the Formula One Grand Prix in Sweden, 1978

GETTY IMAGES

Bernie Ecclestone, the man who turned Formula One into a global phenomenon, talks to Rob Widdows about the five eras of his life in the fast lane – which will be celebrated at this year's Festival of Speed

PORSCHE TO COME

ford.co.uk/mustang Official fuel consumption figures in mpg (l/100km) for the Ford Mustang range: urban 14.1 -28.0 (20.1 - 10.1), extra urban 28.8 - 41.5 (9.8- 6.8), combined 20.8 -35.3 (13.6 - 8.0). Official CO2 emissions 306 -179g/km.

The mpg figures quoted are sourced from official EU-regulated test results (EU Directive and Regulation 692/2008), are provided for comparability purposes and may not reflect your actual driving experience.

SHORTS AVIATION/COLLECTIBLES

Blades of glory

“It was serendipity,” declares Rupert Wasey, the aviation enthusiast and aeronautical engineer behind Hercules Propellers in Stroud, Gloucestershire, explaining how he came to be on the cusp of fulfilling a long-held ambition: to make propellers for Spitfires, just 10 miles away from Rotol, one of the factories where the blades were first made.

Spitfires are a regular sight in the skies above Goodwood, just as they were during World War II, when the estate was home to an RAF airfield – later transformed into the estate's motor circuit by Frederick Gordon-Lennox, the 9th Duke of Richmond. “Today, there’s a whole cottage industry making Spitfire parts for enthusiasts,” Wasey says, referring to the owners who restore these icons of British aviation and military history, forever synonymous in the national imagination with “the Few” and “our finest hour”. Yet ironically, the only CAA-approved manufacturer of the

32

propeller blades is based in Germany, and while there are surely no hard feelings some 77 years after the Battle of Britain ended, it’s true that “many Spitfire owners want all of their plane to have been made in Britain”.

Launched in 2008, Hercules Propellers grew out of Wasey’s love of both flying and making. He’d built his own 1920s-style biplane, only to discover that the propeller blades he’d purchased weren’t to his satisfaction. So he made his own. Today he makes propellers for “all kinds of weird and wonderful planes, from all around the world. What we do is bespoke, mostly working in beech, as it’s straight-grained and sustainable.” And while it’s illegal to import the Honduran mahogany with which many blades were traditionally made, Hercules has a stock of the wood. “We make blades out of old mahogany church pews, so it’s ‘on a wing and a prayer’.”

The one material that has been taxing Wasey’s engineering skills for several years now is Hygdulignum: the wood laminate used to make Spitfire propellers during World War II by manufacturers such as Rotol and Hordern Richmond, the aeronautical engineering company founded in 1937 by test pilot Edmund Hordern and the 9th Duke of Richmond.

“It’s a wonderful material,” says Wasey, “made with thin layers of birch.” And while Hygdulignum is still made, Wasey’s team lacked the original specs that could help secure approval, once his team could build the machinery to produce the blades. “We were doing reverse engineering, taking apart original Spitfire blades to test the qualities of the materials. It felt odd, cutting up a piece of history like that. But it was all for a good cause.” Hercules even made pen barrels with the leftovers of “this beautiful material, it looks like caramel!” – the sale of which helped fund its research.

“Then out of the blue we got this phone call.” In the Fifties, Hordern Richmond had been taken over by a similar business called Permali, based up the road in Gloucester. “There, for half a century, its archive had been kept in drawers which nobody ever opened. All this was about to go into a skip when someone thought to Google ‘propeller manufacturers’, spotted us, and called to ask, ‘Do you want to see these drawings?’ They gave us these beautiful, large-format, penand-ink drawings – for an engineer like me, works of art in themselves. Then we turned a page and there it was, a drawing marked ‘Spitfire Mk VII Merlin Engine 1942’.”

Today, Wasey, armed with those precious specs, a determined team, and the archive of their neighbours Rotol (now part of Dowty Propellers), is working through the approval process, and hopes to start manufacturing Spitfire blades soon – “under the name of Hordern Richmond, which we’ve acquired, as we felt that would be appropriate”.

AVIATION-IMAGES.COM

Spitfire propellers are icons of British aviation, but it’s been decades since they’ve been manufactured on home turf.

James Collard meets the man who’s about to change that

rallying call Montblanc revisits Swiss watch brand Minerva’s automotive roots

Is it a watch or a stopwatch?

A chronograph or a rally timer?

The Montblanc Timewalker Rally Timer 100 turns out to be all of the above. Its handsome good looks are by way of an homage to the stopwatches and rally timers produced by the Swiss watch brand Minerva in the first half of the 20th century, in the early years of motor rallying – which makes sense, given that the Swiss manufacture is now part of Montblanc. Watch geeks will take note: the watch’s much admired caliber (MB M16.29) also gives a nod to Minerva’s caliber 17.29 from the 1930s.

Given all of the above, this is a highly collectible piece, in a limited edition of just 100, making it the jewel in the crown of the Timewalker collection. JC

Montblanc is the official Festival of Speed Timing partner

boy racer A new children’s model car recalls the heyday of Italian coachbuilding

Purists might say that Kartell’s Discovolante car and the Alfa Romeo racing sports cars from the Fifties bear only a passing resemblance. Both are red, both produced by celebrated Italian brands. But those Alfa Romeos – disco volante is Italian for flying saucer – were famously aerodynamic, crafted by the coachbuilders at Carrozzeria and tested in wind tunnels. Whereas the Kartell… well… it’s neither of those. But that is to miss the point, surely. The Alfa Romeo is for grownups – very much so (and in the unlikely event

of one coming up for auction, would set you back a million or two). Piero Lissoni’s Discovolante for Kartell is for children. It also happens to be an instant design classic, much as you’d expect from a celebrated design house like Kartell – today renowned for making contemporary furniture, but which started out in 1949 making accessories for cars. And while perhaps it’s not quite as easy on the eye as the Alfa Romeo/Carrozzeria collaboration, it’s as close as most of us will get to owning a Discovolante. JC

33

SHORTS STATIONERY

the write stuff In the days of firing off hasty emails, the pleasure of handwriting has taken a back seat. Now it’s time to put pen to paper again, with beautiful personalised stationery and the finest pens

Photography Katya de Grunwald

Horse notepad, £4.95, and selection of stationery, Mount Street Printers, mountstreetprinters.com Left: StarWalker Spirit of Racing Ballpoint Pen, £325, Montblanc, montblanc.com Right: StarWalker Spirit of Racing Fineliner, £705, Montblanc, montblanc.com Photographed at Hound Lodge, Goodwood

34

Auto AUTOMOTIVE XXXXXXX

36

opia Developed by Roborace, the F1-style driverless Robocar will be on show at this year's Festival of Speed

37

AUTOPIA ELECTRIC CARS

The future of motoring is accelerating faster than ever, and where better to showcase this than at the Festival of Speed, with the inaugural FoS Future Lab...

First, Erin Baker meets Padmasree Warrior (right), CEO of Nio and the woman Fortune magazine dubbed ‘queen of the electric car biz’

The Saatchi Gallery, Chelsea, on a cold Tuesday morning: outside, the winter rain is running off commuter umbrellas.

Inside, a group of international motoring journalists are assembled in a bare space with a huge image of the ocean projected on one wall. Nothing but cobalt blue and white lines, quiet music and the presence of a handful of Chinese interpreters scattered round the room.

Welcome to the new way of doing car launches. Welcome, in fact, to the new face of the automotive industry. Goodbye industrial manufacturing plants, fossil fuels and traditional marques. The car industry is evolving into a collective of user enterprises, spawned by the giants of our age: Google, Apple, Bosch, Panasonic and Uber. The car is rapidly becoming “the third space”, after the home and the office, in which to work, connect, learn and inform. Driving as a pastime barely makes the list. Silicon Valley has moved on, to a world in which driving as a concept is disenfranchised, substituted by that most millennial of phrases: connectivity.

In the vanguard of this new order is NextEV, a Chinese company that describes itself as a “next-generation electric car company”, run by William Li, an entrepreneur with 40 companies under his belt, including bitauto.com.

In the race to be the future fuel of choice, electricity has won hands down, with a strong presence in motorsport (Formula E) and the public consciousness. Every mass manufacturer (and most niche ones) is working on a hybrid or pure electric car. It was the launch of NextEV’s new electric car marque, Nio – embodied in the Nio EP9 electric hypercar – that took place at the Saatchi Gallery in November 2016.

While the EP9 stole the headlines, with its one megawatt (1,360bhp) of power and £1m price tag, the real story lies behind the question: “What next?”

Nio is perhaps the first credible global car brand to come out of China, and you can bet it won’t be the last. NextEV stormed onto the international stage by winning the inaugural Formula E Drivers’ Championship in 2014 with Nelson Piquet Junior, and now has its sights firmly set on worldwide, mass-market electric cars.

While its first affordable cars go on sale in China this year, the US arm of the company will produce the first fully autonomous cars, and has secured a licence for autonomousvehicle testing on public roads in California. Meanwhile, the company’s Formula E and EP9 performance-oriented operations are in the UK, while the design centre is in Munich.

It’s time to sit up and take notice, not least of the woman who is at the heart of Nio: Padmasree Warrior, CEO of Nio in the US and global CTO of the company, with software

38

An electric hypercar from Nio, China's first credible global car brand

GETTY IMAGES

'The car is a computer. What would that look like?

The industry is going through a massive change. In the next 10 years there will be a lot more digital content'

responsibility. You might as well replace the word “car” with “software” from now on, because the latter will be the product that makes or breaks a brand.

Formally CTSO of Cisco, Warrior – named by Forbes as one of the “world’s 100 most powerful women” three years running – joined NextEV a year ago as employee number 60 (there are now 280 in the States alone). It’s her first dip in the turbulent waters of the automotive sector. One senses that every car manufacturer will be looking for someone with fresh thinking, from outside the industry, to take up senior positions in the coming years.

“The car is a computer; what would that look like?” she asks me, by way of explaining the company ethos. “The experience is interesting. It’s a fascinating time; in the next 10 years there will be a lot more digital content; it [the automotive industry] is going through major change.”

Nio sees itself as a premium car brand. “But,” says Warrior, “in the global market, the definition of premium is changing.

It used to be a lot of chrome, leather… Now it’s convenience, technology, simplicity. Our focus is user experience: we’re focused around a premium experience rather than a premium car. We want to eliminate the pain points of ownership.

Buying a car is a painful experience; parking is a painful experience; commuting is a painful experience…”

So, like other manufacturers, Nio will help owners secure parking, charging, traffic-free driving and other conciergebased services. But unlike other brands, Nio is bringing the car and tech worlds closer together at a faster rate, using Warrior’s expertise. “The process needs to be reinvented, not just the product,” she tells me. “The life cycle [of a car] is a lot longer [than that of tech products] and we want to shake up that process. In six years in the tech world, a company dies: it’s a very different product cycle. Can I build an organisation that brings together two worlds and creates something even better?”

The smart money would be on an emphatic “yes”.

39

AUTOPIA CONNECTIVITY

‘There's the growing ability of apps to bridge the gap between car and owner, even when that gap is 100 miles wide'

Roborace cars (above) is supporting this season’s Formula E grand prix

Mapping the future We've seen the future, and it's all about bridging the gap between driver and vehicle. Erin Baker reports on the new connectivity revolution Remember a world before satnav, when dog-eared, muddied road atlases littered the footwell, with favourite picnic places annotated in pencil, and traffic-free routes marked with a highlighter?

Well, plus ça change… for all the talk about new technology, what the rest of the 21st century will largely be about is the third stage of mapping. Only this time around, it will be your car that reads the map, and the routes won’t be round towns and through villages; they’ll be between lamp-posts and kerbs, round other street furniture, over wi-fi charge points embedded in the road (from where your car battery will draw a current), between patches of black ice and other adverse weather conditions, and past the cyclist who’s coming round the corner but you can’t yet see. And you won’t have to update the map by buying a new one – the information will be provided digitally and updated in real time.

