New fund launch - FP CRUX UK Special Situations Fund
Cars Fashion Farming Vintage Dogs Horses Tech Food & Living the life
A UK icon - that’s the
Ready to roll
A proven manager with over 25 years’ experience actively picking UK stocks Richard Penny, the manager of the new FP CRUX UK Special Situations fund, has over 25 years experience in the UK market and has had around 5,000 company meetings.
The UK Fund will be formed of a core of mid-cap holdings topped up with some FTSE100 names and a number of carefully selected small-cap ideas.
His investment process is tried and tested and focuses on the fundamentals of businesses to ensure they offer clear upside potential. This approach has delivered a solid track record over the long-term.
So if you’re looking for a new UK Fund run by a manager who is a bit of an icon in the sector, take a look at the FP CRUX UK Special Situations Fund. Visit our website to find out more.
Consult your financial adviser, call or visit:
0800 30 474 24
www.cruxam.com Autumn 2018
Fund Featured; FP CRUX UK Special Situations Fund. This financial promotion is issued by CRUX Asset Management Limited who are regulated by the Financial Conduct Authority (FRN: 623757). The value of an investment and the income from it can fall as well as rise and you may not get back the amount originally invested. Past performance is not a guide to future performance. A free, English language copy of the full prospectus, the Key Investor Information Document and the Supplementary Information Document for the Fund, which must be read before investing can be obtained from the CRUX website or by calling us (details above).
£10.00
Autumn 2018
Ready to roll
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LETTER FROM THE DUKE OF RICHMOND
H ju m
A Question of Time It’s that time again: Goodwood Revival. And, as the final touches are being hastily made across the Estate, it’s strange to think that just 20 years ago, the event didn’t exist at all. What began as a tentative foray into the world of all things vintage has become one of our most popular events, and it’s easy to see why. Whether it’s Motown records, classic cars or 1950s sundresses, Revival has something for everyone – and the celebrations are carried out in a spirit of good old-fashioned fun, too. In this issue, it seems fitting to reflect on just a few of those very special things... There’s a heavy dash of automotive nostalgia as we look back at some of our childhood favourites, from the Hot Wheels miniature cars that many of us will have raced across kitchen floors and living room carpets (p33), to the cartoon cars that inspired real-life automotive designers (p26). We’re also shining a light on some of history’s greats, including the artist Peggy Angus, who produced exquisite works from her Sussex home, Furlongs (p66), and the brave British fighter pilots who risked their lives to protect their country (p36). And, it wouldn’t be right to omit a mention of my grandfather, the 9th Duke, to whom we owe the arrival of both aviation and motor racing at Goodwood – no small legacy. Curator, historian and “retronaut” Wolfgang Wild has some revolutionary ideas on ways to bring the past to life, which he shares with us on p62. He’s also been kind enough to colourise one of our archive photographs, offering a vibrant glimpse of the Goodwood racecourse in the 1920s. And you’ll find a comprehensive guide to some of the swing era’s most distinctive dances on p84 – perfect if you want to practise your footwork before stepping out on the dancefloor at Revival. On to the future, including ground-breaking new tyres designed for the next generation of automobiles (p16), and men’s tailoring to look sharp in this autumn (p50). So, whether you’re embracing the treasures of yesteryear or searching for inspiration for your next 20 years, you’re sure to find something of value in this issue. We do hope you enjoy it.
Duke of Richmond
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CAVALE_
Hermès Cavale jumping saddle medium-deep seat
HERMÈS RYAN, SIMON DELESTRE AND THEIR HERMÈS CAVALE SADDLE, THREE MAKE A PAIR.
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CONTRIBUTORS
The front cover shows the back of a popular 1940s hairstyle with pinned curls on top known as “victory rolls”. Cover, Start and Finish photographs by Alyssa Boni.
Nadia Balame-Price
Patrick Bishop
Nadia Balame-Price is a freelance fashion editor who has written for the London Evening Standard, Harrods and Red Valentino. When not writing about fashion she is often to be found making wish lists of where in the world to visit next or trying to catch up on all the “must-see” TV she hasn’t seen.
Patrick Bishop’s interest in fighter pilots was kindled growing up in Kent under the skies where the Battle of Britain was fought. His highly regarded series of books, Fighter Boys, Bomber Boys and Air Force Blue, have established him as one of the leading historians of the wartime RAF.
Alyssa Boni
Pelle Crépin
Born in LA, raised in London, Alyssa is a photographer and filmmaker specialising in fashion, beauty and accessory still life. Boni started her photographic career working with Kurt Geiger, and has gone on to produce award-winning motion content that spans the worlds of both editorial and advertising.
Swedish fashion photographer Pelle Crépin has been living and working in London since moving there in 2008 to further his studies. Pelle’s minimalist Scandinavian style has since seen him work with global retailers such as COS, Uniqlo and Mr Porter as well as shooting for influential publications Elle, 10 Magazine and Kinfolk.
Ben Pearce
Josh Sims
London-based illustrator and animator Ben Pearce has worked with a wide range of clients including the BBC, Adidas, and Skype. In this spare time he’s also a DJ, and an avid collector of 1950s and ’60s soul, jazz and blues records.
Josh Sims is a men’s style journalist who contributes to the likes of the Financial Times, Wallpaper*, Robb Report and Esquire. He’s the author of several books on men’s style, including Icons of Men’s Style and Men of Style.
Editorial director Gill Morgan
Assistant editor Alex Moore
Project director Sarah Glyde
Design Luke Gould
Editor Charlotte Hogarth-Jones
Art director Jon Morgan
Picture director Lyndsey Price
Sub-editor Damon Syson
Contributing editor James Collard
Publisher Crispin Jameson
Picture assistant Louisa Bryant
For Goodwood Catherine Peel catherine.peel@goodwood.com
Goodwood Magazine is published on behalf of The Goodwood Estate Company Ltd, Chichester, West Sussex PO18 0PX, by Brave New World Publishing, 6 Derby Street, London W1J 7AD. Tel:+44(0)20-3819-7520. For enquiries regarding Brave New World, contact Sarah Glyde: sarah@bravenewworld.co
©Copyright 2018 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.
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Important Collectors’ Motor Cars and Automobilia Saturday 8 September 2018 Chichester, Sussex CATALOGUE NOW ONLINE
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bonhams.com/motorcars
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CONTENTS
Shorts 14
26
Life through a lens
Gripping stuff How today’s biggest tyre manufacturers are reinventing the wheel
19
21
It's only natural Painter Jelly Green represents the next generation of contemporary rural artists
33
You little beauty The great success story of Hot Wheels miniature cars
Back in black The long-awaited return of night-time motor racing
22
28
High fashion The jumpsuit is back – here’s how this humble classic began
Dream machines From Dick Dastardly’s Mean Machine to Lady Penelope’s FAB 1 Rolls-Royce, – how the fantasy cars of our childhood shaped what we drive today
In praise of Stanley Kubrick’s early photography 16
What’s in a name? Every vintage clothing lover knows – finding a beautiful label is half the joy
34
Spies like us The history of the quintessential English spy, and how it has its roots in the Sussex countryside
Boxing clever
GETTY IMAGES
The iconic Rolleiflex camera is back, but will it pass muster?
NICK ILOTT
START
24
50
Top Gear
91
Our autumn menswear fashion story features contemporary tailoring in traditional heritage fabrics 62
Another country
92
Historian and “Retronaut” Wolfgang Wild on repackaging the past 66
From top: countryside artist Jelly Green relaxes in her studio (p28); the Red Baron takes evasive action, pursued by one of the hero pilots remembered on P36
Features 36
Those magnificent men As the RAF celebrates its centenary, author Patrick Bishop looks back at some of Britain’s bravest flying heroes
42
76
Aces high Goodwood Revival provides the perfect setting for WWII reenactment. Some of the people involved share what inspires them to participate
Driving ambition Remembering the 9th Duke of Richmond: racing driver, visionary, flying enthusiast, and the man who bought motorsport to Goodwood
84
Christmas at Goodwood There’s no finer way to see out the end of 2018 than in the beautiful surrounds of the Goodwood Estate
Force of nature The life and work of artist and designer Peggy Angus, whose Sussex home was a hub for midcentury creatives
Day to night A few of the best moments captured on film during this summer’s Goodwood Qatar Festival
96
Lap of honour Model, polo player, racing driver – and now pub landlady, Jodie Kidd tells us of her latest adventures
finish
Dance hall days From the Charleston to the Twist, we trace the origins of our best-loved retro dances
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Start
Twenty-five years ago, the current Duke of Richmond wanted to bring motorsport back to Goodwood. The Festival of Speed was launched first, in 1993, and racing returned to the Motor Circuit five years later with the first Goodwood Revival. It had been 50 years since his grandfather, the 9th Duke of Richmond, had opened the track after the Second World War, and 32 since the last official race. And yet, from this first tentative weekend, the event was an almost immediate success story. The number of people who wanted to embrace the golden era of motor racing, both by watching and participating, was overwhelming, and there were more besides who wanted to dress up, put their hair up – and celebrate.
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SHORTS STANLEY KUBRICK
Kubrick’s 1949 photograph of a partygoer wearing a cubist headdress, taken from the Look magazine article, “Philadelphia’s First Beaux Arts Ball”
Life through a lens Words by Alex Moore
A new book charting Stanley Kubrick’s early work as a photojournalist for Look magazine offers a fascinating insight into the film director’s creative roots
Question: what do Stanley Kubrick and the Duke of Richmond have in common? Answer: they both left school at 16 to pursue careers in photography. And while the Duke considers his time spent working under Kubrick on his 1975 film Barry Lyndon as perhaps the most influential stage of his professional development, Kubrick believes that if it hadn’t been for his stint as a photojournalist at New York’s seminal Look magazine, things might have turned out very differently, too. In a new Taschen coffee table tome, Stanley Kubrick photographs. Through a different lens, Donald Albrecht and Sean Corcoran (both curators at the Museum of the City of New York), have compiled approximately 300 of the young photographer’s images, many previously unseen, mostly taken from a range of feature stories he shot for Look . At the time – Kubrick’s tenure at the magazine began in 1945, when he was 17 – Look and Life magazines famously battled for New York’s attention, the former far grittier than its sister pub lication . Mar y Panze r, a his torian of photography and American culture, is quoted in the book claiming that Look seemed “to record a slightly foreign civilization, a quirky, alternative
universe... In fact, Look was full of dark stories of unemployment, alcoholism, juvenile delinquency, divorce – topics Life readers seemed to see less frequently, and then, often, with a silver lining.” Kubrick was in his element there – an intuitive storyteller with “an uncanny photographic sensibility”, given free reign to explore New York’s underbelly. The book charts his various features, from the early What every teenager should know about dating and Life and love on the New York Subway to the more traditional assignments such as Peter Arno… Sophisticated Car toonist (which captured the legendar y cartoonist for The New Yorker painting nudes and dating girls half his age), and Rock y Graziano: he’s a good boy now (which presented the troubled prize fighter as a professional businessman and happy family man). Along the way, Kubrick visits theme parks, circuses, boxing matches and nightclubs, forever enticing a certain performance from his subjects – a knack that undoubtedly served him well in later life. “By the time I was 21 I had four years of seeing how things worked in the world,” Kubrick later said of his time at Look. “I think if I had gone to college I would never have become a director.”
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XXX XXXXXXX
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SHORTS TYRES
Opposite: titanium airless tyre prototype from NASA’s Simulated Lunar Operations Laboratory. Left: the Mars Curiosity Wheel, also created by NASA
Gripping stuff Tyres aren’t generally viewed as sexy, especially in comparison with the technological advances happening elsewhere on cars. But futuristic new developments in tread technology are proving... well, rather exciting
LEFT: GLENN RESEARCH CENTER/NASA. ABOVE SANDRA GIBBS/NASA
Words by Ben Forrester
Concept cars, with their level-5 autonomy, electric power trains, facial recognition technology and Henry Poole interiors, tend to hog the automotive headlines, but in years to come they may be forced to share the limelight, as tyre manufacturers have been getting in on the act with futuristic concepts of their own. At Geneva Motor Show earlier this year, Goodyear revealed Oxygene, a 3D-printed tyre filled with living moss that absorbs moisture from the roads and converts it into oxygen. Research conducted by the World Health Organisation revealed that more than 80 per cent of people living in urban areas are exposed to air quality levels deemed unsafe. According to Goodyear, in a city with approximately 2.5 million vehicles, the Oxygene has the capacity to generate nearly 3,000 tons of oxygen while absorbing more than 4,000 tons of carbon dioxide per year. Hankook, meanwhile, has been developing a similar new generation of eco-friendly non-pneumatic tyres since 2012. Another giant of the tyre world, Michelin, presented its Vision concept tyre as part of the brand’s “4R Strategy” (Reduce, Reuse, Recycle and Renew) at last year’s World Summit on Sustainable Mobility. Made from biodegradable materials, Michelin’s tyre doesn’t rely on air; instead, its ultra-durability comes from a honeycomb structure that mimics the natural growth process
in plants and coral. The tyre also connects to an accompanying app that allows the driver to change the tyres’ tread to suit different road conditions. “The Vision concept tyre is a showcase of our expertise as well as a promise of the future,” explains Mostapha El-Oulhani, the Michelin Group designer who oversaw the project. “Vision is possible since it is based on research and development know-how – and we can already see the future applications. It’s a promise that is within reach.” NASA’s Glenn Research Centre has also gone down the non-pneumatic route with its latest concept tyre. The Superelastic tyre is made from shape memory alloys that can withstand high strain and excessive deformation without permanent damage. Admittedly, it was designed for future missions to Mars but would work perfectly well on Earth. But it’s the Eagle 360 Urban tyre by Goodyear that really whisks us off to a brave new world. The 3D-printed spherical tyre uses AI to adapt to its environment. Its surface is covered in a “bionic skin” of sensors that read the road and adapt to suit different driving conditions, by adding dimples for wet conditions or smoothing the tread when it’s dry. It can repair itself should the skin become damaged, which should hopefully mean no more pulling into the hard shoulder to dig out the jack on a wet and windy evening on the A272.
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SHORTS JUMPSUITS
I feel the need, the need for a jumpsuit. Top Gun-inspired style from Alberta Ferretti
High Fashion Originally designed as a utilitarian garment for pilots, the jumpsuit has since become a catwalk staple – and this season its popularity looks set to reach new heights
Words by Nadia Balame-Price
Seen on the catwalks of numerous luxury fashion houses this autumn, the stylish jumpsuit is enjoying a revival. Strange to think then that while today’s designs carry a hefty price tag and are often to be found teamed with stiletto heels, the origins of this classic garment are exclusively practical. The jumpsuit’s predecessor was the flight suit. First designed in 1917 for British pilots, it soon became a globally worn garment, and today is perhaps the most recognisable version of a jumpsuit – think Tom Cruise in the 1980s classic Top Gun. The jumpsuit as we know it now first came into being in the 1940s, during the Second World War. Made out of parachute silk, it was, quite literally, a suit designed for pilots to wear when jumping out of aeroplanes. Then there’s the boiler suit, another iteration of the same utilitarian concept. Similar in silhouette but looser-fitting than a flight suit, it was designed to go over your clothes to protect them from dirt and oil, and was favoured by factory workers and mechanics. The garment was soon adopted as a fashion statement by left-wing activists, who wore boiler suits in the 1920s and 1930s because the no-frills style suited the fundamental messages of the movement. Despite the different styles, at their core these suits all share the same purpose: made from heavy cotton and denim or lightweight silk, they were clothes made to work in, rendered in camouflage and muted colours and designed to blend in, not stand out. The jumpsuit has come a long way since then. Now a perennial staple of the fashion world, this season it appeared in a variety of guises, from denim versions at Philosophy to wool at Hermès and cord at Lacoste. These were all very much a modern take on the jumpsuit: the basics are there but the details are different. And while you don’t need to be working to wear these jumpsuits, you can certainly wear them to work. Temperley London offered perhaps the closest nod to the classic flight suit this season. In a military-inspired collection, a khaki cotton jumpsuit was the first look of the show. The shape was almost identical to that of traditional jumpsuits but where you might expect to see medals and army insignia, instead there were neon pink flower bursts and bright patches of embroidery. One read: “She who dares wins” – a witty gender reversal of the famous SAS motto. Alberta Ferretti also opted for military green, in a glossy nylon that calls to mind parachute silk. At Brunello Cucinelli there was a soft burgundy leather overall that would not look amiss on a racetrack, while Frame went for a wide-leg velvet style more reminiscent of 1970s disco than car racing or aviation. The choice of fashion jumpsuits is growing. And so, come Christmas, it seems that one way or another, we’ll all be wearing these stylish yet functional garments. Pilot licence optional.
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SHORTS NIGHT RACING
There’s something undeniably thrilling about night-time motor racing. Races in the dark feel exciting, special and somehow more dangerous, although the reality is that they’re often held at night in warmer climes in order to avoid the intense heat of the midday sun, therefore making driving conditions safer. This is the case at F1’s Singapore and Abu Dhabi grands prix, or the MotoGP equivalent in Qatar, which all attract big crowds. Perhaps it’s the dramatic contrast of headlights and floodlights against a dark sky that gives nocturnal racing a particularly cinematic feel. Certainly the Goodwood Revival is often compared to a movie set, an analogy never more appropriate than during the sunset hours of Saturday evening, when the Freddie March Memorial Trophy calls to mind the legendary Nine-Hour sports car races of the 1950s. There’s also a certain aesthetic appeal
BACK IN BLACK Words by Peter Hall
DREW GIBSON
From the 24 Hours of Le Mans to Goodwood’s Freddie March Memorial Trophy, there’s nothing quite like the son et lumière spectacle of a night-time race
in the fact that competitors must carry their own lights instead of relying on a floodlit approximation of daylight. Only cars with headlamps can do that. The best-known example of this spectacle is of course the 24 Hours of Le Mans, first run in 1923, when vehicle lighting could best be described as romantic – now a son et lumière show to rival any sporting event on earth, as Steve McQueen attempted to convey in his 1971 movie, Le Mans. Inspired in the 1920s to run a similar race at Brooklands, British organisers were thwarted by night-time noise restrictions, and forced to split their 24-hour event into two daytime halves, hence the “Double Twelve” of 1931. After World War II, the British Automobile Racing Club proposed a “day and night” race at Goodwood, starting at 3pm and finishing at midnight, though their idea would not come to fruition until the inaugural NineHour in August 1952. For this race, it was decided that cars would have two drivers, each restricted to two successive hours behind the wheel, and the circuit was first enhanced with a pits complex, reflectors, scoreboards and spectator safety precautions. There were other challenges besides: the cars had to carry illuminated competition numbers, and circuit lighting was limited by a meagre supply of mains electricity, which was briefly interrupted by a thunderstorm on the second evening of practice. The race itself was won by Peter Collins and Pat Griffith in an Aston Martin DB3, despite a fire in the Aston pit, and judged such a success that the Nine-Hour ran again in 1953 and 1955. Sadly there would be no more night racing at Goodwood after that until the Freddie March Memorial Trophy was introduced in 2002, but the evening competition is now a regular fixture at Revival – the twilight highlight of a day at the races.
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performance meets art
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#Ps4s
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SHORTS ROLLEIFLEX
BOXING CLEVER Words by Alex Moore
Long before the selfie stick became photography’s greatest contrivance, self-portraits were considered imaginative, inspired even. Shot from the hip into a mirror, à la Paul McCartney, Richard Avedon or Elizabeth Taylor, they had a more artistic, paradoxical quality than today’s tawdry attempts. Taking them on a Rolleiflex – the must-have camera of the time – helped of course, but that’s why they worked so well: the position of the viewfinder on top of the camera meant the photographer didn’t need to hold it to their face, or indeed fasten it to the end of a stick. Rollei stopped producing the iconic twin lens reflex (TLR) model in the 1960s, but the German brand is in the process of resurrecting its cult-status camera, albeit with some modern features. Principally, the new model takes Fuji Instax Mini film, so it acts like a Polaroid, but with all the quirks of a Rolleiflex. Now, this might raise a few eyebrows. Those who know the story of Vivian Maier – the secretive nanny, posthumously considered one of the best street photographers of all time – might have been romanticising over developing negatives; fans of Malick Sidibé, the esteemed Malian photographer whose portraits captured Bamako’s burgeoning pop culture, would have been hoping for the same black and white, square format that makes his shots so recognisable; and let’s not forget Cecil Beaton’s 1968 solo exhibition at the National Portrait Gallery, the first retrospective of a living photographer in any British museum – one that marked a shift in attitudes towards photography, celebrating it as an art form rather than a means of documentation. All Beaton’s photos were taken using Rolleiflex cameras. So is this reinvention sacrilege? It wasn’t a decision taken lightly. Rollei, which until recently had been focusing on Go-Pro-esque Actioncams, assembled a team of experts, enthusiasts, TLR technicians, and even other camera manufacturers, to brainstorm new ideas for a modern day TLR. They ended up partnering with MiNT, the Hong Kong-based camera manufacturer that reinvented the Polaroid in 2009, and decided to pursue a new generation of analogue photographers (the selfie generation, perhaps), confident that the new camera would still be nostalgic enough to tempt the purists in the Rolleiclub. Either way, the new model proved to be a hit, smashing its Kickstarter target in 22 minutes. It might have taken 50 years, but hopefully it was worth the wait.
REX FEATURES
The resurrection of the Rolleiflex – camera of choice for the like of Cecil Beaton and Vivian Maier – caused jubilation among photography aficionados. But not everyone is happy...
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‘…a fantastic audio package.’ What Hi-Fi?