This new form of mapping is how autonomous vehicles will navigate their way, and is part of the brave new world we call

40

“connectivity”. The ubiquitous term – which, alongside sustainability, you’ll grow sick of hearing before the year is out – covers everything from how driverless cars find their way to what the public use their cars for: reserving a parking space, charge point or restaurant table perhaps, or checking how full your fridge is and whether you need to order a grocery delivery to coincide with your arrival home. Oh, and speaking of satnav, the future version will stream an augmented-realitystyle arrow down the road ahead of you through the windscreen, and into the next road you should take.

If you think that sounds weird, how about autonomous motorsport? Goodwood’s inaugural FoS Future Lab at this summer’s Festival of Speed will feature Roborace, a UK-based autonomous racing car company, which will be exhibiting its F1-style driverless electric cars. The Robocars, as they’re called, are controlled by a computer from the pits and are currently supporting this season’s Formula E grand prix.

Connectivity also covers the connection between driver and car. Toyota’s Concept-i, revealed at this year’s Consumer Electronics Show (CES) in Las Vegas, determines the driver’s mood via heart rate, sweat and eye-movement sensors, while Bosch’s CES

concept uses facial-recognition technology to personalise music and seat preferences.

BMW, meanwhile, has for a while been using gesture control to operate the infotainment system via swishes of the hand; now, however, a new “haptic feedback” system, which uses ultrasound, links with gesture control to determine the driver’s hand signals more clearly and makes touchscreen controls feel like real buttons to the fingertips.

Then there’s the growing ability of apps to bridge the gap between car and owner, even when that gap is hundreds of miles wide.

Land Rover has already developed an app through which the owner can configure the seven seats of the new Discovery, laying the last row flat, for example, when you realise in the shop that your purchase won’t fit in the boot. Of course, with every manufacturer competing for the best customer experience, the devil is in the details: we love the “Have I locked it?” feature in the new Mercedes Me Connect app, which does just what it says: if it transpires that you haven’t locked your car, you can do so – from anywhere in the world (assuming you have wi-fi or a phone signal).

It’s a neat reminder that, in the race for the greatest technology, the systems with a human touch will always be the ones that win over the consumer.

AUTOPIA INTERIORS

The new materials The car interior of the future will look radically different from today’s cluttered, complicated space. Out go switches and steering wheels, says Erin Baker, and in come the very best smart, responsive materials If the widely accepted vision of the automotive future is to be believed, few of us will be driving cars anywhere by the middle of this century. Which is why the race is on to create the ultimate car interior: a space in which to relax, work or play; to tune in or out.

Future materials and textiles will form a new interface between man and car, because their role will be to interpret as well as to perform tasks, while feeling and looking smart, stylish or premium, depending on the brand.

At the moment, your average car cabin is stuffed with seats, steering wheel, mirrors, windows, doors and buttons. But manufacturers are well down the road to chucking everything out to create a simplified, streamlined space that’s easily personalised and adaptable for most uses.

Look at most concepts at this year’s motor shows and you’ll find the steering wheel has morphed into a smaller, sleeker element.

Mirrors have been replaced by cameras that relay desired images (if you’re on a motorway, you’ll be wanting a largely rear-facing view; for city driving you’ll want to see more of your surroundings) and screens and buttons have disappeared, with large expanses of blank surface area taking their place.

It’s goodbye, too, to leather, recognisable plastics and traditional burr veneers. In their place we’ll see intelligent materials that can sense touch and commands, and are able to change their colour and pattern in response.

In the next few years, a widely used technology infused in new materials will be OLEDs (organic light emitting diodes).

Bentley, for example, is looking at their use in 0.2mm-thick screens that sit on the top of wood veneers. Invisible when not in use, they can display stereo or ventilation controls when engaged, essentially transforming any material into a screen. Bosch recently used OLEDs in the cockpit of its concept car at the Consumer Electronics Show in Las Vegas, and the result was a crystal-clear display.

Meanwhile, you have only to look at a car marque built largely on personalisation for many years – Mini – for clues to what the future holds. It has been busy exploring brass, basalt and cellulose in place of chrome and leather on the inside, and an intelligent wrap for the exterior that changes colour from a default setting to any shade the owner chooses. The Mini of the future would simply recognise which owner was approaching it (we’ll all be car-pooling before long) and change its exterior colour and pattern to match. No more applying stickers and dodgy paint jobs to your Mini for that “bespoke” look, which you immediately regret.

Then there’s sustainability – a credo that car brands long ago realised was an essential part of any corporate liturgy. But while most applied it to the powertrain, luxury brands also realised its importance for materials. And so brands are sourcing their new veneers and wood from untouched deltas, fertile swamplands and managed forestations.

These advances will benefit consumer and company – and, not least, the planet we draw resources from. It feels like a new awakening for the car industry. And not before time.

Future textiles will form a new interface between man and car.

Their role will be to interpret as well as to perform tasks

The Mini of the future: simplified and streamlined

42

A pre-owned Ferrari: when Approved, it stands out.

MORE THAN 190 POINT-CHECK

WARRANTY EXTENDED UP TO 2 YEARS

ORIGINAL CERTIFICATION PROGRAMME ISSUED AND APPROVED

BY FERRARI

Exeter Carrs

Belfast Charles Hurst

Swindon Dick Lovett Sporting Ltd

Solihull Graypaul Birmingham

Tel. 01392 822 080 exeter.ferraridealers.com

Tel. 0844 558 6663 belfast.ferraridealers.com

Tel. 01793 615 000 swindon.ferraridealers.com

Tel. 0121 701 2458 birmingham.ferraridealers.com

Edinburgh Graypaul Edinburgh

Nottingham Graypaul Nottingham

London H.R. Owen

Leeds JCT600 Brooklands

Tel. 0131 629 9146 edinburgh.ferraridealers.com

Tel. 0115 837 7508 nottingham.ferraridealers.com

Tel. 0333 240 8802 london-hrowen.ferraridealers.com

Tel. 0113 389 0700 leeds.ferraridealers.com

Colchester Lancaster Colchester

Egham Maranello Sales

Lyndhurst Meridien Modena

Manchester Stratstone

Tel. 01206 848 558 colchester.ferraridealers.com

Tel. 01784 558 423 london-maranello.ferraridealers.com

Tel. 02380 283 404 lyndhurst.ferraridealers.com

Tel. 01625 445 544 manchester.ferraridealers.com

OFFICIAL FERRARI BODY REPAIRERS North & Midlands Chartwell (Derby) Ltd

South H.R. Owen Bodytechnics

Tel: 01332 340 972 chartwells.net

Tel: 01753 505 900 bodytechnics.co.uk

ferrariapproved.com

AUTOPIA FoS FUTURE LAB

Welcome to the future FoS Future Lab, an innovative new exhibition at this summer’s Festival of Speed, is designed to showcase the pioneering travel and mobility technology of the future. While the heart of the festival – raw speed, powerful combustion engines and dynamic motorsport – still beats fervently throughout the weekend, Goodwood is once again showing its roots as the champion of future design and engineering by showcasing the rapidly evolving mobility scene Festival of Speed: June 29 – July 2

Visitors to FoS Future Lab will be able to experience a BBC virtual-reality space walk

44

Benedict Redgrove’s images of NASA robots will be exhibited publicly for the first time at FoS Future Lab. Redgrave was given special access as part of a long-term photography project

The Airbus Pop.Up: the flying car becomes a reality

FoS Future Lab: the highlights The Pop.Up Airbus has joined Italdesign to build a flying car. The Pop.Up two-seater is a concept, with a four-wheel chassis, a carbon-fibre passenger compartment and a roof-mounted drone.

NeoXCraft Huge buzz surrounds this Britishdesigned and built concept for a luxury flying road vehicle with VTOL (vertical take off and landing), influencing the future of private land-to-air transport.

Stratasys/McLaren F1 McLaren’s F1 team has signed a deal with Stratasys, a 3D-printing company, to bring 3D printing to the pitlane. Parts can be amended and printed within 15 minutes during track testing time. An artist will “reimagine” the Goodwood trophy, to be 3D-printed during the festival.

HTC Vive Don't miss a demonstration of the Tilt Brush app, a 3D drawing tool that allows the user to draw in beams of light and walk around the drawn object in 3D.

Drone racing Hosted by US company Thrust UAV, drone racing involves viewers putting on first-person-view (FPV) headsets to ride with a racing drone around a track.

Pal-V Combining road and air travel, the Pal-V ONE comprises a gyrocopter with a tricycle undercarriage. Its commercially available version, PAL-V Liberty, will also be on display at FoS Future Lab.

Facebook 360 Working with Facebook, Samsung and 360 VR agency Visualise, a 360 camera installation will be set up to stream live from the start line of the Hillclimb, where public audiences cannot normally stand.

BBC “Home” Space Walk VR Visitors will be able to experience this virtual-reality space walk around the outside of the International Space Station using headsets and handheld controllers.

NASA photography Exhibited as full-scale prints, these images capture the advanced robot concepts being developed at NASA in the US.

Roborace British designed and built, Roborace's “Robocar” – which will be on display during the exhibition – is the world's first driverless electric racing car. And it’s beautiful too!

Hyperloop One A vision of the future where mass transportation is possible at airline speeds – for the price of a bus ticket. Tesla boss Elon Musk’s project is currently being tested in live tunnels.

Skignz These geo-located Augmented Reality signposts can be placed anywhere in the environment and viewed through a camera phone screen in the Skignz app.

Boom Supersonic Boom Technology is making a supersonic airliner faster than Concorde, yet tickets will be affordable to the average passenger. An 8ft model will be exhibited.

Solar Impulse A long-range experimental solarpowered aircraft project, which develops research around cleaner technologies for fuelling transport solutions.

45

FIELD TO FORK

Land girls The Duchess of Richmond is famously one of the trailblazers of Britain’s organic movement, a passion shared with her daughter-inlaw, the Countess of March.

Working closely with the estate’s Home Farm team, they have transformed Goodwood into a model of progressive farming

Interview by Tamasin Day-Lewis Photography by Amelia Troubridge 46

FIELD FORK LAND TO GIRLS

‘It takes millions of years to make soil, and in the UK we've lost a third of our arable land in the past 40 years’

48 48

Left: banning the use of pesticides at Goodwood means the animals are ‘much more peaceful’ Opposite: the Duchess of Richmond – dedicated to nurturing the land for future generations Previous pages: the Duchess of Richmond and the Countess of March in the library at Goodwood House

“Soil is the beginning of everything,” the Duchess of Richmond says. “Ninety-five per cent of our food comes from the soil.” Putting something so obvious – yet generally ignored or taken for granted – into such vivid context speaks volumes about the Duchess’s beliefs on husbandry and the way she feels we ought to value the land and look after it.

Now 84, the Duchess is in the library at Goodwood House on a lovely early summer morning, looking glamorous and understated in the palest of pearly pinks and greys. She has the quiet wisdom of age that has tempered, yet not dimmed, her passion for the subject. “It takes millions of years to make soil,” she adds, “and we’ve lost a third of our arable land [in the UK] in the past 40 years.”

The potentially disastrous consequences of this loss, due to erosion and pollution, spurred the Duchess’s early conversion to organic, sustainable farming methods and the beliefs she formulated “an awfully long time ago” – which ran counter to the post-war shift towards intensive farming. “The thinking was, it was the best way to produce more food,” she says. “Which, of course, we needed. The fact is, it works for a bit, then it depletes the soil and the animals are infected and start needing antibiotics.”

Susan Grenville-Grey’s connection with Goodwood began in 1949, and then in 1951 she married Charles GordonLennox – a school friend of her brother’s – now the 10th Duke of Richmond and head of the family that has lived on, farmed and managed this estate since the 1690s. But the catalyst that inspired the Duchess’s thinking about how the estate ought to be farmed was a book, Silent Spring by Rachel Carson, first published in 1962. Documenting the detrimental effects on the environment of the indiscriminate use of pesticides, Carson’s book was met

with fierce opposition from the chemical companies. But it launched the shift of opinion away from intensive industrial farming, and towards today’s understanding that traditional methods might produce more sustainable farms and better food. Silent Spring ultimately led to a nationwide ban on DDT in America, and inspired an environmental movement that ushered in the creation of regulatory bodies such as America’s Environmental Protection Agency, as well as a profound shift in public opinion across the Western world.