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FASHION AND TEXTILE MUSEUM
Vintage fashion labels can be as interesting as the garments themselves, revealing much about the age in which they were made
what's in a name? Words by Josh Sims
There are some familiar names: Laura Ashley, Halston, Elizabeth Arden, Charles Jourdan. Some stress their attachment to familiar locations too: Oxford Street, London W1; di Roma; New York City; Sydney NSW. Many are exercises in typography, and reflect changing fashions in fonts over the years – from a more florid style in the lead-up to the Second World War to a more boldly graphic, minimalistic approach in the decades af ter it, as manufacturers became increasingly attuned to the importance of branding. What’s more, they’re often every bit as interesting as the garment on which they appear. Yes, we’re talking fashion labels; literally – those silky and unsung minor artworks of a few centimetres square that get hidden away in the back of a collar but which are celebrated in a little-known “Label Resource” – an online visual library of labels compiled by the Vintage
Fashion Guild (VFG), a US-based international organisation established in 2002 for the promotion and preservation of vintage clothing. Inevitably this resource has become a useful way for vintage dealers to attempt to value their wares – though the VFG does stress that label information alone is just one of myriad factors that go into accurately pricing a piece of clothing. “Certainly from an historian’s point of view, some labels can be invaluable for helping to pin down the details of a garment,” says Dennis Nothdruft, curator at London’s Fashion and Textile Museum. “To my mind, the vintage Christian Dior labels are beautiful, too – and they even have a serial number so you can tell which collection the piece is from.” Indeed, as Rae Jones, owner of vintage clothing store WerkHaus Margate, stresses, the resource is as much an ever-expanding homage to the typically overlooked aesthetic appeal of the label. “Some labels are just fantastic designs in their own right,” she says, “and we sometimes find that people will buy a garment just because they love the label in it, especially brands like The Standard Pennant Co. or A.W. Bent (Luton). When vintage clothes are copied all the time now, the labelling of the originals still powerfully evokes a past time.” Even small changes can tell a tale. Take, for example, French fashion house Henry a la Pensee, established 1800. In 1938 it established a New York outpost but, just two short years later, switched its labelling so that “Henry a la Pensee, Paris” now read “Henry a la Pensee, Inc”. Why? Because war in Europe, and the tragic sinking of a steamship called the Champlain, meant the company could no longer obtain goods from France.
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SHORTS FANTASY CARS
DREAM MACHINES The fantasy cars of cartoons and kids’ TV have taken many forms over the decades, from Knight Rider’s KITT to Dastardly and Muttley’s Mean Machine. Fun, fantastical, silly – and an inspiration to real-world car designers
Words by Oliver Bennett
As children, many of us wasted our time watching cartoons. But were those long hours really lost? For you could argue that cartoons and children’s TV shows acted as an unofficial R&D wing for the automotive industry, allowing the imagination free rein to consider the vast potential of the vehicular form. Take Inspector Gadget’s Gadgetmobile, which boasted an array of voice-activated functions; or Knight Rider’s KITT, with its sardonic talking computer; or The Jetsons, with their in-car videophones. In the age of Siri, FaceTime, talking satnav and driverless cars, it seems that life has caught up with art.
Indeed, some of the vehicular gadgets that once seemed far-fetched are now not just possible but, in certain cases, dated. The original 1966 Batmobile – which was based on a 1955 concept car called the Lincoln Futura – had dashboard monitors and a phone between the seats: revolutionary in the 1960s, but standard issue in luxury saloons a few decades later. Looking back at the fantasy vehicles of our youth, the 1960s-70s emerges as the golden age of cartoon cars. One particularly fertile source of inspiration was Wacky Races. Take Dick Dastardly’s purple Mean Machine rocket-car. It had the capacity to adapt to different terrain – a feature now seen in military vehicles (DARPA’s Reconfigurable Wheel Track technology allows a Humvee to transfer from wheels to off-road-friendly tracks in a matter of seconds, while in motion). One of the best-loved vehicles featured in Wacky Races is Penelope Pitstop’s Compact Pussycat, a pink racing car with red-lip radiator grille, eyelashes over the headlights and a builtin parasol. Looking at it now, it’s easy to see why cars are so beloved of animators. They have obvious anthropomorphic attributes: headlights or windshields become eyes, radiator grilles are mouths, badges are noses and wing mirrors are ears. Car designers have taken note, especially when it comes to Japanese special projects like Nissan’s Figaro and S-Cargo, but also retro-styled fun cars like Volkswagen’s New Beetle and the Mini Cooper. While these cars are clearly designed to be cute, provoking the same emotional response as puppies, they are also tapping into our subliminal sense – gleaned perhaps from fictional automotive creations – that cars can be our best friends.
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Enter Herbie, Disney’s sentient 1963 VW beetle, which not only had a personality and a sense of humour, but a penchant for practical jokes. Legend has it the producers experimented with various cars before fixing on the Beetle, noting that people would reach out and stroke it like a pet. Indeed, many of our favourite fictional cars possess this same best buddy quality. Chitty Chitty Bang Bang might have been able to fly but more importantly, it was a “fine four-fendered friend”. Part of a special category that spans both cartoon and live-action, Chitty is joined by Thunderbirds’ FAB1, the pink Rolls-Royce owned by Lady Penelope Creighton-Ward. When Thunderbirds was first aired, Derek Meddings, the special effects director, remembered FAB1 for its “outrageous styling, which bore no resemblance to any Rolls-Royce ever produced”. Today, however, you wonder if the marque’s designers might have had a picture of the fantasy vehicle pinned up on their wall. Indeed, as the years roll on, life keeps imitating cartoons. The Jetsons cartoon from 1962 featured a flying car set in a fictional 2062, but just this summer Audi did a deal with the German government to work on tests for flying air-taxis. And where once the space-age family’s vehicle might have looked sci-fi, with driverless cars of the future proposing pod-like interiors stripped of all instrumentation, it seems less and less outlandish. So keep watching those cartoons for futuristic inspiration and heed the words of Chitty Chitty Bang Bang’s inventor, Caractacus Potts: “It’s talking to us. All engines talk.”
Clockwise from far left: the original 1966 Batmobile, equipped with early versions of the car phone and dashboard monitor; Dick Dastardly and Muttley go off-road in Wacky Races; Lady Penelope’s FAB1 – not as outlandish today as it was in 1964
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SHORTS JELLY GREEN
It’s Only Natural For Suffolk-based painter Jelly Green, the countryside in all its manifestations, from cows and trees to mysterious landscapes, provides an abundant source of inspiration
Words by Gill Morgan
from all over the country. A decade on, Green still studies with Hambling (she also had a stint at the Royal Drawing School), and when we speak,she does so from the class’s annual painting trip to the Isle of Wight. “Maggi has a unique way of teaching,” she says. “It’s about training your eyes and your hands.” It was Green’s engaging portraits of dairy cows (like the Sussex Charolais overleaf) that first caught the art world’s eye. The owner of the Rowley Gallery in Kensington was on holiday in Suffolk and saw one of Green’s cow paintings in a shop window for £50. He asked for her phone number and took her on when she was just 18. Why cows? “Well, my granddad is a dairy farmer. And I like the fact that they’re so curious and characterful, the way they pop their heads up and stare.” The cow paintings have the lush brush strokes and bold, direct gaze of much
NICK ILOTT
While most artists of her generation talk – and work – in a language of video, found objects and spatial practice, Jelly Green chooses to quote Constable when explaining her inspiration to paint: “Still, Nature is the fountain’s head, the source from whence all originally must spring – and should an artist continue his practice without referring to nature he must soon form a manner.” She is only 26, but a consummately assured painter of the old school. And just like her renowned 19th century antecedent, her roots lie in deepest rural Suffolk and her subject matter is the natural world. Green was just 15 when she won a painting prize judged by the acclaimed British artist Maggi Hambling CBE. “Are you serious about painting?” Hambling asked her, and suggested Jelly attended her weekly painting class at Morley College in London, to which people travel
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It was her portraits of cows that first caught the art world’s eye. “They're so curious and characterful. I like the way they pop their heads up and stare”
contemporary human portraiture, which Green has also done quite a bit of. “It’s a very special process,” she says. “Nerve-wracking beforehand, but then you spend all these hours together and you find people really talk and open up.” A little more chatty than the cows, perhaps. It is landscape, however, to which she returns again and again. Her lightbulb moment came after periods of living in Brighton and London, and feeling estranged from her real source of inspiration – hence the importance to her of that Constable quote. She knew she had to get back to Suffolk and spend time immersed in nature, really absorbing what she saw and felt and translating it into paint. Woodlands are a particular passion and she has
bbles, y life.
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recently been painting in Puzzlewood in the Forest of Dean, where JRR Tolkien found his inspiration for Middleearth in Lord of the Rings. “I love the way the light changes and the mysteriousness. In the summer, the light and richness and in the winter, these big, quiet skeletons.” She has also spent some time recently in the jungles of Borneo, painting some of the biggest, most ancient trees imaginable, creating artworks that will be shown early next year at an exhibition at Blenheim Palace. But it is to Suffolk and her rural studio there that she always returns. “I’m a country girl,” she says. “I need to be outside with my easel. The light changes, the painting changes. It’s all about looking.”
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SHORTS HOT WHEELS
You little beauty Words by Peter Hall
MATTEL
Launched in 1968 as a competitor to Matchbox, Hot Wheels die-cast miniature cars grew in popularity to become the most successful toys of all time. As the brand celebrates its 50th anniversary, we salute these tiny marvels
When the editor of this magazine asked me to write a short appreciation of Hot Wheels cars to mark the miniature motors’ 50th anniversary, celebrated in a vibrant new book, published by Assouline, my mind immediately raced back half a century, a flashback accompanied by the whooshing sound of four small plastic wheels on a vertiginous length of bright orange plastic track hung between curtain rail and living room carpet. It was my younger brother’s Christmas present, and frankly I didn’t think much of it. The extraordinary speed afforded by low-friction plastic wheels and spindly axles was all very well, but these tiny American hot-rods seemed a poor substitute for larger and more realistically detailed Dinky and Corgi cars. Those had proper wheels and tyres, and some had suspension and steering, not to mention spring-loaded bumpers and ejector seats. Even Matchbox cars were better than Hot Wheels. Although no bigger, at least they looked like real cars. My attitude had softened by the time I splashed out a week’s pocket money on a Twin Mill, a mutant road rocket with two engines and “Spectraflame” purple paint. It was too lovely to ever be crashed into a skirting board – and therein lay the secret of Hot Wheels’ success. These brightly-coloured, strangely named cars looked odd at first but they were created by realworld car designers and would rapidly become collectors’ items. The initial range of 16 vehicles was modelled by former General Motors and custom car designer Harry Bentley Bradley, which explains why they so accurately reflected contemporary trends. Based on Chevrolet’s new C3 Corvette, the Hot Wheels Custom Corvette actually went on sale before the real thing. Bradley quit Mattel in 1969, not expecting the toys to be a great success, but they were already flying off the shelves, selling 16 million in the first year. Mattel asked him back but instead he recommended former GM colleague Ira Gilford, who had just left Chrysler. Gilford produced Mattel’s first in-house designs – the Twin Mill among them – and set the little cars on the road to international popularity. They are now the world’s best-selling toy: more than six billion have been produced and they still roll off the production line at a rate of 10 million per week. Now might be a good time to dig any old Hot Wheels cars out of the toy box, but do check their value before firing them across the floor; a 1968 Volkswagen Beach Bomb with rearmounted surfboards is now worth around $70,000 (£54,000).
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SHORTS SUSSEX SPIES
Set amid the vicissitudes of The Great Game, the late 19th and early 20th century power struggle between Britain and Russia for control of Central Asia, Rudyard Kipling’s Kim is still ranked as one of the greatest British novels of all time. Inspired by Kipling’s childhood in Bombay and his experiences as a young journalist at the Civil and Military Gazette in Lahore, this much-loved tale of espionage follows young Kimball O’Hara as he is trained in the art of subterfuge, enabling him to seize maps and documents from Russian intelligence agents seeking to wrest control of the Himalayas from the British. Kim was not, as a first time reader may assume, written in breathless haste by an author rootlessly flitting from one far-flung foreign location to the next. It was in fact written in an atmosphere as far removed from the secrets, lies and derring-do of international espionage as is possible to imagine. The bucolic village of Rottingdean, just an hour’s drive from Goodwood, was Rudyard Kipling’s home when he was writing what is now regarded as the very first British spy novel. Indeed, without Kim, we might have never had John Buchan’s The 39 Steps, John le Carré’s Smiley novels or the slithery array of agents and double agents portrayed in numerous Graham Greene novels. We may (whisper it) never even have had Ian Fleming’s adventures involving a certain agent with the code name “007”. Kim was the first time in literature that the classic elements of the British spy were displayed – characteristics with which Fleming, Greene and le Carré would later imbue their own heroes. Honour, moral superiority over the “enemy”, a certain rakish charm, the ability to be utterly and disarmingly ruthless yet always remain patriotic to a cause more important than one’s own survival, Kim is the prototype for every male fantasy of a life chequered with non-stop travel, adventure and daring. Walk through Rottingdean today and the sense of detachment and seclusion that Kipling experienced while writing the novel are still apparent. The house in which the Kipling family lived during their time here, called The Elms, dates back to the late 18th century and is now, as
it was then, an impossibly handsome bow-windowed property looking directly out onto the lush village green. Living in the village between 1897 and 1902 marked a professionally productive but personally turbulent, often tragic, period in Kipling’s life. Despite getting parts of Kim published in McClure’s Magazine in 1900, as well as working on what would become the phenomenally successful Just So stories, Kipling’s sojourn in Rottingdean coincided with the death of his daughter Josephine, who had succumbed to pneumonia after a storm-tossed voyage to New York. “The village green is most beautiful,” wrote Kipling’s wife Carrie in her diary when they returned to Rottingdean. “The streets are empty, and we come quietly to The Elms to take on a sort of ghost life.” While Kim began to enjoy considerable critical and commercial acclaim, the birthplace of the fictional English spy would soon be abandoned by Kipling. The invention of double-decker buses brought hordes of “gawkers” from nearby Brighton to Rottingdean; drivers would stop outside The Elms so that passengers on the top deck could catch a glimpse of Kipling at work in his study. Unsurprisingly, the family moved out – to the then remote village of Burwash, where Kipling would stay until his death in 1936. Today, The Elms itself is in private hands but the gardens that were once part of the property are now open to the public. Strolling among the rose and herb gardens as the gentle thwack of a croquet ball echoes in the distance, it’s perhaps not so difficult to understand why Kipling chose somewhere so peaceful to create the quintessential spy. Kim, and all the secret agents who have delighted, infuriated and captivated us in British fiction since then, have all had one thing in common: robust buccaneers they may have been, but there has been an underlying sense of melancholy to each and every one, from Fleming’s Bond and George Smiley to Richard Hannay. Rootless, alone and often in peril, perhaps it was a place like the village green at Rottingdean that was in their minds as they piteously dispatched another threat to Queen and country. Maybe, just maybe, every spy dreams one day of coming home.
SPIES LIKE US Words by Rob Crossan
Illustration by Russell Cobb
Can a tiny Sussex village really be the birthplace of the fictional British spy? Our man on the South Coast visits Rottingdean in search of Rudyard Kipling’s former home, and the story behind Kim
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HERO PILOTS
Those Magnificent Men
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In the year the RAF celebrates its centenary, Patrick Bishop recalls the age of the hero pilot, from the flying aces of the First World War to the Battle of Britain’s legendary Fighter Boys
THE NOTION OF THE “ACE” WAS ANATHEMA to those who led the Royal Flying Corps in the early days of the First World War. Hugh Trenchard, the RFC’s commander on the Western Front, thought it bad form to exalt individual over team effort and the supposedly glamorous business of fighter duels over the equally dangerous but less showy work of artillery-spotting and reconnaissance. Yet even the force of Trenchard’s bulldozer personality was powerless against an idea whose time had come. By the autumn of 1916, the RFC had its first proper fighter ace, Captain Albert Ball, a fresh-faced enigma who brought down 44 enemy aircraft before – like so many of the breed – he too crashed to his death in May 1917. He was 20 years old. The First World War was a vast exercise in anonymous slaughter. But unlike the millions of foot soldiers toiling in the trenches, the stars of the air war had faces and names. Along with Ball, the British celebrated the feats of Edward “Mick” Mannock and James McCudden, all of them winners of the Victoria Cross. French heroes like Georges Guynemer and Roland Garros had streets and tennis stadiums named after them. And in Germany, Oswald Boelcke, Max Immelmann and Manfred von Richthofen provided government propaganda writers with the material for 100 stories. The cult of the ace would persist throughout the First World War, at the end of which the Royal Air Force came into being, and into the next. It reached its apotheosis in the legend of the RAF Fighter Boy, whose courage and skill saved Britain and the world from the Nazis in the Battle of Britain, fought in our skies over the summer of 1940. The rise of the ace is easy to explain. There was little glory in the mud and blood of trench warfare. Government propagandists faced
problems persuading the public that their menfolk were engaged in a noble cause. The air, by contrast, seemed like a clean battlefield in which warriors who embodied national virtues and characteristics faced each other in something like a modern version of mediaeval mortal combat. Instead of horses, they had aeroplanes – then an utter novelty and already associated with glamour and progress. Thus past and present were fused into a hero for the 20th century: brave, insouciant, chivalrous, his vitality only sharpened by the omnipresent shadow of death. Few of these heroes fitted conventional military stereotypes, however. Ball wore his thick, dark hair long and his behaviour bordered on the eccentric. Mick Mannock was a maverick, a socialist and an Irish patriot who believed in “liberty of speech, freedom of thought and kindness to those who need it”. Nor did they all come from the traditional officer caste. Ball was the son of an upwardly mobile plumber, Mannock’s dad was a British army NCO and James McCudden started his RFC career as a mechanic. Their German counterparts hailed from a more familiar landscape. Manfred von Richthofen belonged to a prominent Prussian family, but the Red Baron’s personality diverged from the stiff, emotionally constipated stereotype. He enjoyed his fame, writing an autobiography Der Rote Kampfflieger [The Red War Flier] in which he treats air fighting as the ultimate big game hunt. “When I have shot down an Englishman my hunting passion is satisfied for a quarter of an hour,” he wrote. Like a conventional sportsman, he was keen on trophies and the mess of his Flying Circus was hung with the debris of his victims’ aircraft. It was a habit he shared with Mannock, another inveterate crash-site scavenger. In keeping with the hunter’s philosophy, he
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Mess “drunks” were spectacular, sometimes ending in the airmen sucking on a bath sponge soaked in a mixture of champagne and whisky. And when you were dicing with death several times a day, warnings of the health risks of consorting with the local floosies were unlikely to cut much ice – as evidenced by a drinking song describing the aftermath of a harrowing day of combat. But safely at the ’drome once more, we feel quite gay and bright. We’ll take a car to Amiens and have dinner there tonight. We’ll swank along the boulevards and meet the girls of France. To hell with the Army Medical! We’ll take our ruddy chance! The knightly metaphor that attached itself to the airmen suggested more than just valour and prowess at arms. Chivalry came with virtuous obligations, among them the duty to protect the weak. This aspect was given substance early on in the air war when in September 1916 William Leefe Robinson won a VC for shooting down a German airship during a raid on the defenceless civilians of London. His handsome features were plastered over the illustrated papers and bits of the doomed dirigible were flogged as souvenirs. A quarter of a century later it was the turn of the young paladins of RAF Fighter Command to reprise this role on an epic scale. The Battle of Britain was the high point in the story, when a small band of courageous fighter pilots became the saviours of the country. The precise military import of the Battle of Britain will no doubt be debated for ever, but in the end it is the legend that matters rather
GETTY IMAGES
admired his prey and had strong ideas about the relative merits of his targets. He preferred “those daring fellows the English” over the “French tricksters”, though he believed that what the former regarded as bravery “can only be described as stupidity”. Richthofen’s braggadocio was tempered by an attractive melancholy, a recognition that in the end it was all a ghastly game and he wouldn’t make it to the final whistle. Mannock was also a fatalist, dampening a mess conversation about peacetime plans by remarking, “There won’t be any ‘after the war’ for me.” His comrades protested but a few weeks later, on 26 July 1918, he was dead, the victim not of a German ace but ground fire from the enemy trenches. In letters and diaries, exultation at scoring is often followed swiftly by revulsion. Ball wrote to his father a few days before his death: “Oh! I do get tired of always living to kill, and am really beginning to feel like a murderer. Shall be so pleased when I have finished.” Unsurprisingly perhaps, such morbid thoughts did not preclude a riotous approach to off-duty life. From the outset, fliers were associated with girls, drink and fun. The image was embedded by the writings of RFC veterans like Cecil Lewis, who joined the RFC aged 17, survived three operational tours and left behind him a classic account of the golden age, Sagittarius Rising. “The RFC attracted the adventurous spirits,” he wrote. “The devil-may-care young bloods… the fast livers… men who were not happy unless they were taking risks.” Flying was “still something of a miracle. We who practised it were thought very brave, very daring, very gallant: we belonged to a world apart.”
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Opening page: Captain Albert Ball in 1917, the year he was killed. Previous page: Canadian pilot Captain Arthur Roy Brown in his Camel biplane downing Baron Manfred von Richthofen’s Fokker in 1918. Above: Captain William Leefe Robinson, who was awarded the VC for shooting down a German airship during a raid
By 1942 the fighter ace was being edged from the limelight by the stars of Bomber Command, who were gradually moving to centre stage as the RAF took the fight to Germany. Guy Gibson and Leonard Cheshire were the new emblems of Britain’s air war, presenting a steadier persona than the gallants of Fighter Command and emphasising that Britain was in it for a long haul. They were the last of the RAF heroes to achieve national recognition. Post-war conflicts were messy and with ever-advancing technology the role of the pilot became almost incidental. The last encounter that could properly be described as a dogfight took place 36 years ago over the Falklands, when two British Sea Harriers shot down three Argentinian Skyhawks. There is unlikely to be another one. Nowadays much air power is delivered by Unmanned Aerial Vehicles, and there is no further need for aces. The supersophisticated new Lockheed Martin F-35B Lightning fighters now arriving at RAF squadrons may have a human in the cockpit but computers do most of the work. According to an RAF jet pilot I spoke to recently, the man or woman at the controls is really there for one thing only: to override the controls in the event of a cyber attack. An important role, but a far cry from the RAF of a century ago – from Captain Ball, the Red Baron, and those other knights of the sky. Patrick Bishop’s Air Force Blue is out now in paperback.