Here in England, the Soil Association had already been founded in 1946, soon after increasingly intensive farming methods became common practice after World War II. The Duchess became a supporter early on. How lucky, then, that when the Duchess’s son, Charles March, married Janet Astor, her daughter-in-law needed no conversion to this way of thinking.

“My uncle, David Astor, had founded the Organic Research Centre,” Lady March explains. “It was one of the top three in Europe. I was about 26 when I got involved with it. My mother had always been keen on her organic kitchen garden and proper composting. She was part of the hippy mindset, which was seen as a bit cranky back then.”

“I thought, ‘Aha, I’ve got an ally now!’” the Duchess laughs, and it’s obvious from the intense debate on composting that ensues – including Lady March’s support for “hot composting”, which chews up everything, not just vegetable matter – that these two generations of strong and thoughtful women speak as one.

“I couldn’t get anything done until Janet came along,” the Duchess continues. “It was a pincer movement on the men, who were worried it was non-commercial.” The longrunning debate over the financial viability of organic

49

DAW N

DROPHE AD COUPÉ Designed to complement the exhilaration of an unbroken summer, Dawn matches the thrill of drophead driving with the beauty of unparalleled Rolls-Royce craftsmanship. You are no longer a voyeur to the world outside. You are living every second of it.

Contact us to experience an unbroken summer.

Rolls-Royce Motor Cars London Tel: +44 20 7491 7941 Rolls-Royce Motor Cars Birmingham Tel: +44 1564 787 170

Rolls-Royce Motor Cars Edinburgh Tel: +44 131 442 1000

Rolls-Royce Motor Cars Stansted Tel: +44 1371 870 848

Rolls-Royce Motor Cars Manchester Tel: +44 1565 700 000

Rolls-Royce Motor Cars Sunningdale Tel: +44 1344 871 200

Rolls-Royce Motor Cars Bristol Tel: +44 117 203 3970

Official fuel economy figures for the Rolls-Royce Dawn: Urban 12.8mpg (22.1l/100km). Extra Urban 28.2mpg (10l/100km).

Combined 19.6mpg (14.4l/100km). CO2 emissions 330g/km. Figures are obtained in a standardised test cycle. They are intended for comparisons between vehicles and may not be representative of what a user achieves under usual driving conditions. Š Copyright Rolls-Royce Motor Cars Limited 2017. The Rolls-Royce name and logo are registered trademarks.

FIELD TO FORK

‘We're the only farm that can grow enough feed for our own stock,’ says Lady March

‘It was a pincer movement on the men, who worried that it was non-commercial' farming rolls on, but, as Lady March says, “Everything is dependent upon the subsidies of the day and, most importantly, the route to market. We’re still in a minority, but there’s a really good market for organic meat and milk now. For premium produce, if it’s the best, you can make money. And you make a third more selling directly.”

One example of this? Today’s artisanal coffee-makers’ quest for the ideal milk with which to craft the perfect latte.

It’s a global trend few would have predicted back in 1989 when the 10th Duke took over the running of the estate from his father (a transition repeated in 1994 when the Duke and Duchess passed on the baton to Lord and Lady March).

As Lady March explains, “Our milk is unhomogenised, which means it tastes better. We also believe it is healthier.

We’re proud of the freshness of our milk – it will often be drunk within 24 hours of our cows being milked.”

She continues: “All the specialist coffee shops were selling wonderful coffee, but they didn’t understand how much the quality of the milk they used could affect the taste. We sell raw milk direct from the farm; it’s full of probiotics, and we’ve never had a problem, because our herd is monitored so closely.”

Was it a slow process, implementing their beliefs and methods at Goodwood? Far from it, Lady March insists: “A lot of farms on the South Downs hadn’t used pesticides for their sheep, so it was easy. It took about 18 months, and we got advice from the ORC when we made the change on

the farm, and took on a farm manager who was keen to do things this way. We had a wonderful shepherd, Nick Page, who understood it instinctively.”

The transformation to the countryside that comes with this kind of farming was equally speedy. “The difference in the hedgerows was very quick,” the Duchess recalls. “The birds, the wildflowers, the quiet on the farm… The animals are so peaceful – they look at you and don’t react.” It was all very different during her childhood, when the impact of intensive industrial farming was beginning to become apparent. And yet this isn’t simply an issue of animal welfare. “The animals’ meat tastes better when they haven’t been stressed and are looked after properly,” she argues.

Today, the Goodwood Estate rears Shorthorns for its dairy products and Red Sussex for beef. “These breeds survive very well on grass, and we’re the only farm that can grow enough feed for our own stock,” Lady March points out. “The beef herd is out all the year round and feeds on hay from our grass in winter.” The Duchess continues with a story from her own life: “It was partly that I was horrified by the standard of animal welfare. Also, I got ill and went to see a brilliant man, [leading nutritionist] Dr Latto, who told me about the effects of chemicals on the body. He put me on a simple diet of wholemeal bread, raw vegetables, no meat, not much dairy – and told me I’d be fine in six months.” She was. “When I had small children,” she adds, “I wanted them to be fed properly.”

51

Where the historic and modern are equally valued.

The elegant ensemble of 224 years of live auctioneering, embracing both the in-person experience and the accessibility of digital.

bonhams.com

FIELD TO FORK

Lady March at Goodwood – the Duchess’s ally and a lifelong supporter of organic farming

‘My mother was part of the hippy mindset, which was seen as a bit cranky back then' Good food is at the heart of both their thinking. Lady March is vociferous on the subject of long-term health through the generations. As she sees it, “the health of a grandchild is partly dependent on the health of the grandmother and the food she ate in her pregnancy. My other crusade is breast-feeding. The evidence shows that babies should be entirely breast-fed for the first six months and, if possible, this should continue until the child is at least one year old. Two is even better.”

At the heart of their duty to nurture the land for future generations is their love of doing so. Lady March says, “This year, we’re losing a lot of trees, so we’re trying to recreate some of the 18th-century vistas across the countryside.”

The Duchess continues: “The cedars were planted in 1760; we’re replanting 50 from seeds from the Royal Botanic Gardens in Edinburgh, who collected them from Lebanon and grew the saplings. Because it’s a privately owned estate, they’re happy to do that as they can see the estate still existing in a couple of centuries’ time. We use them as a statement. I give my husband a cedar every 10 years.

When we left the house [moving to Molecomb, another house on the Goodwood Estate], I gave him another.”

Both women have particular corners of the estate they hold dear, locations that are steeped in memory and

history. “My favourite place is the Trundle,” says Lady March, “a Bronze Age ring and ditch with a 360-degree view. I go there for perspective. You’re standing on 4,000 years of history, surrounded by orchids and skylarks.”

For the Duchess, the racecourse is a favourite spot: “You can look out on to Midhurst, the forest and the Downs. I love the hillside looking out from Molecomb – I used to ride around it – and Apple Tree Bottom. I used to make up stories for the children about this valley. There are lots of little funny corners I love.”

Love of the land and the landscape is at the heart of everything Goodwood stands for, and these two formidable champions, a generation apart, are equally responsible for its continued success. Both understand how the finer detail is as important as the broad sweep. As Lady March points out, the restored hedgerows – thanks to the Duchess – “provide homes, nests for a wide variety of birds. And swifts and house martins need mud to build their nests. So we’ve got to have muddy puddles.”

Just as Lord March has transformed the Goodwood Estate over the past 25 years, building Festival of Speed and Goodwood Revival into global brands, it’s clear that his mother and wife have mounted their own quiet – and very English – revolution, one muddy puddle at a time.

53

SUSSEX WINE

A toast to England

54

The verdant vineyards of East and West Sussex have the perfect microclimate for winemaking

ALAMY

Sussex vineyards are producing award-winning wines that are putting their continental cousins in the shade. Jemima Sissons finds out why the region is now on every sommelier's list

On an early-summer’s day, the vineyard is bathed in light.

Under the shade of a wizened oak tree, lunch is served with views of the forest-flecked terroir. From an outdoor fire pit adjoining the tasting room comes a mouthwatering lunch of grilled prawns and whole barbecued lamb, and served alongside it a sparkling rosé from 2014, pale pink and resplendent with raspberry and citrus. Yet this isn’t Bordeaux or Champagne, but Nutbourne in West Sussex.

This is the 26-acre vineyard run by the Gladwin family, who own three restaurants in London: The Shed, Rabbit and Nutbourne. As well as their trademark “nutty” sparkling, they turn out a quaffable Sussex Reserve NV with hints of elderflower, a rosé and a lightly barrel-oaked Pinot Noir.

Nutbourne is one of many estates bringing this region to the fore of the English winemaking revolution. With 106 vineyards already established in East and West Sussex and many more emerging annually, the region is producing wines that often beat their Continental cousins in taste tests – and not all of them the obvious sparkling varieties.

Cracking reds are made here too, such as the Bolney Estate Pinot Noir as well as many Burgundian Pinots.

Sussex might also be edging towards a Champagne-style protected status. Britain’s Department for Environment, Food and Rural Affairs has put forward an application for Sussex wine to be awarded PDO (Protected Designation of Origin) status under the EU’s Protected Name Scheme, but it remains to be seen what effect Brexit will have on this. If it happens, ordering a “glass of Sussex” will, hopes the local wine industry, become common parlance.

Whatever the result, the wines are in hot demand. The most familiar are the prize-winning sparklers, from pioneering vineyards such as Ridgeview, Nyetimber and Gusbourne. In 2010, Ridgeview’s Blanc de Blanc 2006 scooped the Decanter World Wine Award for best sparkling wine over £10, beating leviathans such as Taittinger and Piper Heidsieck. Ridgeview is also now Downing Street’s official supplier – and has been served on numerous occasions by the Queen. It is also responsible for the winemaking of the recently launched Windsor Great Park Wine. Last year the expressive almond and vanilla notes of a £40 2009 Nyetimber won favour over a £65 bottle of Billecart-Salmon Grand Cru champagne in a Wine and Spirit Trade Association tasting in Paris.

An exciting project on the horizon is Rathfinny Estate – 250 acres of south-facing chalky downland owned by former hedge-fund manager Mark Driver. The estate’s first sparkling wines will be out next year. The country’s three largest organic vineyards are in Sussex: Davenport, Oxney and Sedlescombe. The latter’s Pinot Noir-Chardonnay Brut 2013 vintage sparkling wine won a gold at last year’s international wine awards for its biscuity depths.

So what to look out for this year? Oxney is about to launch a luscious Pinot Noir Rosé. At Goodwood, wines from the adjoining estate – Tinwood Estate Brut, Tinwood Blanc de Blanc, Tinwood Rosé – as well as Coldharbour Sparkling

wine (both Brut and Rosé), Bolney Pinot Noir and Bolney Pinot Gris are among those being served. The estate is also partnering with Coates & Seely from nearby Hampshire .

So why does this region produce such fantastic wines? Its climate is opportune – Eastbourne is the UK’s sunniest place – and it benefits from a favourable terroir: both the chalk downs and the weald behind the downs provide the soil and microclimate you also find in Champagne.

Chris Foss, who heads up the wine course at Plumpton agricultural college in Sussex, explains, “There’s really good sunshine and not too much rain. Kent and Essex are drier, but they don’t have the same amount of sunshine.” He adds that the winemakers here excel at innovation. “They’re New World; the vineyards are more modern than a lot of the older ones in more traditional winemaking countries. You see higher trellising, lower plant densities.”

For some budding oenophiles, it’s the tourism surrounding the new wine boom that might appeal more. For those seeking their own Sideways Sideways-style -style adventure, a number of tours are in progress. The South East Vineyard Association is campaigning for the opening up of a wine route, which would guide tourists with brown plaques around the vineyards, along with a visitor centre and wine maps.

Nutbourne welcomes guests to its windmill tasting room and recently launched an outdoor kitchen. Best of England’s vineyard tour launched in Sussex this year, taking guests to the Bolney and Ridgeview estates, rounding off the day at Rathfinny for a tasting in its Gun Room – rumoured to have once been the Duke of Wellington’s gun store. Ridgeview is also preparing to build a winery to increase capacity in line with its production growth for 2020.

Yet it hasn’t all been plain sailing. This year the region was hit hard by a frost – similar to the one that affected Bordeaux. “In May 2017 we had an arctic frost, which meant our frost-fighting techniques were not as successful as predicted,” says Nutbourne’s Oliver Gladwin. “We’re going to see what happens over the summer from second budding to ripening for an idea of what yields will show at harvest.”

At Ridgeview, the team lit 500 candles over six nights when the temperatures dropped, to try to curtail the damage. The frost-specific candles are contained in tins the size of paint cans and lit when necessary to create enough heat to protect the vines by warming up the vineyard. “It’s predicted that there may be around a 10 per cent loss to Ridgeview vines, especially the vulnerable Pinot Noir,” says Mardi Roberts, marketing and communications director at Ridgeview. “However, this is difficult to assess; there’s the chance that secondary buds may have regrowth.”

Yet every cloud has a silver lining. “The frosts are not necessarily a bad thing, because they postpone a glut,” says Foss. “There will be a point when we produce more than the market can bear, so people will try to sell at a cheaper price.

If we have a shortage of wine, we can keep the prices and reputation up. After all, it’s a luxury product. If Asda was selling Gucci handbags at half price, it would be a bad idea.”

55

FOOD STORY XXXXXX

PORTRAIT BY MATT HIND

Butcher.

56

Farmer.

Chef.

57

FIELD TO FORK

Above: Farmer, Butcher, Chef's lamb chop sharing board

Meat is unashamedly sexy right now. Glistening slices of ribeye, and shepherd’s pie with lashings of creamy mash are the stars of Instagram and food magazines.

Sustainability also gets a big fat foodie tick. Farmer, Butcher, Chef, a new restaurant on the Goodwood Estate, brings these two trends together in a way that represents something of a quiet and delicious revolution.

I’m sitting at the bar with the farmer, the butcher and the chef. The restaurant is truthfully named after this trio; they make it work. Every Friday, at a minimum, farm general manager Tim Hassell, master butcher John Hearn and executive chef Darron Bunn sit down and talk. All masters of their trades, they have the experience and desire to really join up the food chain and – crucially – the situation of working together on a 12,000-acre estate.

58

Our bar snacks include juicy smoked pheasant samosas, rarebit made with the estate’s Charlton cheese and the mother of airy pork scratchings, as big as a butcher’s hand and light as a feather. Every piece of meat at Farmer, Butcher, Chef comes from Goodwood’s Home Farm. There’s plenty of talk about local sourcing in the food world, but an entirely joined-up system, from gate to plate with zero waste, is surprisingly hard to achieve.

Everyone has their own systems and needs. The farmer must work with nature. The chef has diners demanding prime steak. The butcher stands between them, with a limited supply of meat. The customer is always right.

Darron confronts these contradictions with a chef’s attention to detail, as befits someone whose CV includes six years with Marco Pierre White. Demand must follow supply, reversing the usual trend. “As a chef, you’re conditioned to think you can pick up the phone and get whatever you want,” he says. “A hundred ducks or whatever – they arrive like pairs of shoes. But if John can’t get something, it’s not because he doesn’t want to, it’s because it’s not there. We have to cut our cloth accordingly.”

Necessity is the mother of invention. Nose-to-tail eating is a buzz phrase that brings to mind extremities and internals. But Farmer, Butcher, Chef is just as much about the many forgotten cuts from all over the animal. Chef Darron’s light-bulb moment – when he saw that the idea behind the restaurant could work – came during a discussion about how to make ox cheeks go further. Each animal has just two cheeks and three to four animals are killed each week. John found a particular cut of shin – a V-shaped muscle from the front of the leg – that would offer a comparable texture and taste. Problem solved.

Goodwood’s animals come from within a few miles of your plate. Gloucester Old Spots and Saddlebacks snuffle in the fields, the piglets kept with their mothers instead of being whisked away at a few weeks. Southdown lambs dot the downs. Rusty-red Sussex cattle graze on the herb-rich chalk grassland where they have fattened for centuries. The best traditions of British stockmanship continue here on organic principles; the present Duchess of Richmond was one of the founding members of the Soil Association.

Farmer Tim has an unusual farm. Three times a year, the animals have to move off fields that become campsites for as many as 5,000 people for Goodwood’s biggest events. They even used to grow crops in the middle of the motor circuit, until it became too complicated to get the tractors over the tracks. Tim was determined to bring every part of the food chain back into the estate for reasons of economics, control and pride, an effort that won him the accolade of Farm Manager of the Year from

ABOVE LEFT: NICOLE HAINS. RIGHT: MIKE CALDWELL

Goodwood’s acclaimed new restaurant Farmer, Butcher, Chef offers gate-to-plate eating for discerning carnivores.

Hattie Ellis meets the eponymous trio who are making it happen. Portrait by Matt Hind

Left: much of the restaurant's decor is also locally sourced from the estate

'I want to see the lamb come through only once it's been out there in the sunshine and had bellyfuls of that first fresh, really good grass'

Farmers Weekly. “I’m not 100 per cent sure what gives the meat its flavour,” he says. “It’s the type of animal, the feed, the time it takes for them to grow… The fat on the beef is unbelievable – like yellow cream. You want it on the outside, but also within the meat as well. To get that, the animals have to be at full maturity when we take them.”

Back in the restaurant, one of the three Butcher’s Boards made for sharing (£20pp) arrives at the table.

These showcase one type of meat. Ours has rosemary-cured lamb belly and braised shoulder hot pot as well as a juicy rack of lamb and devilled liver and heart.

On the Saddleback pig board there’s cured jowl and crispy pork collar as well as rack of pork, while the Sussex beef board includes oxtail faggot, ox heart and breaded shin alongside steak, crispy salt beef and dripping potatoes.

Butcher John started out on his path at the age of eight, helping out in a traditional butcher’s in south Wales where they made their own cooked products, from brawn to roast meats. At Goodwood, he goes into the kitchen and nods approvingly at the rich, gelatinous knucklebones in the stockpot. In turn, the chefs come into the butchery and talk about specific muscles and how they might work in a dish.

They also tour the farm and see the animals they will cook.

As we finish with a beautiful bread-and-butter pudding and smoked ale ice cream, both made with the estate’s special Shorthorn unhomogenised milk, John talks about seasonality. No forced-through so-called “spring” lamb here, fed on concentrates to get it ready for the Easter table; the new season’s lamb will be ready when it’s ready.

“I want to see that lamb come through only once it’s been out there in the sunshine and had bellyfuls of that first fresh, really good grass,” he says.

Then he tells chef Darron how you know when the beef is at its best: when the cowpat stays in your hand rather than slopping through. “I’ll leave that one to you,” says Darron.

Farmer, Butcher, Chef has a relaxed country glamour; its décor is also locally sourced from the estate, be it the vintage fire hose looped along a wall or long pheasant feathers in the table decorations. There’s an avoidance of foodie affectation: no eco-preaching or overt cheffery – just delicious food, from light snacks to the Full Monty.

We finish our coffee. The farmer, the butcher and the chef head off to the fields, the butcher’s block and the kitchen. And me? I’ll be back at this table soon. I notice that the flint-covered 18th-century coaching inn now has a bus stop outside, handy for those coming from Chichester.

Look out of the window and you might well see the pigs, the sheep and the cows as you head towards your plate.

To book, call 01243 755070 Hattie Ellis is co-author of Lidgate’s: the Meat Cookbook

59

FIELD TO FORK FOOD STORY XXXXXX

A CUT ABOVE A meat masterclass with Goodwood’s butcher John Hearn “Supermarkets have brainwashed us into thinking it’s better to buy an expensive cut of meat that doesn’t need anything done to it, rather than something that requires a bit more work,” says John Hearn, the Goodwood Estate’s master butcher. “People don’t have as much time for slow cooking as they did, but you don’t have to stand over the pot watching it; if you go for some of the lesser-known cuts of meat and cook them gently, then you get a very flavoursome, pure piece of meat that tastes fantastic and is brilliant value.”

At Goodwood, chefs at the sustainable Farmer, Butcher, Chef restaurant do just that, using a number of unusual cuts of meat for dishes on their Butcher’s Boards and à la carte menu – from pig jowl and stuffed trotters to crusted ox cheek. Here are just a few of the lesser-known but particularly delicious cuts that you can easily cook at home...

By Charlotte Hogarth–Jones

60

lamb breast “Lamb breast is used a lot in processed foods, which is a shame, because it has an incredible flavour when it’s cooked long and slow. At the restaurant we serve a delicious starter of lamb fingers and anchovy relish – moreish crunchy croquettes with a spicy, vinegary dipping sauce that really cuts through the fat. Without the bone in, it’s a big, flat piece of meat, so it’s also perfect if you want to have a play in the kitchen and try out various stuffings. I do a Greek version at home filled with pan-fried potatoes, oregano, olive oil, salt, garlic and a big block of feta, but you can try all sorts of things – even more minced lamb flavoured with herbs to make a sort of meatloaf.”

beef shin “There’s no better cut for long, slow cooking

than beef shin. It’s a very lean piece of meat, but it also has a little fat in it, which will melt into a casserole and give a deliciously rich, shiny sauce. At the Farmer, Butcher, Chef restaurant on the estate, we serve braised beef shin with beans, wild garlic and lovely horseradish dumplings. You want to cook shin for as long as possible – at least four hours – and often the dish improves if you let it sit for a day and give the flavours time to intensify. For this reason, it also freezes really well. And it’s not just for winter warmers: I love making up big batches of ragu in advance for delicious fresh pasta dishes midweek.”

pork shoulder “Pork shoulder tends to be under-used, especially the ribeye, which is a cut that will do anything – you can slow-cook it or quick-cook it and it’s always delicious. Just like a ribeye of beef, it’s a very lean cut from the shoulder, and it’s a beautiful piece of meat because the fat melts as it cooks and bastes it. At the restaurant we serve it braised in beer alongside the very best seasonal vegetables, but it’s also great on the barbecue. Try it marinated in olive oil, garlic, black pepper, lemon juice and oregano, served with a crunchy green salad.”

61

sussex BRITISH ART

modern

BRITISH ART

The early 20th century saw a blossoming of creativity in the avant-garde British art scene, much of it concentrated on a rural swathe of southern England.

Vanessa Nicolson examines the roots of Sussex modernism

64

The artists involved weren’t simply rethinking what art could achieve, they were rethinking ways of living

PREVIOUS SPREAD: © ROYAL PAVILION & MUSEUMS, BRIGHTON & HOVE; OPPOSITE: ERIC GILL'S THE PLAIT, PART OF DITCHLING MUSEUM OF ART + CRAFT COLLECTION. PHOTOGRAPH: © LEE MILLER ARCHIVES, ENGLAND 2017. ALL RIGHTS RESERVED. LEEMILLER.CO.UK

Previous pages: Salvador Dalí's Mae Westinspired sofa (1938), one of the surrealist masterpieces commissioned by Edward James of West Dean House. Opposite: Model Filling Watering Can by Lee Miller. Bottom left: Eric Gill’s 1922 ink drawing The Plait

Some may think of Sussex as simply a bucolic southern county, home to the sweeping Downs and country pursuits. Yet in the first half of the last century, this most lovely of landscapes was at the vanguard of avant-garde thinking and art – an unlikely cradle of both bohemianism and new thinking.

The point about British modernism – that flourishing of creativity from the 1910s to the 1950s – is that it never followed one single style or movement. Rather it co-opted new ways of seeing things, and resulted in works of art across varied genres and disciplines. The artists involved were not just rethinking what art could be and achieve, they were rethinking ways of living too. Remarkable, perhaps, that so much of the thinking and doing took place in that broad strip of southern England that runs from Chichester in the west to Eastbourne in the east.