ALAMY
than the dry facts. In the long hot summer of 1940, a few thousand young pilots, in full view of many of the population, confronted the Luftwaffe armadas and sent them spiralling to earth, taking with them Hitler’s hopes of subduing Britain and setting some of the conditions for Germany’s defeat. The Fighter Boys became the darlings of the nation. Cecil Beaton was rapturous. “A new model of men has been cast,” he proclaimed. “The feats of their bravery haunt us, they baffle us and satisfy completely the spirit of romantic daring inherent in our island race.” In keeping with what was presented as a People’s War, the backgrounds of this elite band were a reasonably accurate reflection of Britain’s social composition. Among the men flying Hurricanes in 32 Squadron were Mike Crossley, an old Etonian, John Proctor, who left school at 14 to become an RAF apprentice, Ollie Houghton, a former fitter in a Coventry factory, and Bill Higgins, a Derbyshire primary school teacher before the war. Aces made valuable propaganda assets and the government publicity machine promoted them vigorously. In the post-Battle period, Douglas Bader and his tin legs emerged as a symbol of British grit. Paddy Finucane, the square-jawed, self-effacing Irishman, was a favourite with Britain’s women. The pencil moustache and matinee idol looks of Bob Stanford Tuck on the other hand, hinted at a more raffish aspect of the Fighter Boy image.
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Aces High
“It was accounts from famous flying aces such as Geoffrey Welham and foreign aces like Pierre Clostermann that drew me to aeronautics. I was considering the RAF as a career choice but in the end opted for civilian aircraft maintenance instead. I’m currently helping Lincolnshire Aviation Heritage Centre restore a Lancaster Bomber to flight.” – Jacob Drudge
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The memory of Britain’s courageous World War II fighter pilots lives on through the reenactments that take place at Goodwood Revival each year. Alex Moore asked some of the participants about their personal heroes Photography by Russell Cobb
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WWII REENACTMENT
“In this photo we’re portraying the 2nd TAF (Tactical Air Force). The pilot I admire the most is the famous Johnnie Johnson who was in 2nd TAF, before he flew with the legendary Dambusters on Operation Chastise. I’m currently reading a book about a pilot called Jack Currie who was based at Wickenby. His story is really interesting.” – Sam Higgins (above, second from left)
“To begin with I wasn’t sure about portraying the RAF. I was hesitant about wearing a uniform as I thought perhaps I didn’t have the right to wear it. But having seen how positively a lot of WWII veterans respond to it, I’ve felt more confident and it’s become a new fascination.” – Amanda Loverseed (left)
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WWII REENACTMENT
‘Several members of our group had an interest in code breaking and secret agents so we became ‘The Baker Street Boys’ which was the nickname for SOE (Special Operations Executive) based in Baker St, London. After some research, my roll became RAF liaison and Lysander Pilot collecting and delivering agents to France.’ – Simon Paterson (above)
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WWII REENACTMENT
“I got into RAF reenactment because my nan was in the WAAF (The Women’s Auxiliary Air Force) down in Tangmere. She was dating a Hurricane pilot who was unfortunately killed by the Luftwaffe, but he gave her his flying scarf on the day he was shot down. The scarf I’m wearing [in this picture] is his scarf. She cherished it all her life.’ – Kieren Ross (left)
We recreated the plotting room as it was in August ’42, during the Siege of Malta. It was predominantly the Royal Navy there, but the RAF was also involved. There were no female
military personnel in Malta so the Maltese women took charge of the plotting room table – which is why I’m in civilian clothing. – Gerry Waters (below)
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WWII REENACTMENT
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WWII REENACTMENT
“My brother and I have always had a fascination with WWII and the British servicemen of that period. One of the main attractions is the aircraft. There are a couple of Spitfires at Headcorn aerodrome that regularly fly over our hometown of Dover.” – Vince Scopes (above, far right), next to his brother Lewis
“I’m in a group called Les Parachutistes, which does lots of different scenarios: RAF, British Infantry, and now that we’re a bit older we do the French Resistance. I don’t like to portray the pilots because I don’t know how to fly. I fancied ground crew because their story isn’t told a lot, despite so many of them losing their lives.” – Terence Seymour (centre)
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P.50-51: (left) grey flannel jacket, £590, by FAVOURBROOK, favourbrook.com; cotton and cashmere shirt, £275, by TURNBULL & ASSER, turnbullandasser.co.uk; navy silk tie, £95, by ANDERSON & SHEPPARD, anderson-sheppard.co.uk; (right) grey and blue flannel suit, £925, by HACKETT MAYFAIR, hackett.com; shirt, £95, by HACKETT, hackett.com; silk tie, £135, by DRAKES, drakes.com; wool and silk pocket square, £55, by ANDERSON & SHEPPARD P.52-53: (left) dark green wool jacket, £1,150, by HOLLAND & HOLLAND, hollandandholland.com; camel cashmere high-neck cable-knit, £560, by CONNOLLY, connollyengland.com; navy linen trousers, £465, by ANDERSON & SHEPPARD; Russian grain boots, £680, by CROCKETT & JONES, crockettandjones.com; (right) cashmere driving sweater, £850, by CONNOLLY; cotton cashmere shirt, £275, by TURNBULL & ASSER; knitted silk tie, £240, by BRUNELLO CUCINELLI, brunellocucinelli.com P.54-55: (left) burgundy wool check overcoat, £1195, and burgundy merino wool roll neck, £195, both by GIEVES & HAWKES, gievesandhawkes.com; grey wool trousers, £245, and brown suede belt, £79, both by BROOKS BROTHERS, brooksbrothers.com; brown suede shoes, £425, by CROCKETT & JONES; cotton socks, £14, by PANTHERELLA, pantherella.com; (right) aubergine virgin wool double-breasted suit, £995, by GIEVES & HAWKES; white cotton and cashmere shirt, £275, and silk pocket square, £65, both by TURNBULL & ASSER; silk tie, £95, by ANDERSON & SHEPPARD; brown leather oxfords, £550, by CROCKETT & JONES P.56-57: (left) full-length wool cardigan, £795, by DAKS, daks.com; brushed cotton shirt, £95, by JAMES PURDEY & SONS, purdey.com; cashmere, merino and silk crewneck jumper, £395, by GIEVES & HAWKES; striped wool trousers, £395, by DAKS; waxed calfskin belt, £580, by BRUNELLO CUCINELLI; leather oxfords, £410, by CROCKETT & JONES; (right) brown and cream wool checked sports coat, £395, by POLO RALPH LAUREN, ralphlauren.co.uk; cotton and cashmere shirt, £275, by TURNBULL & ASSER; pleated tweed trousers, £395, and tweed tie, £110, both by JAMES PURDEY & SONS; wool and silk pocket square, £55, by ANDERSON & SHEPPARD P.59: red leather trench coat, £5,000, by CONNOLLY; navy merino wool turtle-neck, £160, by JOHN SMEDLEY, johnsmedley.com; wool trousers, £245, by BROOKS BROTHERS; brown leather oxfords, £410, by CROCKETT & JONES P.60-61: (left) slim fit micro-check tweed jacket, £715, by SLOWEAR, slowear.com; cotton leisure-fit shirt, £630, by BRUNELLO CUCINELLI; double-breasted knitted cardigan, £795, and pleated tweed trousers, £435, both by ANDERSON & SHEPPARD; (right) grey and blue flannel suit, £925, by HACKETT MAYFAIR; cotton shirt, £95, by HACKETT
Lighting Assistant HARRY SERJEANT, Digital Technician BENJAMIN WHITELY, Groomer MIKE O’GORMAN, Models JOEL FRAMPTON at SUPA MODELS; MAX TOWNSEND at ELITE MODELS
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RETRONAUT
ANOTHER COUNTRY The Retronaut website collates fascinating photos from the past, like the one above, taken at a 1930s Goodwood race meeting. James Collard meets its founder, Wolfgang Wild Photograph by Trent McMinn
IT’S THE PEOPLE WHO really pull you into the photos on the Retronaut website. A smart young woman about town, looking a bit cross at being snapped; a handsome face that somehow stands out in a group portrait; or a likeness captured as someone goes about their day in Soho… Or rather, went about their day. The smart young woman, for example, is in a Retronaut “capsule” on street-style in London, 1905-08. The handsome face might be that of an Austro-Hungarian POW in World War I; while the passerby was photographed by Bob Hyde, a photographer who shot London in the 1960s. For Retronaut, as the name suggests, is a website all about the past – but designed to make us look afresh at the past. Or as its founder, Wolfgang
Wild, would put it, not so much the past: “Because the people in these pictures didn’t think of themselves as living in the past. These are just other nows.” There are lots of other nows on the Retronaut site. The peasants of Pre-Revolutionary Russia, shot in vivid colour by photographer Sergey Prokudin-Gorsky, at the behest of the last Tsar. Or, closer to home, Covent Garden in the 1970s, when it was still a market, not a retail and tourist destination. There it is, complete with porters lugging crates of fruit and veg, its handsome buildings looking a little dowdy and rough around the edges, the way London often did back then, before the capital acquired all that Nineties and Noughties gleam and polish. Or photographs of British sailors from World War I – only these British sailors aren’t the ruddy-faced old tars we might expect, like the sailor pictured on an old packet of Player’s, because they’re all black. Or my favourite capsule, which is a series showing World War II gunners at play – only weirdly, inexplicably, but deliciously, these soldiers are all in drag. Quite convincing drag, actually. But surely this isn’t our perception of British soldiery at wartime – our Finest Hour spent cross-dressing, indeed. But these kinds of surprises are stock-in-trade for Retronaut. It’s a bit like a joke, Wild explains, with a set-up line, and the punchline that subverts it. “We have a version of the past in our heads,” and when we’re confronted with something that doesn’t fit that, we’re thrown. “And at that moment of disruption, the barrier between the past and now seems almost to disappear. Time collapses.” Wild, who founded the Retronaut site in 2011, grew up fascinated by the idea of time travel. “As a child I’d been obsessed with the idea of going back in time, starting with Bagpuss, when you see all those Edwardian figures and then suddenly it all comes to life in colour.” The past is another country, they say, and for Wild, that’s precisely what makes it “exotic and exciting”. And it’s Retronaut’s mission to communicate that excitement.