A network of communities featuring leading painters, sculptors, writers, photographers, architects and patrons spent significant parts of their lives in Sussex. These “sets” were based at farmhouses such as Charleston, seven miles east of Lewes, home of Bloomsbury escapees Vanessa Bell and Duncan Grant, and later on at Farley Farm House, near Chiddingly, occupied from 1949 by surrealist painter Roland Penrose and glamorous American photographer Lee Miller.

Close to Charleston was Monk’s House, the home of Bell’s sister Virginia Woolf. At the foot of the South Downs near Glynde was Furlongs, the shepherd’s cottage inhabited by designer, painter and educator Peggy Angus (after World War II she briefly taught art alongside Bell’s son Quentin at a girls’ school in Sussex). Furlongs provided the inspiration for the elegantly delicate paintings of Eric Ravilious, who credited the place with altering his whole outlook and way of painting, “because the colour of the landscape was so lovely and the design so beautifully obvious”. Nearer Chichester lay West Dean House, aristocratic family home of patron Edward James, and Monkton House, the adjoining Lutyens-designed hunting lodge, which both became showcases for surrealist art and furniture, most notably the famous sofa designed in the shape of Mae West’s lips by Salvador Dalí.

And that’s all before we even get to the county towns: Bexhill-on-Sea with its modernist architectural classic, the De La Warr Pavilion; Rye with its painters Paul Nash, Edward Burra and John Banting; Ditchling with the artistic and religious community formed around sculptor and printmaker Eric Gill. And Chichester, where Walter Hussey, Dean of the Cathedral, amassed a fine collection of contemporary art which he then donated to the city. This collection forms the basis of Pallant House, now one of the most important galleries for British art of this period.

So why did Sussex become such a magnet for these “moderns” and their supporters? “For some modernists, especially in the early part of the period, the move to Sussex was cast as both a retreat and a rebellion: a rejection of ways of life associated with the metropolis left behind,” says Dr Hope Wolf, curator of Sussex Modernism, a recent exhibition that explored the work of the artists of that time. But she makes clear that the show was not full of picturesque Sussex scenes. “There were modernists who barely made reference to Sussex at all in their work.

They created enclaves for themselves, bringing influences from the city, Europe and non-Western cultures to their home.”

Vanessa Bell is one of the best-known of these, famed for her abstract works, and portraits of her sister Virginia Woolf and of Aldous Huxley. With fellow painter and sometime lover Duncan Grant and writer David “Bunny” Garnett (lover of both Grant and Bell) she set up house in a beautiful stretch of country at the foot of the South Downs.

“It’s absolutely perfect I think,” she wrote of Charleston to Roger Fry shortly after their arrival in October 1916, in the middle of World War I. Grant and Garnett were both conscientious objectors and found nearby the farm work they needed in order to avoid military service.

Clive Bell, Vanessa’s husband, had met Fry in 1910 and helped him organise the first post-impressionist exhibition, Manet and the Post-Impressionists, at the Grafton Galleries in London – a landmark occasion in the history of British art. At the time, the bright landscapes, interiors and still lifes by Gauguin, Cézanne, Seurat and Van Gogh were viewed by the public as debauched and provocative, and dismissed by conventional critics as messy and anarchic (when in fact structure and order were at their heart). The experimentation with colour and form they inspired set in motion the birth of British modernism. In the Second Post-Impressionist Exhibition of 1912, the British avant-garde artists of the time – including Grant, Bell, Gill and Wyndham Lewis – were invited to show alongside Matisse and Picasso, and the influence of these Continental masters was much in evidence.

The geometric patterning present in Grant’s poster for the 1912 exhibition anticipates the stylistic decoration of artefacts produced in the Omega Workshops, which Fry founded in London in 1913. The Workshops produced a range of objects for the home – textiles, ceramics, furniture – with bold, abstract designs. The blurring between art and decoration was carried into the decorative schemes at Charleston, where whole rooms and their contents were integrated as “art”; paintings appeared on screens and walls, abstract designs appeared as paintings.

65

BRITISH ART

66

Paul Nash’s 1935 painting, Equivalents for the Megaliths, was inspired by ancient standing stones

67

BRITISH ART

The pond at Charleston farmhouse is possibly the setting for a summer scene of languidly posed male bathers – some naked – painted

by Duncan Grant in 1920/21. In its colour tones and the application of “stippled” brushwork, Grant reveals his debt to the French pointillist technique of multiple dots, although Grant’s dots have become much larger and more like strokes. Beyond pure style, the homoerotic nature of the painting flags up another possible reason for the withdrawal of artistic bohemians to the countryside at a time when society (and the law) made clear its disapproval of those flouting conventions. Rural – or at least relatively isolated – areas enabled artists to live their lives in the way they wanted, and in the partnerships they desired, without drawing too much attention to themselves.

Eric Gill, living and working in nearby Ditchling, also led an unconventional life, if in a more extreme manner. Accusations of sexual aberrations including incest, abuse and bestiality have belatedly overshadowed his professional reputation as a sculptor and engraver of note, but he was an important figure in the context of British art of this time. Eight of Gill’s sculptures had appeared in the Second Post-Impressionist Exhibition, and the pared-down carving of his stone figures integrated well with the Bloomsbury artists and the French masters on show. The first sculpture by Gill that Roger Fry owned was rejected for fear that the presentation of the Virgin Mary as a sexual being might offend “a good many people’s susceptibilities”, but he commissioned another as a replacement.

In Ditchling, Gill set up home and a series of workshops providing space for stone carving and a press for printing designs and illustrations of religious scenes. Artists such as the Catholic painter and poet David Jones were attracted to this way of life, as were those in search of the lay religious community led by Gill as a tertiary of the order of St Dominic (Jones briefly became engaged to one of Gill’s daughters).

By the early 1930s, Gill had left Ditchling for Wales and the painters at Charleston had been eclipsed by younger artists such as Paul Nash.

His depictions of Sussex have a darker, slightly menacing edge to them, and can perhaps be linked to his own experiences on the Western Front.

68

The dramatic perspectives and strange juxtapositions that appear in the views painted from Nash’s studio at Iden have been interpreted as statements of mourning: fallen trees as a symbol for the dead was common in the art and literature of World War I. Landscape at Iden from 1929 is unpeopled, distilled into a composition of forms, its disparate elements brought together as if in a nod to surrealism – a landscape so real that it looks unreal.

The years leading up to the World War II also saw an influx of artists and architects from the Continent escaping fascism. The GermanJewish émigré Erich Mendelsohn and Russian-born Serge Chermayeff found a sympathetic supporter in the socialist Earl De La Warr, who commissioned the two architects to build the De La Warr Pavilion on the seafront at Bexhill-on-Sea in 1935. This construction of concrete and steel, with large windows and cantilevered balconies, has the clean lines and curves of classic modernist architecture, and is now celebrated as one of that decade’s most remarkable buildings.

(Chermayeff found another admirer in Eric Gill, who discussed with him setting up an “Académie Européenne Méditerranée” – a school dedicated to the modern – which was never realised.)

Inside the De La Warr, the design included a curving staircase, chairs

by Alvar Aalto and a mural by Paul Nash’s contemporary Edward Wadsworth, who had moved from London to Maresfield, near Lewes, in 1929. Wadsworth’s art is inspired by the sea and everything nautical: anchors, sails, flags and ships’ propellers. The inanimate objects are linked thematically but remain separate, a tension underpinning them in the manner of a surrealist composition, although Wadsworth never had any formal links with the surrealist movement in Britain.

At the other end of the county, collector and patron of the surrealists Edward James lived in his opulent family home, West Dean House.

Having accused his dancer wife Tilly Losch of adultery with Prince Serge Obolensky (she countered this by accusing him of homosexuality) they had divorced, and in 1934 James left London for West Sussex where he attracted a number of surrealist visitors including Salvador Dalí and René Magritte. Dalí at the time was in dire financial straits, so

PREVIOUS SPREAD: PAUL NASH, EQUIVALENTS FOR THE MEGALITHS, 1935 © TATE LONDON 2017. OPPOSITE: VANESSA BELL, VIRGINIA WOOLF, C.1912, OIL ON BOARD, NATIONAL PORTRAIT GALLERY, LONDON NPG 5933 © NATIONAL PORTRAIT GALLERY, LONDON

Left: built in 1935, the De La Warr Pavilion in Bexhill-on-Sea is an icon of British modernist architecture

SUSSEX MODERNISM

Rural – or at least relatively isolated – areas enabled artists to live their lives in the way they wanted Above: Vanessa Bell’s 1912 portrait of her sister Virginia Stephen, shortly before her marriage to Leonard Woolf

69

BRITISH ART

Intriguingly, the legacy of the Sussex moderns lives on.

Towns by the sea are again being marketed as a hub of creativity for artists

James offered him a monthly salary for a year in return for everything he made. As a result, Monkton House, the hunting lodge on James’s estate, completely subverted the traditional English interior, creating a theatrical fantasy where anything became possible: a sofa resembling lipsticked lips, a telephone in the shape of a lobster…

Another Sussex resident, Roland Penrose, was instrumental in promoting surrealism in England. In 1936, he organised the first International Surrealist Exhibition at the New Burlington Galleries in London, which included work from James’s collection. Penrose and his wife, Lee Miller – an accomplished photographer, war reporter and model – invited the cream of artists from the continent to stay at their home in Chiddingly. The likes of Picasso, Miró, Ernst and Man Ray all visited and left their mark.

70

Above: artist Duncan Grant’s studio at Charleston, the East Sussex farmhouse he shared with Vanessa Bell

One of the keys to the flourishing of modernism in Sussex is that it was rarely parochial in outlook. The artists travelled widely and were engaged with developments happening on the Continent. The painter Edward Burra was born and lived most of his life in the Sussex countryside on a hill overlooking Rye, but he explored Europe and beyond, finding inspiration in the religious iconography of Mexico and the vibrant street life of New York’s Harlem, as did his friend and fellow Rye resident, the surrealist painter John Banting.

Burra’s Sussex-inspired landscapes are not presented as pretty rural ideals. There are dark, menacing skies, fishermen either bent by hard work or inactively lurking (described as “uncomfortable presences” by Sussex-based art historian Norbert Lynton). In other Burra paintings, farm machinery lies abandoned and shrubs are

blown by harsh winds. This is not an art to comfort and reassure. Like the skeletons of trees painted by Nash (Burra’s friend and neighbour), nature and humanity can refer to something darker and unsettling.

Intriguingly, the legacy of the Sussex moderns lives on. Coastal towns in the south of England are again being marketed as a hub of creativity for artists. The Folkestone Triennial attracts internationally renowned artists; the Towner Gallery in Eastbourne is an award-winning contemporary art museum; while Turner Contemporary has provided a focus for the regeneration of Margate.

If celebrity artist Tracey Emin abandons London and settles back in her hometown, as she has indicated, maybe more will follow, as artists continue to rethink the ways in which they make art, and the ways in which they choose to live.

71

BRITISH ART

sussex modern: where to see it

Sussex Modern is a partnership of nine galleries and museums in Sussex – including the De La Warr Pavilion, Farleys House and Gallery, and Jerwood Gallery – that contributed to the Sussex Modernism exhibition at Two Temple Place earlier this year. sussexmodern.org.uk

Eric Gill: The Body An exhibition of the work of the sculptor, typeface designer and printmaker, runs until September 3 at the Ditchling Museum of Art + Craft. ditchlingmuseumartcraft.org.uk

Pallant House Gallery

Above: John Minton’s Portrait of David Tindle as a Boy (c.1952), part of the permanent collection at Chichester’s Pallant House Gallery

Home to one of the best collections of 20th-century British art in the UK, Pallant House Gallery in Chichester holds works by a number of Sussex artists in its permanent collection, including Ben Nicholson and Edward Burra. pallant.org.uk

Charleston House The former home of Vanessa Bell and Duncan Grant, Charleston, near Lewes, is open to the public from Wednesday to Sunday and Bank Holiday Mondays until October 29. charleston.org.uk

Ravilious & Co: The Pattern of Friendship An exhibition focused on the working collaborations between Eric Ravilious and artists such as Paul Nash and Peggy Angus is at Eastbourne’s Towner Art Gallery until 17 September. townereastbourne.org.uk 72

PREVIOUS SPREAD: COURTESY OF PENELOPE FEWSTER AT CHARLESTON TRUST. LEFT: © ROYAL COLLEGE OF ART

Sussex Modern

FORAGING

Go wild For years, foraging was associated with bearded, be-sandalled chaps of a certain age, rummaging through autumnal mists to find the perfect mushroom.

Then along came Noma, the groundbreaking Copenhagen restaurant, and “food for free” was given an overnight image reboot. Suddenly, foraging was synonymous with foodie modernity: fresh, local ingredients rediscovered on your doorstep. Robin Harford, founder of EatWeeds, Britain’s leading wild-food website, extols the virtues of foraging – on both emotional and gastronomic grounds – with a passion. “I know the power of reconnecting to nature. From a de-stressing point of view, it’s one of the most pleasurable things you can do. And this isn’t famine-survival food: there are gourmet flavours in the hedgerow that we are missing. It encourages you to approach food with a totally different mindset. You get given what you get given by nature. I take lots of chefs out on courses and they love it, because it really challenges them.

Wild plants normally have a really short window of opportunity: you go out in the morning and it’s on the table at night.”

With chalk hills, plentiful woodlands, sheltered valleys and a salty coastline, Sussex is especially blessed with a great diversity of wild food – and summer is a great time to get exploring. Harford runs courses across the country, including Sussex – just outside Midhurst – but interestingly, also in London. “It’s not about travelling miles; it’s about going out of your front door and getting to know your place, your local history, and finding plants that allow you to eat healthily and supplement your diet. Wild plants are two to three times more nutrient-dense than anything you can buy.”

Clearly, it’s important you know what you are picking. Harford suggests a course is a good idea and says that books such as Harrap’s Wild Flowers and Richard Mabey’s classic Food For Free remain invaluable guides. But then it’s down to getting out there and building your knowledge. “It’s like a detective game,” Harford says gleefully, “and eating becomes a sensual experience.”

Writer Charlotte Hogarth-Jones Illustrations Léa Morichon

74

Meadowsweet Bearing clusters of tiny white flowers and appearing between May and August, meadowsweet looks similar to elderflower and belongs to the rose family. “It’s a lovely summertime plant,” says Harford, “and makes an incredible sorbet.” Found in water meadows and by ditches and roadsides, the fluffy wildflower has a distinctive scent of honey that was used to flavour mead in medieval times – hence its name. Often referred to as herbal aspirin, it has anti-inflammatory and anti-bacterial properties, and can be made into a soothing tea to aid digestion. Chefs today also use it to flavour everything from fudge to sorbets and ice creams, while it adds a subtle taste to custards and panna cotta.

Sea aster Found in the same marshes as samphire, sea aster appears from April through to October and is easily recognisable by its distinctive mauve-and-yellow flowers. Only the leaves are edible, but these are regarded by foragers as some of the most delicious succulents available in the wild, giving a nutty, sophisticated flavour and a tender texture. It can be lightly sautĂŠed with butter, mixed into salads or pickled to give a tasty, crunchy vegetable.

Nettles Young nettles give the best flavour, and you’ll find them in abundance in shady spots in early spring, and again from around September. When picking nettles, you use under ten per cent of the plant – just the top four leaves or so, rather than the woody stalks, which cook down less successfully.

“Lots of wild greens make a really lovely pesto, including wild garlic and nettles,” says Harford. Rich in vitamin C and iron, you can use it almost exactly like spinach, so it works well in soups or dishes such as sag aloo. You can also combine nettles with other foraged wild greens.

77

Samphire Samphire is traditionally picked on the summer solstice on June 21, although it can be found throughout June, July and August on most salt marshes. “In Sussex, you’ll find it around West Wittering, whereas in some supermarkets it can cost you upwards of £20 a kilo,” says Harford. This salty, bright-green sea vegetable needs rinsing under cold water prior to cooking, and is often compared to baby asparagus.

The perfect accompaniment to white fish such as sea bass, cod and brill, and seafood such as scallops, it needs very little cooking – simply boil it in water for 4-5 minutes or pan-fry gently in butter.

78

Dandelion Most people could easily identify the cheerful yellow dandelion, which can be seen any time from February through till November. “A really easy thing to do is infuse the flowers in Japanese rice wine vinegar for a few days,” says Harford. “Beautiful drizzled over salads.” Rich in nutrients including vitamin A, vitamin C, potassium and iron, during wartime Britain the Ministry of Food encouraged people to eat dandelion sandwiches, using the leaves of the plant instead of lettuce. Both the leaves and the petals are edible, and there is a wealth of different ways to serve them – making the flowers into tempura with a crisp, light batter, stirring the petals into a vegetarian risotto, or using the greens in a brie, bacon and fig jam toasted sandwich, for example.

Borage With its distinctive star-shaped blue-and-purple flowers, borage is easily identifiable. Available throughout the summer and tasting similar to cucumber, it’s best to pick the smaller leaves of the plant and the flowers, as larger leaves can have a spiny texture. When wilted down, they make an incredible ravioli filling when mixed with ricotta, and are brilliant additions to summer drinks: try the pretty flowers frozen in ice cubes or used on their own to garnish Pimm’s.

With thanks to Robin Harford of eatweeds.co.uk and foragingcourses.com

MAIN SHOOT

82

MAIN SHOOT

ENGLISH

PASTORAL Afternoon tea at Goodwood’s Carné’s Seat is the perfect setting for the gauziest, prettiest, dreamiest of day dresses

Photographer Rahel Weiss Stylist Miranda Almond 83

This page: Lika (left) wears blue and black lace dress, price on request,

by ERDEM, erdem.com; heart-drop earrings, by PANDORA, pandora.net; black suede ankle boots, £395, by CHURCH’ CHURCH’S CAR SHOE, carshoe.com. Emily (right) wears light-blue lace dress, £1,070, by ERDEM, erdem.com; white ankle boots, £165, by KURT GEIGER, kurtgeiger.com Opposite page: Emily (left) wears white lace tea dress, £300,

by SELF-PORTRAIT, selfportrait-studio.com; gold drop earrings, £300,

by LAURA LEE, lauralee.jewellery.com. Lika (right) wears blue lace off-theshoulder dress, £320, by SELF-PORTRAIT, selfportrait-studio.com

This page: Emily wears white lace tea dress (as previous pages, left), £300,

by SELF-PORTRAIT, selfportrait-studio.com Opposite page: Lika (left) wears white lace midi ruffle dress, £670, by PHILOSOPHY DI LORENZO SERAFINI, philosophyofficial.com; gold ring by LAURA LEE, lauraleejewellery.com; silver brogues, £110, by KURT GEIGER, kurtgeiger.com. Emily (right) wears white lace and black ruffle dress, £1,230,

by PHILOSOPHY DI LORENZO SERAFINI, philosophyofficial.com; black lace brogues, £350,

by CHURCH’S, church-footwear.com

A NOTE ON CARNE'S SEAT By James Peill, Curator, Goodwood Collection “If you are at Goodwood, and the sun shines as bright as it does here, I hope you will take a walk up to Carné’s Seat, sit down in the little room and think of that you took with Lady Emily Lennox, just returned from Bognor Church, sixteen year ago, and believe that I love you sixteen times better now than I did then.” – Emily writing to her husband, James, Marquess of Kildare, on Christmas Day 1762

Carné’s Seat is the hilltop banqueting house built by Emily’s father, the second Duke of Richmond, in 1743, on the site of a wooden cottage that had been lived in by Monsieur de Carné, an old family servant. The architect was Roger Morris and it was built at the top of the park to take advantage of the magnificent views towards the sea and the Isle of Wight. It contains a single room upstairs for entertaining and a small-scale room downstairs where Emily was ravished by her future husband, James.

This page: Emily wears peach-and-white lace-detail maxi dress, £2,195,

by HUISHAN ZHANG, huishanzhang.com; daisy ring, £50, abstract elegance ring, £80, luminous glow ring, £80, all by PANDORA, pandora.net Opposite page: Emily wears blue ruffle and white lace maxi dress, £2,950,

by HUISHAN ZHANG, huishanzhang.com; white leather ankle boots, £165,

by KURT GEIGER, kurtgeiger.com

Opposite page (and on opening spread): Emily (left) wears red dress, £995, by PREEN BY THORNTON BREGAZZI, preenbythorntonbregazzi.com; pearl drop earrings, £60,

by PANDORA, pandora.net. Lika (right) wears navy gypsy dress, £380, by JOIE, available at Harrods, harrods.com

This page: Lika wears white cotton-voile dress, £390, by QUEENE AND BELLE, available at matchesfashion.com; gold half-moon necklace, £50, by STELLA & DOT, stelladot.co.uk Opposite page: Emily (left) wears blue flower-detail sheer dress, price on request, by LUISA BECCARIA, luisabeccaria.it; curved tooth necklace, £32, by STELLA & DOT, stelladot.co.uk. Lika (right) wears white tea dress, £1,195, by ROKSANDA, tel 020 7613 6499; white and gold tab bracelet, £225, by MONICA VINADER, monicavinader.com HAIR: SUSANNE LICHTENEGGER MAKE-UP: ANITA KEELING

STYLIST’S ASSISTANT: LAUREN MITCHELL DIGITAL ASSISTANT: HO HAI TRAN PHOTO ASSISTANT: JACK GRAY

MODELS: EMILY BUTCHER AT NEXT, LIKA RZHEVSKAYA AT THE HIVE SHOT ON LOCATION AT CARNE’S SEAT, GOODWOOD ESTATE

94

STYLE ESSAY NATURAL BEAUTY

She's got the look Writer Hannah Betts Illustration Sandra Suy

The shift between one’s city and country guises is never more intriguing than in the case of one’s face. Naturally, the stylish woman retains her uniqueness wherever she finds herself. However, one’s urban maquillage can feel excessive when transplanted to greener parts. There must be some concession to outdoorsiness, even for the resolutely indoor plant. One does not want to frighten the horses – literal or metaphorical.

It’s not that the amount of products required is necessarily any smaller; rather, that their application requires more sleight of hand. The aim is some fabulous trompe l’oeil; a contemporary take on Marie Antoinettestyle nymphs-and-shepherds pastoral. The result should be fresh-faced – looking as if barely a scrap has touched one’s complexion, while being covered in the stuff, given that it also protects from the elements.

As a general principle, it’s advisable to tone everything down a bit – even if a bold lip or smoky eye is your “thing” – for fear of looking rather more Hoxton than Hampshire, or, worse, less country than provincial.

Think a flattering frame (brows, nails, hair), offset by a beguiling glow (skin, cheeks, lips).

One’s complexion should affect subtly augmented dewiness – the look fashion types are referring to as “lifestyle skin”, only the lifestyle in question is of the fresh air and country walk-type, rather than the urban virtues of green juice and Pilates. You would be a fool not to use sunscreen. This year’s bases are as luminously realistic-looking as they are long-lasting, ensuring that one returns from one’s daytime exertions with the same face one set out with.

Eyebrows should be lightly defined in a way that opens up and anchors the features, rather than some ghastly Scouse brow (look out, those wisteria sisters).

The tiny-eyed among us may still need more help here.

Make sparing use of pale- or mid-brown shadow, if you must – and I find I must to lock everything else in place.

Liner need not seem OTT, but aim for brownish rather than black shades to avoid looking too exotic.

Mascara should be waterproof and natural-looking, rather than of the false-lash-aping variety so popular among Instagram starlets.

Cheek-wise, you are looking for the colour your cheeks flush naturally after exercise, ideally a rosy hue, or, if not, something warmly tawny. Remember, all but the barest hint of bronzer looks tawdrily de trop in insipid English sun. Save it for Ibiza, darling.