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RETRONAUT
Opening spread (from left): Wolfgang Wild; the original 1938 black-and-white photo of a Mrs Ulrica Murray Smith taken at Goodwood, and (right) the colourised version
past.” So the Retronaut rule is: “The more a photo doesn’t fit on our map, the more it will go viral.” These hit singles are not the only kind of image he puts up on the site. Far from it. But they’re how the website built its cult following – and secured partnerships with picture agencies – first Mashable and now Top Foto. For while Retronaut is about the past, it couldn’t be more current in its use of social media – and the way Wild finds much of his content in the vast archives that have been digitised by museums, libraries and cultural institutions. “Museums have great material,” he explains, “but they’re not always good at identifying what might be cool, or at getting it out there.” There have also been Retronaut books – the book remains his preferred way of displaying photography – and he has curated exhibitions in the UK and New York. Wild has a particular passion for taking photographs from the past and showcasing them in colour, especially as colourisation of black-and-white photos has reached a level where you can produce an almost immaculate version of the original. “But even black and white photographs are interpretations,” he points out. “They’re not an empirical recording; it’s about that camera, and that time. And rather than wanting to recreate exactly what something looked like, what you’re aiming for is something believable, to add that sense of disruption.” A case in point: the image Wild colourised for Goodwood Magazine, of a sassy, snazzily dressed woman. Photographed at a Goodwood race meeting in the 1930s, she wouldn’t look out of place at Revival today. It’s all just a question of those other nows. Visit retronaut.com to see more Goodwood photography
TOPFOTO/RETRONAUT
Retronaut began with a loan from Wild’s mother – and a set of photographs taken in London in the 1940s, in colour. “I had drifted through my life until my late thirties,” Wild confesses. “I tried out all kinds of different things: I worked in publishing, I was a teacher, I did some training consultancy, I sang in a band... But none of it ever stuck. I was always searching, but never found my niche.” His wife, meanwhile, is an Oxford professor whose specialist subject is “the translation of the psalms from the Latin into Medieval English by female mystic writers. So she has this thing, but I never seemed to have my thing.” But something his wife said after Wild had lost yet another job helped him find his thing and bring Retronaut about. As he recalls, his wife said, “Look, you’re clearly unemployable, so just go ahead and just do something you want to do.” Wild realised that over the years he had sought out images that for him, somehow had that startling, time-collapsing quality. And so, with that loan from his mother and this idea in his head, Wild launched his Retronaut site in 2011 and started putting up images. “For the first few weeks, no-one was looking at anything, other than me and my mum. And then suddenly one image went viral – London in the 1940s in colour – and we got 30,000 hits.” Wild uses the very analogue analogy of “hit singles” to describe these moments when an image he’s discovered goes viral on social media. “Before long I was routinely finding material that went viral. I could look at any archive and quickly see what would work – all based on the fact that people have an internal map of reality, of the past, but our map is very partial when we look at the
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OC GOO
RETRONAUT
St Barths
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Courchevel . Baden-Baden . Paris . Vence – Côte d’Azur Cap d’Antibes . Antigua – West Indies . London . São Paulo 65
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PEGGY ANGUS
Left: Furlongs, 1934, by Eric Ravilious, one of the many visitors to the Sussex home of artist Peggy Angus. “There was always interesting conversation,” her granddaughter recalls
Force of nature Furlongs in East Sussex was, like its neighbouring Charleston, a meeting place for some of Britain’s most influential 20th century artists and makers. And at its centre was the indomitable Peggy Angus. Gill Morgan talks to Angus’s granddaughter about the life and work of this remarkable artist, designer and teacher 67
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PEGGY ANGUS
PERCY HORTON/TOWNER ART GALLERY
DOWN THE TELEPHONE LINE FROM THE CAFÉ-SHOP she runs in Shetland, Emma Gibson is recalling her grandmother, the artist Peggy Angus – her amazing talent and energy, her struggle to make art as a divorced, working mother, and her impact as a teacher. But it is when I ask about Peggy’s house, Furlongs, near Firle in East Sussex, made famous in paintings by Eric Ravilious (most notably Tea at Furlongs, now in the Tate collection) that her voice catches. “Oh… I just loved it. It’s… it’s the house of my heart. It always has been.” Angus, who died in 1993, is that oh-so-common story – the woman artist whose prolific body of work was, until recently, largely forgotten, eclipsed by her more famous male contemporaries, her fellow Royal College of Art friends, Ravilious and Edward Bawden, and their teacher Paul Nash; the divorced wife and mother for whom
the demands of domestic life felt like a daily assault on her ability to create; and the woman with a reputation for being “difficult”, such was her tenacity and unwillingness to put aside her own creative ambition. Not prepared to play the role of selfless home-maker, Angus was perhaps not the easiest mother to have. As her granddaughter recalls, Peggy would often declare that what she really needed was a wife, to allow her to get on with her work. Yet, against the odds, create she did, leaving a rich archive of paintings, murals, tiles, textile and wallpaper designs, all of which are being rediscovered today. The New Craftsmen, a gallery in Mayfair that champions British craft and design, is selling new limited editions of her bold and beautiful hand-blocked wallpaper and this summer staged an exhibition, Colourful Minds, about her life and work. And there exists a small band of tireless Angus champions, among them the writer and curator James Russell, who oversaw a show of her work in 2014 at Towner Art Gallery in Eastbourne, and the artist Carolyn Trant, once Peggy’s pupil, who published a limited-edition biography that she hopes to bring to a wider audience.
Left: a 1930s portrait of Peggy Angus by Percy Horton – one of her RCA contemporaries. Overleaf: reissued designs from The New Craftsmen’s Peggy Angus collection
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MAYFAIR, NOT MAYDAY.
Big Pilot’s Watch Edition “Boutique London”. Ref. 5010: Nobody wants to hear mayday while up in the air, but watch lovers prick up their ears at the bare mention of Mayfair these days: In IWC Schaffhausen’s boutique in this part of London, a one-of-a-kind Big Pilot’s Watch has just made its landing. The blue dial and strap, as well as red and white details on the hands, represent the colours of the Union Jack. The limited production of 138 numbered watches hints at the address on New Bond Street, where this spectacular avia-
tor’s timepiece is exclusively sold. So you better fly over to Mayfair today and strap one of these rare beauties to your wrist. IWC . E N G I N E E R E D FO R O R I G I N A L S .
Limited edition of 138 watches · Mechanical IWC-manufactured movement 52010 calibre · Pellaton automatic winding · 7-day power reserve · Power reserve display · Date display · Soft-iron inner case for protection against magnetic fields · Screw-in crown · Small hacking seconds · Sapphire glass, convex, antireflective coating on both sides · Glass secured against displacement by drops in air pressure · Special back engraving · Water-resistant 6 bar · Diameter 46.2 mm · Stainless steel
London Boutique 138 New Bond Street · W1S 2TJ +44 (0) 203 618 3900 · www.iwc.com
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LEFT, AND OVERLEAF: THE NEW CRAFTSMEN
PEGGY ANGUS
Her designs are at once modern and ancient, with geometric Celtic patterns, primitive-looking suns and heraldic creatures
Angus trained originally as a painter, and many of her early oils are rather lovely, including a 1937 portrait of her friend John Piper, which sits in the National Portrait Gallery, and a 1945 portrait of Ravilious and his lover Helen Binyon. But she moved over to the design school at the RCA, hoping for a career working in illustration and murals. On leaving art school, Angus realised she needed to find work immediately – she had no money – so she began teaching in Nuneaton, where she admitted she felt marooned from her old crowd. And yet it was here that the seeds were sown, through necessity, for the realisation that teaching could in itself be a deeply creative act, and many of her students over the years have paid tribute to her inspirational energy. “For her,” says Emma Gibson, “art was everything and everything was art. She believed everyone could make things.” But she longed to produce her own designs and – after her marriage to the architectural writer JM Richards ended, and with the help of the artists’ benevolent fund and intermittent stints of teaching – she did manage to achieve a highly productive period during the burst of midcentury British design that flourished in the post-war years. Much of her work was for the newly commissioned, modernist-inspired buildings that were springing up around the country, including a mural at Heathrow (then known as London Airport), glass designs at Gatwick Airport and bold, graphic tiles for new school buildings in East and South London. She also took commissions for wallpaper,
which she ran as a kind of cottage industry with help from her friends in Camden and Sussex. And at the heart of it all was Furlongs, the modest little house that Angus sublet from a tenant farmer on the Glynde Estate. Just down the road from the more famous Charleston Farmhouse, home to the Bloomsbury group, that rather more privileged group of artists and thinkers, was Peggy’s circle – a less monied, slightly later but parallel scene of artists, lovers, conversation and making. As her granddaughter remembers, “I spent a good part of 30 years there, back and forth. I used to spend a lot of weekends there when I was growing up and when my parents moved here to Shetland I used to go down on my own and stay there in the holidays. Then I lived there when I was an art student at Brighton Polytechnic. It was completely full of stuff – she was such a hoarder. But what was so fantastic was the people who came through. There was always interesting conversation, food. You were never on your own, there was such a lovely feel to it.” Writing about Angus a few years ago in The Observer, Rachel Cooke described stumbling upon her work on a Twentieth Century Society architectural tour of East London. Feeling rather depressed by the drab, neglected buildings she witnessed, Cooke was suddenly confronted by the uplifting sight of a wall of original Angus tiles in the Lansbury Lawrence primary school: “Wow… an amazing, abstract mural, made of patterned tiles in grey, white and Festival yellow.
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PEGGY ANGUS
A look can Start Something Priceless
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Previous: two prints from The New Craftsmen’s Peggy Angus collection, created using the artist’s original blocks. Right: Painting of Eric Ravilious and Helen Binyon painted by Peggy Angus at Furlongs, 1945
Exuberant and somehow indomitable… suddenly the mood changed,” she wrote. And it is a similar sense I get when encountering Angus’s reissued wallpaper in The New Craftsmen: the designs are at once modern and ancient, in warm colours of ochre and terracotta, with geometric, Celtic patterns, primitive-looking suns, and heraldic creatures. Strong, and uplifting. Talking to her granddaughter, it turns out that it is she who is responsible for this new flowering, as she prints all the wallpaper herself, using Peggy’s original blocks. “I always did. I paid my way through college printing her wallpapers. I use all her original colours – nothing else would be right.” As we speak, Gibson keeps breaking off to speak to people in her shop in Shetland as she closes up for the day. It turns out she is heading for the island of Barra in the Outer Hebrides that night, to stay in the tiny one-storey bothy that Peggy bought there, the only house she ever actually owned. The family have recently restored it, “very much in her spirit”. “Peggy had no money so it was all made from orange boxes and driftwood. We’ve just replaced like for like but insulated it. There’s still no electricity or running water. There are ledges for sleeping on – like bunks. Her murals are still on the walls, plus some that other people have added. Eric Ravilious’s son James lived there for a year in the 1960s and he made this fantastic roof, with a mechanism of shutters, and they’re all still there.” Wherever Angus was, she created a scene, in the best possible sense. “Even now,” says Gibson, “you get a taxi and they drop you off at the house in Barra and say, ‘Oh I used to go to parties here.’ She had these massive parties, they’re still renowned. At one point she set up Island Stones on Barra [Angus enlisted locals to collect pebbles from the beaches and paint them with Celtic designs to sell in London], but she wasn’t around enough to get it to take off properly. But she was a
great believer in folk art – art with purpose. She was always getting people to help make things. I don’t know where it is now, but she did a huge banner for one of the churches in Barra and got friends to help.” Angus lived by a DIY creed: she created amazing, hand-made houses on a shoestring, used whatever materials came to hand for her diverse artworks (potato prints were a speciality) and wherever she happened to be, threw parties on the hoof (her Midsummer celebrations at Furlongs were legendary). Along the way, she was also a truly inspirational teacher: she taught for many years at North London Collegiate School, her alma mater in Camden. Among her pupils there was one Anna Wintour, the feted editor of US Vogue. But it is as her thrillingly creative granny that Emma Gibson best remembers her: “She used to give us kitchen table art lessons when we came up to Shetland. I remember we made a huge stained glass window out of tissue paper and card. And when we went to stay with her at Furlongs she’d get us to memorise poetry before we arrived and to keep journals while we were there, and draw and write about what we’d done. She was a great teacher.” After she died, the family had to move out of Furlongs. “It broke our hearts,” says Emma. The cottage was filled with a lifetime of papers, artworks and letters to her artist friends, filled with drawings and stories. But the family’s creative legacy continues. Emma tells me about her niece, Zoe Gibson, Peggy’s great-granddaughter, who has just graduated from Dundee School of Art. “Her work is incredibly similar to Peggy’s, without her realising it,” Emma says. “She makes these big, bold murals, filled with animals. It oozes out of her. They’re Peggy’s animals.” And, with that, off she sets to Barra. A limited edition of Peggy Angus wallpaper in on sale through The New Craftsmen (newcraftsmen.com).