Find a balm that renders lips fleshy, sheerly tinted and protected. I have never met anyone who didn’t look better in a slick of Lipstick Queen’s jaunty Hello Sailor, a blue bullet that bestows a healthy, bitten-lipped shine.

Don’t feel that nails have to be prissily pinky-nude à la the Queen’s beloved Ballet Slippers – her favourite Essie shade. Bold lacquer is sufficiently classic for the country and it can also feel pleasingly bracing when everything else is kept low-key. Just nothing too long or elaborate, please: no nail art.

When it comes to one’s hair, it may sound counterintuitive, but try to arrive with an unfussy blow-dry so that there’s some vague structure in place, then forget all about it – the more tousled it becomes, the better.

Pack a bijou canister of dry shampoo to have back in one’s room should everything droop, and to give a little oomph to one’s roots (Philip Kingsley’s is first-class).

Don’t forget perfume – some skin scent that blooms with the heat of sun on flesh. And finally, stuff a rain hat into your pocket along with a lip balm and tiny compact, and then pretend – at least – to go wild.

’One doesn’t want to frighten the horses – literal or metaphorical’ 95

HOME-GROWN FASHION

Made in Britain From East End studios to Manchester mills, the revival of UK fashion manufacturing is gathering pace.

Mark Hooper meets the leaders of a very stylish industrial revolution

By Mark Hooper

Photography Alun Callender

96

MADE IN BRITAIN

98

’We cannot afford, as a small brand, to make mistakes.

Everything we do is considered’ – Kelly Dawson, co-founder of Dawson Denim

Left: Kelly Dawson and Scott Ogden of Dawson Denim. The company makes traditional 1950s-style jeans and workwear (above) Previous pages: bespoke buttons from Nick Ashley’s company, Private White VC. His design ethos is to make ‘the best-quality clothing possible’

The fashion industry has always built on traditional skills and techniques, adding cutting-edge technology to knowledge built up over the generations. But in recent years – thanks partly to the long tail of the global recession and a reaction against throwaway culture – a growing interest in provenance, authenticity and passion has taken hold. Led by pioneering craft entrepreneurs, we could even be witnessing a rebirth of the British garment manufacturing industry.

Take Private White VC (privatewhitevc.com), a Manchester brand with a proud history of manufacturing. Having made its reputation producing “white label” garments for some of the biggest brands in the UK, it went over the top under its own name in 2008. It is named after a real person, Jack White, who won the Victoria Cross in the Great War before returning to civvy street where he rose from apprentice cloth-cutter to owner of the same Manchester factory used today.

Nick Ashley, creative director of Private White VC (and son of the late designer Laura Ashley) – is unequivocal about his approach. “My mother always used to say that you have to look back before going forward,” he says. “Many contemporary designers overlook the importance of evolution in design – some even think that it is plagiarism to ‘copy’ what’s been done before.

The fact is, we are all merely editors, updating what’s been done before.” A keen motor enthusiast, Ashley has a neat, Goodwoodfriendly analogy to explain his modus operandi: “To put a young, current F1 driver into an old 250 GTO is a priceless act of research,” he points out.

Private White VC’s success has been in scaling up the business while keeping all elements of the production process under one roof. “My design ethos is focused on making the best-quality clothing possible,” he says. “I start with the raw fibre, design the yarn, design the weave, design the clothes and design the shop. No corners are cut: every process takes place in our own farm, mill, factory and shop… in Britain. That’s my ethos.”

Ashley is wary of the heritage phenomenon becoming just another marketing trend – something big brands can buy into for a few seasons before heading off in new directions. For him, it’s more fundamental than that. “Heritage, like vintage, has been raped and pillaged by the high street,” he says. “We make the same clothes in the same factory that’s made clothes for the last 100 years, owned by the same family. It’s no longer heritage, we’re just experts.”

Talking of expertise, Kelly Dawson is – along with Scott Ogden – the co-founder of Dawson Denim (dawsondenim.com), launched in Brighton in 2012 with the aim of reviving the traditional 1950s style of manufacturing limited-edition handcrafted jeans and workwear. This involved sourcing original machines (including 12 steel-cast industrial sewing machines, all specifically designed for denim manufacture), as well as fabric woven on looms from the period. “It was no small undertaking,” Dawson explains. “We looked to Japan for the denim as the mills of Okayama still use traditional looms and employ the same techniques. We even cut patterns by hand using pencil and paper.”

Like Ashley, Dawson is keen to point out that, while she and Ogden employ original techniques to manufacture their goods, theirs is not a retrospective brand. “We take what we have learned from the past and make each piece relevant for today’s living,” she continues. “Where denim aprons were once used in ‘dry goods’ stores in the 1890s, they are now used by baristas or tattooists, so we need to include functionality for these vocations.”

While Dawson doubts we will ever reach the levels of garment manufacturing Britain could boast of in the past (noting that when she started in the industry, working for a buying office in London in the 1990s, “we still manufactured 70 per cent of our denim in the UK: Levi’s, Wrangler and Lee were all made in Wales and Scotland”), she has noticed a resurgence of late – both in terms of supply and demand. “Our customer is aware that we need to support Britishmade or handmade goods to survive,” she says. “We simply cannot compete with low-cost goods made abroad on price because of our

99

HOME-GROWN FASHION

working standards and ethics. If we have done anything to help spearhead a resurgence, it’s simply that doing what we’ve done makes it possible for others.”

Dawson Denim’s USP lies partly in the ability to customise, “which the bigger brands can’t do as often since they don’t own their manufacturing units. We could be described as ‘bespoke’, I suppose,” she continues. “We manufacture pieces individually because we can manage the quality.”

There are extra challenges too. “We cannot afford, as a small brand, to make mistakes,” says Dawson. “So everything we do is considered, from the font on our logo (the 1920s font used on the British railway network) to the 1957 Union Special 43200G chainstitch hemming machine we use on our jeans.”

Lynda Scott has also had to source specialised vintage machines for her business. Having worked as a stylist, photographer and fashion PR, she set up Dlux (dlux-ltd.co.uk), which specialises in high-quality sheepskin and shearling, in 2004. “It’s a real craft industry,” she says. “But we found there were quite a few fur machines used to sew the shearling together in East London, left over from the rag trade.”

As the industry has shrunk away in this country, so the task of producing entirely in Britain offers an increasing number of challenges for her. “There aren’t many tanneries left in the UK now,” she notes, but she has noticed a shift in attitudes of late.

“I think it’s slowly trickling through. People are getting fed up with the consequences of throwaway fashion. Some people don’t ask about provenance, but when I talk about it, they’re pleasantly surprised. I do actually care about what I’m producing!”

Dawson picks up on this theme: “It’s the antithesis of throwaway. By looking back for inspiration, we’re also actually looking forward towards a sustainable planet. It’s our community of makers and revivalists who, through their inclusiveness, have taught us this and kept the cogs of production turning.”

Taking this idea of a network of experts and enthusiasts a step further is Community Clothing (communityclothing.co.uk), set up by creative director Patrick Grant with the aim of establishing a fair and sustainable model by which the best British cloth and clothing manufacturers – who often struggle with the highs and lows of fashion’s seasonal cycle – are employed to make their garments during the quiet factory periods.

“The big idea of Community Clothing is about getting away from the marginalised cottage-industry model that UK manufacturers are stuck in,” says Grant. “I am delighted that so many of them are finding a market, but we are about something big, and industrial. We can’t create large numbers of sustainable jobs without breaking away from small-scale operations.”

Another cornerstone of their approach is that, as CEO Lucy Clayton points out, “Every factory in our network receives a fair price for its goods, every worker is paid at least the living wage. Our clothes are carefully cost-engineered… and we don’t compromise on the strength of our design or the quality of our materials.”

By selling direct to the customer, they cut out wholesale and retail costs – while 75 per cent of their profits go back into community-based projects. “We want to create jobs, make clothes and restore pride,” says Clayton. “We like to think of ourselves as part of a long tradition of great British manufacturing. Many of the clothing and textile factories in our co-operative have been in business since the 1800s: we don’t want to see them disappear.”

“We are still a great manufacturing nation,” insists Grant, “but we’re moving almost exclusively towards high-margin, highly technical products. This is of huge importance to our economy, but I believe we have a great opportunity to return to manufacturing more of the things we use or wear every day. But to do this we need to think differently about the business models we operate under.”

This balance of acknowledging and celebrating the industry’s heritage while building for the future is one that chimes with Dawson – who points out that they proudly support brands such as Trickers, who have been making shoes since 1829, while noting that

100

’My mother always used to say you have to look back before going forward‘ – Nick Ashley, creative director of Private White VC

Below: Nick Ashley at his Manchester factory.

‘No corners are cut,’ he says

MADE IN BRITAIN

Above: Lynda Scott, whose company, Dlux, specialises in high-quality sheepskin and shearling (left). ‘People are getting fed up with the consequences of throwaway fashion,’ she says. Far left: Lynda's design notes

101

HOME-GROWN FASHION

“this heritage needs to be protected, but only if the product is of value, quality and relevance”. Looking to Goodwood for an analogy, she adds: “We have a number of old motorbikes and scooters which we show at the Revival that we use daily, that fit into our lifestyle – but that isn’t to say modern life is rubbish!”

Clayton picks up the theme: “It’s not just about saving or sustaining these places; we want to help them thrive. So while we treasure heritage and history, our plans for Community Clothing are expansive, progressive and bold. The model is fundamentally innovative; we’re taking advantage of a problem to address a social need, and that means forward thinking is at the core of the business. But we get to do that with skilled workers, in places with a tradition of careful, quality manufacture and attention to detail.”

Of course, this is all well and good, but businesses need to be sustainable in an economic sense too. To survive and thrive you have to satisfy a genuine consumer need. Thankfully, there are encouraging signs of a groundswell in the number of savvy customers who demand more quality for their hard-earned pounds.

“People are feeling increasingly alienated by fast fashion,” notes Clayton. “But they need credible, affordable alternatives, and these aren’t always easy to find.”

Just as we have seen in the food industry and – latterly – the furniture industry, we now place more emphasis on the provenance of what we buy. “Knowing where something was made and who it was made by is part of that,” agrees Clayton. “But so is knowing that the process is low-impact, that it’s been done with decency. All our clothes are made in Britain, but our customers love the fact that we can be specific about the detail, that we’re hyperlocal.” So, just as restaurants now advertise the region or even the specific farm their meat is sourced from, so Community Clothing products will bear a label specifying, for instance: “Made In Blackburn”.

Having tapped into the mood of the moment, Grant notes the way marketing – usually one of the biggest challenges for a nascent business – has been made a lot simpler for them “by our customers doing the job for us. People like our philosophy, and are happily spreading the word.”

But, with big brands seeing a trend to jump on the back of homegrown companies, is there a danger of “craft fatigue”? “Our premium-product customer is savvy to provenance,” says Dawson.

“Unfortunately, the word ‘artisan’ has been overused to the point of detriment and everyone seems to be jumping on the bandwagon.”

The solution lies in the simple fact that authenticity can’t be faked, plus, as Dawson points out, “hard graft and knowledge”.

Which brings us neatly back to Goodwood Revival. The appeal of vintage clothing is in the appreciation of quality – of things done the right way, with no corners cut for the sake of expedience. It points to a wider revival in spending our money more wisely. “It’s encouraging to see people celebrating vintage, wearing clothes that were built to last, because those timeless, exceptional quality pieces are exactly what we’re making today in factories all over the UK,” says Clayton.

Dawson, who has attended Revival since its first year, has witnessed how a “retro industry” has evolved “from a small group of diehard enthusiasts to a broader audience”, with an explosion in recent years of new brands manufacturing in the traditional way.

Nick Ashley, however, is keen to point out the dangers of wallowing in nostalgia unless your focus is on how you use those lessons to move forward. “In Japan I am called ‘Mr Techno-Retro’.

I take iconic styles and update them according to modern technology,” he says. Again, he finds a parallel with the classic carracing scene: “Even an ERA team will be running telemetry,” he says. “This chiselling away at lap times is exactly the same process that we use on our clothes: constant small improvement (Kai-zen) until the product is almost perfect, but perfection is never sought – that’s another story!”

Mark Hooper is editor of Hole & Corner magazine, which is dedicated to “celebrating craft, beauty, passion and skill”. holeandcorner magazine.com

102

Top: Patrick Grant, founder of manufacturing co-operative Community Clothing. Above: pattern-cutting at Nick Ashley’s Private White VC

103

CALENDAR

June 29 – July 2

Among a glittering array of cars and motorcycles from around the world, this year the festival will celebrate racing machines that were so fast, powerful, expensive or complicated that the rules had to be changed to rein them in. This year’s theme – “Peaks of Performance – Motorsport’s Game-Changers” – will pay tribute to the high-water marks of the sport.

The event will showcase the greatest examples of this theme. From the jewel-like 1.5-litre Delage 15 S8 to the brutish Mercedes-Benz W125, the extraordinary 50cc Honda RC166 to the savage Lancia Delta S4, the beautiful Ferrari 330 P4 to the space-age Benetton B193B, or the unbeatable Penske PC23 to the flame-spitting Zakspeed Capri, these are cars and motorcycles that left an indelible mark on the history of motorsport.

More than 600 cars and motorcycles spanning the phenomenal history of motoring and motor sport take part with some of the most legendary figures from the scene, as well as international celebrities. Highlights include the Moving Motor Show, Forest Rally Stage, Michelin Supercar Paddock, Michelin Supercar Run, F1 paddock, Drivers’ Club, GAS Arena, Cartier Style et Luxe Concours d’Elegance, Aviation Exhibition and Bonhams Auction.

festival of speed

September 8 – 10

REVIVAL The end of the summer can mean only one thing: Goodwood Revival. This three-day festival, taking place every September, is the only historic race meeting to be staged entirely in period dress. Hundreds of thousands of fans come from all over the world to soak up the unique atmosphere and experience a return to the halcyon days when Goodwood was the spiritual home of British motor sport.

Away from the circuit, this year’s Revival sees an exciting new fashion concept open “Over The Road”. The Revival Emporium will bring vintage fashion to life with live catwalk shows throughout the day and a fabulous range of boutique and market stalls for enthusiasts to indulge in serious retail therapy. The iconic British sports-car maker TVR will unveil its brand-new car as a global debut, while rare classic motors will go under the hammer at the celebrated Bonhams auction. The Freddie March Spirit of Aviation is a magnificent Concours d’Elégance for pre-1966 aircraft, giving guests the chance to get close to rare and beautiful flying machines.

104

August 1 – 5

QATAR GOODWOOD FESTIVAL Horse racing dates August 1 – 5 Qatar Goodwood Festival: the sporting and social highlight of the flat-racing season August 25 – 27 Bank Holiday Racing: an enchanting 1950s-themed weekend of racing ideal for families September 5 and 27 Mid-week Racing: the perfect chance to enjoy the final throes of summer at a more relaxed pace October 15 Season Finale: a traditional, rural-themed, end-of-year fixture

The Qatar Goodwood Festival, affectionately known as “Glorious Goodwood”, this year offers a thrilling racing schedule with some of the world’s greatest horses doing battle in front of packed grandstands.

Prize money has rocketed and totals £5 million, with three Group 1 races – the most prestigious type of race in the world – taking place over the first three days of the meeting.

The richest individual race of the week is the Qatar Sussex Stakes, with prize money of £1 million.

The Qatar Goodwood Cup has recently been upgraded to Group 1 status and has become the only two-mile Group 1 race in the UK. It will take place on the opening day of the Festival, Tuesday August 1.

The Magnolia Cup provides a colourful start to the racing on Ladies’ Day (August 3), when inspirational women from the world of business, sport and media wear silks created by leading fashion designers. They will ride in a sprint past the grandstands to raise money for this year’s charity, Place2Be, a national organisation providing emotional support to schoolchildren.

L’Ormarins will again host a best-dresses competition for ladies on Friday (August 4), with the theme being their signature light blue and white. This hotly contested competition carries a prize of an all-expenses-paid trip to South Africa to watch the L’Ormarins Queen’s Plate.

105

CALENDAR

Ultimate Driving For more information on all our driving experiences, visit Goodwood.com or call us on 01243 755055 Home to the Revival, Goodwood Motor Circuit is the only classic race track in the world to remain entirely in its original form and, still uniquely today, is the one track that represents the most glamorous and thrilling period of motorsport’s history. Here you can follow in the tracks of such racing heroes as Jim Clark, Sir Stirling Moss and Sir Jackie Stewart. The historic two-and-a-half-mile circuit, with its famously long and demanding sweeps and curves, provides a real challenge and joy for any driver who loves the feeling of high speed.

We offer track days throughout the year for anyone wishing to come and drive the circuit in their own car, or have various driving experiences where you can get behind the wheel of our full range of high-performance BMW M Series Performance models, including the BMW i8, the extraordinary 357bhp hybrid sports car.

During a “Performance Track” experience, you will receive one-to-one tuition on the track with expert advice on your acceleration, braking and cornering from a professional racing instructor. In just two-and-a-half hours, you will step out of the car a faster, safer, more confident and skilful driver.

Flying Through the Ages For more information on this and other flying experiences, visit Goodwood.com or call us on 01243 755055 For a true aviation enthusiast, Flying Through The Ages offers a rare chance to fly three distinctive aircraft. Experience the pilots’ favourite: the Piper Super Cub. With its iconic stick and rudder control and single engine, this highly responsive aircraft is a true pleasure to fly. Get behind the controls of a rare 1943 Harvard Warbird, just like pilots flew during WWII, and perhaps indulge in some aerobatics. Then take flight in a state-of-the-art Cessna, a modern aircraft with plenty of space for a guest to join you.

The glass cockpit means you can both enjoy the breathtaking views.

Experience an exclusive behind-the-scenes tour of the Goodwood Hangars, with their fascinating range of vintage and modern aircraft, and a tour of the Flight Control Tower.

Here, you will get to meet the team who will tell you anything and everything you ever wanted to know about flying, including the history of Goodwood Aerodrome, which was originally an RAF satellite airfield.

106

ADVEN TURE LAND

ANYTHING ELSE IS JUST A HOLIDAY

We are an award-winning luxury tour operator that creates tailor-made holidays to incredible destinations all over the world. The Skeleton Coast in Namibia is an adventurer’s dream, the ever-changing dunes roll right into the ocean and the shoreline is dotted with whale skeletons and over a thousand shipwrecks.

To start planning your luxury holiday today, visit scottdunn.com or call on 0208 682 5000

Atlantic Coast, Namibia

We know everyone is different and understand that what might be a highlight for one guest, to another would be something best avoided. We listen to you, so we understand exactly what you like, then craft a holiday around your personal preferences, whether it’s adventuring out into the wild or staying somewhere truly spoiling so you can relax in style.

CALENDAR

March 13 – October 24

golf

Away from the motor circuit and the horse racing track, Goodwood’s two beautiful golf courses offer a relaxing retreat. One of the oldest golf courses in Sussex, The Downs course was originally laid out in 1914 by James Braid, who also designed Gleneagles. Featuring tricky doglegs and long, challenging, sweeping greens, the course has recently been renovated by contemporary golf architect Tom Mackenzie.

The Park course, meanwhile, was designed by Donald Steel, and winds effortlessly around the surrounding parkland of Goodwood House.

Don’t be deceived by its tranquillity; this is a course that demands patience and accuracy.

Golf dates July 16 Royal Airforce Cup

August 13 Caledonian Cup

July 29 Men's Club Championship Park Course

September 3 Goodwood Cup

July 30 Men's Club Championship Downs Course

September 8 Revival Golf

From early March Goodwood House, the ancestral home of the Dukes of Richmond, opens most Sunday and Monday afternoons, and Sunday to Thursday afternoons in August.

As well as a fabulous art collection including paintings by Van Dyck, Canaletto and Stubbs, the House is also home to some magnificent Gobelins tapestries, given by King Louis XV, and one of the finest collections of Sèvres porcelain in the world. Guided tours are available at regular intervals, and a splendid afternoon tea is served in the ballroom, surrounded by portraits of the royal family.

Charles Lennox, 2nd Duke of Richmond (1701–1750), was a true Renaissance man. His interests ranged from art and architecture to gardening and natural history. He loved sport, in particular hunting and cricket, and was devoted to his family. The summer exhibition will explore his short but fruitful life.

House dates March 5 – October 30 (Sunday and Monday 1-5pm) Summer Exhibition: August 7 – October 30 (Sunday to Thursday 1-5pm throughout August, Sunday and Monday 1-5 September and October)

September 17 Lord Esme Cup

Until October 30

goodwood house

Michelin Pilot Sport 4 s Genuine Passion Exceptional Drives

Ranked N°1 for braking on dry surfaces* and excellent on wet surfaces, the new MICHELIN Pilot Sport 4 S is engineered for superior safety and performance. Thanks to its Dynamic Response technology and ultra-reactive tread pattern, it delivers revolutionary steering control and instantaneous responsiveness. Acclaimed by most performance car makers, it’s for those who love driving.

For more information and to find out just how good a sports tyre can be, visit michelin.co.uk *Tests conducted by TÜV SÜD in June and July 2016 on tyre size 255/35-19 96Y.

109

FINISH

Goodwood's farmhouse cheeses are handmade, using only the herd’s organic milk. Charlton is firm-textured with a tangy finish, Levin Down is a creamy soft white cheese, while Molecomb Blue is a prizewinning blue-veined cheese with a distinctive smoky grey crust. Perfect with a glass of Sussex red.

LAP OF HONOUR

D U M M Y I L LU S T R AT I O N

heston blumenthal Heston Blumenthal OBE, is a Michelin award-winning chef and a pioneer of multi-sensory cooking. Famous for his scientific approach to food, he has helped to devise menus for the astronaut Tim Peake and been awarded an Honorary Fellowship by the Royal Society of Chemistry. Blumenthal, 51, has a partnership with Rhubarb, which caters Goodwood events

People have become lazy couch potatoes. Our brain is a muscle, but it doesn’t work as well as it did because we are behaving as a collective, a group.

I read a lot of cosmologists – Steven Hawking, Stuart Clark. The people who have real power are the people who are questioning all of their beliefs. The moments when you question everything is when your life expands.

We don’t value food properly any more. There’s a reverence and an industry around it, but we don’t actually value it – that’s the paradox.

I’m called Heston, so my favourite element has to be H. Hydrogen and helium: two particles that are kept apart because they’ll cause chaos.

My earliest memory of cars is of driving to Cornwall on family holidays. We had a purple Cortina Estate with a front bench seat.

112

The lesson that I’d give my 18-year-old self would be to realise that his dad is also the son that he is.

My biggest fear is the moment when I have no fear left, because that would mean I’m dead.

Why didn’t I just do hamburgers? Why did I go for a route that would polarise people? How come? Really simple. I had a belief and it was stronger than my fear.

I’ve achieved more than I could ever imagine – best chef, best restaurant… But there’s no such thing as a best restaurant, it’s meaningless. You can only have a best restaurant on a measuring system of something specific, like fastest meals.

I kickboxed for 17 years. Now I love playing table tennis. I could give you a thousand reasons, I could write a book on it. I love everything about it.

How I dealt with fear of rejection in the past was to work and work, harder, longer, stronger.

There will be a day when a car with GPS kills a human being.

We are tipping the balance away from humans and surrendering ourselves.

I don't need to justify my happiness to anyone. It's my life.

ILLUSTRATION BY ELISABETH MOCH

I’m doing a lot of work on evolution. Food is the whole universe. It’s the only thing that creates death and life. It creates pleasure and pain, obesity and anorexia. It’s the only subject that contains all the other subjects – it’s biology, chemistry, geography, history. I think that’s why I channelled all my curiosity into it.

Photo: DrewFOOD Gibson,STORY 2016

Experience ÂŽ Priceless in overdrive For exclusive Priceless experiences at Goodwood Festival of Speed and beyond visit Priceless.com

Mastercard is a registered trademark, and the circles design is a trademark of Mastercard International Incorporated.

113