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Racing driver, engineer and entrepreneur, the 9th Duke of Richmond’s passion for all things automotive and aeronautical initially caused a family rift, but would ultimately transform Goodwood’s fortunes. James Collard looks back at the extraordinary individual known simply as Freddie March 77
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FREDDIE MARCH
THE STORY OF GOODWOOD IS INSEPARABLE from the stories of the Dukes of Richmond – their individual characters, interests and sensibilities. These, and the social changes they lived through, have collectively shaped both the house and the Estate as it is today. Just as a love of hunting explains why the 1st Duke first came to Goodwood, and why the 3rd Duke built the splendid kennels there, so the 5th Duke’s love of horse racing led to the establishment of the racecourse, forever linking in the sporting lexicon the words “Glorious” and “Goodwood”. But the 20th century saw a different kind of horsepower come to the fore, in large part down to the passion and determination of one man: Freddie March, aka Frederick, 9th Duke of Richmond. A thoroughly modern aristocrat, he overcame the resistance of his family to become a racing driver, automotive and aeronautical engineer – and, ultimately, motor racing promoter. Without him, the crowds wouldn’t be flocking to this corner of rural Sussex to thrill out the roar of engines and the speed and elegance of great cars and planes. Born in the early years of the century, Freddie wasn’t meant to become a duke at all. The heir to the title, his older brother, Charles, Lord Settrington, was also passionately interested in motorbikes and cars. So much so that in their last spring together in 1919, they drove in Charles’s Morgan to visit Sir Henry Royce at nearby West Wittering to ask if Charles could go to work for Rolls-Royce (odd to think that 84 years later the
Opening spread: the 9th Duke (left) wins the Brooklands Double Twelve in 1931. Above: the young Freddie was fascinated by aeronatics, even fashioning his own model plane
A thoroughly modern aristocrat, he overcame family resistance to become a racing driver, engineer and, ultimately, motor racing promoter. Without him, the crowds wouldn’t be flocking to this corner of rural Sussex Rolls-Royce factory would open on the Goodwood Estate). It is uncertain whether he was offered a job, but it was Freddie who as a boy had made model cars and planes in his own workshop – having become obsessed with his parents’ Model T Ford Landaulette and his aunt’s Daimler, in this, the era when motor cars were a novelty. And it was Freddie who spent his wartime school holidays hanging around the Royal Flying Corps’ new base on the Estate at Tangmere, falling in love with planes and the idea of flying. And it was Freddie who would come to swap the life of an aristocratic landowner for the distinctly un-rustic world of engines and oil, workshops and factories. When Charles was tragically killed during the 1919 British intervention in the Russian Civil War, Freddie – now, much to his initial distress, known as Lord Settrington, and unexpectedly his grandfather’s heir – seemed reluctant to take the path his heritage and family would seek to impose upon him. After Eton came Oxford, where he dutifully studied Agriculture – and crammed to pass his exams, only to fall in love with Elizabeth Hudson, the vivacious, red-headed daughter of the vicar doing the cramming. Freddie gave up his studies to spend more time with her – without taking his finals – and promptly took up an apprenticeship with Bentley, a truly
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D O N ’ T G O Q U I E T LY
Official fuel consumption figures in mpg (l/100km) for the new Ford Mustang range: urban 14.4-23.3 (19.6-12.1), extra urban 31.0-41.5 (9.1-6.8), combined 22.1-31.3 (12.8-9.0). Official CO 2 emissions 285-199g/km. The mpg figures quoted are sourced from official EU-regulated test results (EU Directive and Regulation 715/2007 and 692/2008 as last amended), are provided for comparability purposes and may not reflect your actual driving experience.
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FREDDIE MARCH
revolutionary act for a young upper-class man of the era. His grandfather had taken a dim view of his own son and heir joining the army – where he became a senior officer, serving as an ADC to General Roberts in the Boer War. So he took a considerably dimmer view of a Gordon Lennox becoming a humble apprentice. Likewise, the idea of Freddie marrying a mere vicar’s daughter added to the rift, and Freddie’s allowance was stopped. Undeterred, he qualified as a mechanic – in Cricklewood of all places, where he was known as plain Mr Settrington, before leaving briefly to work as a car salesman. He then rejoined Bentley, on a salary that meant, aged 23, he could now marry, with or without his family’s blessing. Happily, they relented, and the breach was healed shortly before the death of Freddie’s grandfather. And so, as his father inherited the dukedom and the responsibilities of running the family’s struggling Estates, Freddie spent the late Twenties and early Thirties enjoying the kind of work and life he had so wanted. He was married to Elizabeth and living between a townhouse in London and Molecomb on the Goodwood Estate. He worked for Bentley, based at their Mayfair showroom on Cork Street, learned to fly, and took up motor racing, with pretty much instant success. In 1929 he took gold in a Brooklands time trial driving an Austin Seven; in 1930 he won the British Racing Drivers’ Club 500, before buying three MG C-type Montlhéry Midgets and leading his team to victory in two major races; while in 1931 he won the 24-hour race know as the Double Twelve. All this as “Freddie March”, as he was now next in line for the dukedom and was therefore the Earl of March. But what set Freddie apart from other gentlemen racers and fliers was the innovative and entrepreneurial turn his passion for all things automotive and aeronautical would take. For having started a car dealership, he took up coachbuilding, playing an important role in the evolution of the English sports car aesthetic of the era. He even launched March Models – making handmade model racing cars. And he co-founded the Hordern Richmond aeronautical business and helped to design the brand’s ground-breaking Autoplane – so called because its design enabled the pilot to control all of the plane’s key functions with just one hand. He was also motoring correspondent of the Sunday Referee – which, although largely devoted to all things sporting, described itself as “the national newspaper for all thinking men and women”, and indeed, Freddie’s fellow contributors in the Thirties included Dylan Thomas and Bertrand Russell, while Freddie himself would go on to become the founding president of the Guild of Motoring Writers. But two things would impact on the fascinating and fulfilling life Freddie had forged for himself – so far removed from the pomp of a grand seigneur or the tweedy existence of the English country house owner. In 1935, his father died and Freddie inherited the four family dukedoms – and along with Goodwood, Gordon Castle in Scotland, the vast Gordon Lennox Estates, which were mostly unprofitable, along with dauntingly high death duties. Freddie had to part with sizeable amounts of the Gordon inheritance just to stay afloat, and then four years later came the outbreak of war. Motor racing stopped, Hordern Richmond went over to making Spitfire propellers (as the relaunched brand is once again making
From the top: behind the wheel of one of his MG C-type Midgets at Brooklands; on a motorbike being tuned for racing in 1923; and at Bentley Motors, where he went to work as an apprentice, much to the dismay of his family
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FREDDIE MARCH
CULLINAN SU PR EM E L I B ERT Y Explore every possibility at www.rolls-roycemotorcars.com
Rolls-Royce Motor Cars London Tel: +44 20 7491 7491 Rolls-Royce Motor Cars Birmingham Tel: +44 1564 787 170
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Official fuel economy figures for the Rolls-Royce Cullinan: Urban 12.6-12.9*mpg (22.4-21.9l*/100km). Extra Urban 25.7-25.9*mpg (11-10.9*l/100km). Combined 18.8*mpg (15*l/100km). CO2 emissions 341*g/km. Preliminary data not yet confirmed, subject to change. 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.
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FREDDIE MARCH
today), and Freddie did his bit too – joined the RAF, then working within the Aviation Ministry to boost aircraft production, including a stint alongside our American allies in Washington, DC. And Goodwood did its bit during the war. The house became a military hospital, while as well as RAF Tangmere, which was first opened as an RFC base in 1917, came its new satellite station – also on the Estate – RAF Westhampnett, which played an important role right through the Battle of Britain and beyond. But once the war was won, it was this part of the Estate that would play such an important part in the evolution of Goodwood – and in restoring the Estate’s fortunes – as Freddie’s passionate love of cars and of motor racing and the independent, entrepreneurial spirit that had once put him at such odds with his family and their sense of the Gordon Lennox heritage, provided a much-needed lifeline for the Estate in postwar Britain. Before the war, Freddie had held a casual, sporting event for Lancia owners. This became Goodwood’s very first Hillclimb – the first of many, clearly. But it was Freddie’s realisation that a perimeter road around the airfield might just make a great motor-racing course that transformed Goodwood, long associated with Thoroughbreds and flat-racing, into the automotive destination it is today. Races such as the Glover Trophy, the Goodwood Nine-Hour sports car endurance races and the Tourist Trophy captured the public’s imagination.
And, of course, the drivers: Stirling Moss (still a frequent visitor to Goodwood, he won the 500cc race at the first meeting in September 1948), Graham Hill, Jim Clark and Donald Campbell, who first demonstrated his Bluebell land speed record vehicle at Goodwood in 1960. Of course the racing ended in the Sixties, when the course no longer suited the constantly evolving sport, but needless to say the spirit Freddie March brought to Goodwood still endures – at the Festival of Speed and Revival initiated by his grandson Charles, and in the extraordinary cars that whizz around the Estate and the planes that soar overhead. As the current Duke of Richmond put it in The Glory of Goodwood, a history of the circuit, “My grandfather was a very remarkable man. It wasn’t until he died that I found out everything about his coachbuilding, his model-making and his race victories. He took his driving very seriously.”
Above: the 9th Duke (on the right) poses with Edmund Hordern in front of a plane of their own design in 1939. Together, they founded aeronautical business Hordern Richmond, which went on to make Spitfire propellers
The Freddie March Spirit of Aviation, a concours d’elegance for pre-1966 aircraft, takes place at Goodwood Revival.
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Enjoying Classic Cars. Past. Present. Future. Whether it is the Goodwood Revival, or the Grand Prix de Monaco Historique, Credit Suisse is at the heart of the world’s best-loved classic car events. Listen to racing legends share their thoughts on these events at credit-suisse.com/classiccars
Copyright Š 2018 Credit Suisse Group AG and/or its affiliates. All rights reserved.
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SWING
Dance Hall Days Words by Alan Franks Illustrations by Ben Pearce
As any visitor to Goodwood Revival will confirm, the middle of the 20th century didn’t just inspire memorable fashion, it was also a time of acrobatic, energetic and life-affirming dances. Alan Franks recalls the swing era’s most enduring dance-floor crazes, from the Jitterbug to the Jive
It isn’t just nostalgia that prompts revivals. More often, it’s the sense that a particular thing whose era has passed is simply too good not to be brought back. Where swing is concerned, however, the phrase “brought back” isn’t strictly accurate, because the reverberations of its Big Bang in Harlem nearly a century ago have never entirely passed from social earshot. Swing never really went away. When we speak of swing, we are also speaking of the American East Coast jazz of the time. For this was the soundtrack against which the Jitterbug, the Lindy Hop, the Balboa and all the other vibrant partner-dances of the 1920s and ’30s evolved. In so doing, they did their bit to drive the blues – though not the musical kind – from the heart of the Depression. And when we speak of the music, we are also speaking of the swing era’s most influential bandleader, Cab Calloway, a man also credited with pioneering the backstep-glide later made famous by Michael Jackson. Those decades and the one that followed, despite the hardships of the Second World War, formed what is often
and accurately called “The Golden Age of Swing”. When US soldiers arrived in Britain at the start of 1942, they may have been resented by some as “overpaid, oversexed and over here”, but they brought with them the irresistible and life-affirming energy of swing. We fell for it. All these decades on, after the revolutions of rock, pop, folk, psychedelia, grunge, punk, R’n’B, rap and the rest, swing is huge again, and has been since the early 1990s. Why? Here I speak with passion, although I dance with two left feet. My father and mother met in a wartime hospital. She had taught ballet and he was to become editor of The Dancing Times and an authority on social dance. The arrival of the Twist saddened him because, he said, it was taking away the joy of moving in harmony with another person while the music plays. He and his longgone contemporaries would have been heartened beyond words by this recent swing in public tastes. For it seems that swing-era dancing, in its various guises (the most important of which are discussed below) is here to stay...
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THE VAN DYKE This beard, named after Anthony van Dyck, the 17th century artist who painted Charles I and his courtiers, is suggestive of a debonair, cavalier spirit. The Van Dyke (a mispelling of the painter’s name) combines a goatee with a moustache – which can be twiddly, as in Napoleon III, or not, as in General Custer. But given the way things ended for them, perhaps this isn’t a beard style that inspires confidence.
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THE CHARLESTON James P Johnson, who composed the tune of the same name in 1923, said he took the rhythm of it from the sound of the South Carolina town’s dockers at work. Helped by the song’s popularity in the hit Broadway show Runnin’ Wild, the contagion spread. It is widely accepted that the Charleston’s steps derived from the African-American tradition of challenge dances. Soon after it arrived in Harlem, the dance acquired a new characteristic to go with its twisting feet. This was the defiantly joyful keeping up of heels. If the well-heeled stopped kicking in the Thirties, it was not because they’d had enough, but more likely because floor-length evening dresses were restricting their movement.
THE LINDY HOP The name is misleading. This dance doesn’t hop, it glides. However, the year was 1927 and the aviator Charles Lindbergh had just made a non-stop solo flight from New York to Paris, and this had been dubbed the Lindbergh Hop. However you define this mongrel dance, it’s seen as a core member of the swing family. There’s jazz in it as well as elements of Tap, Charleston and the improvisational form called Breakaway. In essence, the Lindy Hop fuses the movements of certain African-American routines with the structural elements of European partner dances.
THE BALBOA Huge in the Thirties and Forties, although it had been around in some form since the century’s teens. Not from the East Coast but Southern California, and taking its name from the Balboa Peninsula at Newport Beach, it combined aspects of swing dancing with a closer embracing of partners. Modern descendants of the form include Bal-Swing and Pure Balboa, the latter being performed less for the spectators than the participants. Often taken to be a private or even introverted dance, it was indeed a response to crowded ballroom floors where a Lindy Hopper could cause damage with an overenthusiastic swing-out. It was certainly intimate, with frontal contact from knee to torso, and weight shifts less a matter of individual impulse than shared choice.
W C Li cr
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IT’S YOUR TURN.
V6 EXPERIENCE DAYS AT LOTUS There is no better way to experience what a Lotus can do than to visit the home of the Marque. Immerse yourself in the manufacturing process of our supercar-humbling range, with a tour of the factory that meticulously hand-crafts some of the World’s finest handling sports cars.
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Next you will place yourself in the driver’s seat, taking command of either an Exige or Evora for some truly unforgettable track time. Our accomplished Lotus Driving Academy will provide expert tuition through the likes of former Lotus F1 driver Martin Donnelly, who will ensure you get the most you can out of the car. Finishing off with a Hot Lap demonstration and a tour of Classic Team Lotus, this will be an all-encompassing experience that will satisfy a true driving enthusiast. To find out more please visit our website for details:
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Fuel Consumption* for model shown: Exige Sport 410 (l/100 km) Urban 14.9, Extra-Urban 8.1, Combined 19.6, CO₂ emissions 240 g/km *Performance results may vary depending upon the specification of the particular vehicle, environmental conditions, driving style and other factors. Fuel consumption figures are obtained from laboratory testing and intended for comparisons between vehicles and may not reflect real driving results. Published fuel figures and performance results are intended for comparisons between vehicles only. Verification of performance results should not be attempted on public roads. Lotus recommends that all local speed and safety laws 87 must be obeyed and safety belts worn at all times.
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What if I live to 100? Should I make life simpler? Do I have the right financial plan?
Life in later years is changing. You may want to remain hands on. Take a step back. Or pursue other passions. As time goes by, you might need to reconsider your financial plan. Through careful investment strategies, we can work together to navigate whatever the future holds. Here’s to a long, healthy, and fulfilling life. 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 2018. All rights reserved.
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SWING
THE JIVE Another one that owed its early popularity to Calloway in the early 1930s. According to some observers in Britain, it was the most durable of the American dance imports. Most of its movements belonged to the Jitterbug family, but its greater freedom endeared it to the less confident. In his social and cultural history of dance, Going to the Palais, James J Nott observes that many people danced it without learning it: “They let the spirit of the music take them over and the steps followed.” He quotes a woman born in 1942 as saying, “Everyone had their own style; it didn’t matter how you did it.” As with many supposedly permissive dances, it became something of an emblem in the conflict between old authority and new liberalism. The joys of flouting dance floor discipline were lost on the eminent ballroom dancing teacher Alex Moore who, wrongly, dismissed the Jive as “an amusing interlude”.
THE JITTERBUG Sometimes confused with the Lindy Hop, though this is not necessarily incorrect, because Jitterbug defines a category rather than an individual dance, and could be used to denote not only the Lindy Hop, but also Jive and East Coast Swing. Indelibly linked with Cab Calloway through his 1934 recording of The Call of the Jitterbug, and the following year’s film, Cab Calloway’s Jitterbug Party. “The hardest thing to learn,” wrote a young white man from suburban Pennsylvania in 1939 “is the pelvic motion. I suppose I always felt these motions are somehow obscene. You have to sway, forwards and backwards, with a controlled movement, while your shoulders stay level and your feet glide along the floor.” The dance’s name, often a matter of debate, is most probably a Spoonerism from bin-and-jitters (for gin and bitters), via bitter-jug.
THE TWIST The first craze that allowed people to dance separately, without touching, The Twist could be learnt in an instant. There were even guides in newspapers: move as if you’re towelling your lower back and stubbing cigarettes out under the ball of each foot. It had its own anthems in US singer Chubby Checker’s smash hits The Twist in 1960 and Let’s Twist Again the following year. It was not quite as new as it felt. A dance of the same name and similar, though more pelvic, movement had come to America from the Congo during the slavery years of the 19th century. By the time Twist and Shout was released on The Beatles’ first UK album in 1963, the dance may have started to sound dated, but it was spawning a brood of successors, such as the Watusi, the Mashed Potato and the Locomotion.
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CALENDAR
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PARTIES
June 1, 8 and 15 2018
Three Friday Nights
MATT ANKERS; DAN STEVENS
Three Friday Nights is a unique combination of thrilling horseracing followed by an open-air DJ set that takes place in the Parade Ring under stunning, laser-lit skies. This year, Rudimental, Example & DJ Wire and Steve Aoki took to the decks as racegoers danced the night away. Guests included (clockwise from top) Kelly and Teresa Boneham and James Waylett; Chris and Faye Brown; Florence Fleming; Jackie Hombrecher and Emma Gueldner and Georgia Toffolo.
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Experience a magical Christmas at Goodwood
Immerse yourself in the festive spirit with a stay at The Goodwood Hotel (top) or Hound Lodge, which has ten charming bedrooms
After the frantic build-up during the weeks before Christmas we look forward to spending precious time with close family and friends. At Goodwood, surrounded by nature that has been allowed to take its course, the natural rhythm of life brings stability, and a chance to escape the hectic pace of modern-day living. Whether you wish to stay at Hound Lodge, our ten-bedroom sporting lodge by the edge of the ancient woodland (and just a step away from The Kennels) or The Goodwood Hotel, located right at the heart of the Estate, you will be treated to the very best experience at Goodwood. At Hound Lodge, our butler and in-house chef will look after your every need, from drinks by the fire to a carefully-chosen menu to suit your personal tastes. At the Hotel, meanwhile, our exceptional restaurant Farmer, Butcher, Chef offers a gastronomic treat, with innovative menus created especially to showcase the delicious organic meat from Goodwood’s own Home Farm. The Estate offers numerous activities to fill your days: whether you wish to drive the renowned Goodwood Motor Circuit, go off-road in a Land Rover, slide around the skid pan, take to the skies with a flying lesson or fly alongside a Spitfire, play a round of golf on one of our
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From top: experience driving the revolutionary BMW i8 at Goodwood Motor Circuit; take the controls of a 1943 Harvard with our Warbird Experience
can follow in the tracks of racing heroes such 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 anyone who loves the feeling of high speed. For those who love the romance of aviation, a flying experience makes an exceptional gift. Flying training began here in 1940, when RAF pilots learned to fly during World War II. Treat a loved one to the flight of a lifetime in one of Britain's most iconic aircraft, the 1943 historic Harvard, which was renowned as the training aircraft for Spitfire pilots. During the Warbird Aviation Experience you will take off from the grass runway and fly the same skies the Battle of Britain was fought in – enjoying stunning views of the beautiful coastline and Sussex countryside. Stays and experiences can be booked online at goodwood.com
MIKE CALDWELL
Championship courses, spend an afternoon clay-pigeon shooting or enjoy the stillness of an early morning walk across the South Downs; you will find countless sporting pursuits right on your doorstep. With four restaurants, a sculpture park, a private members' club, a health club and one of only two privately-owned racecourses in the country, there is plenty to occupy your days. While you’re here, treat someone special to an unforgettable driving or flying experience for a Christmas gift that will create lasting memories for years to come. If you are thinking of a gift for the thrillseeker in your life, the Performance Track experience offers the chance to drive the full range of high-performance BMW M Series models on Goodwood’s circuit. It is a rare opportunity to experience the revolutionary BMW i8, an extraordinary 357bhp hybrid sports car, which incorporates new technology to create a distinctive and exciting ride. Drivers
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finish Today, the Goodwood Revival is one of the world’s largest historic motorsport events. Last year, more than 150,000 visitors attended, decked out in vintage overalls, natty plus-fours and 1950s sundresses. Some brought their own classic cars while others jived on the dancefloor as Messerschmitts and Hurricanes duelled overhead. A characterful, spirited event like no other, the Revival unites petrolheads and vintage enthusiasts, and holds a special place in the hearts of many. Perhaps the great Formula 1 commentator, Murray Walker, put it best when he described his first visit to Revival, saying: “I have just experienced the best three days of my life.”
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LAP OF HONOUR
Former model Jodie Kidd began her career at just 15 years of age, when she was spotted walking on a beach in Barbados. Today, she’s more widely known for her love of all things automotive: she completed one of the fastest celebrity laps ever on Top Gear and presented both The Classic Car Show and the Isle of Man TT coverage earlier this year. When not racing, she loves horse riding and spending time with her son Indie – not to mention pulling pints in the pub she owns in Sussex
Jodie Kidd I DON’T KNOW WHERE MY LOVE OF ENGINES CAME FROM. I took my driving test late in life, when I was around 24 years old, and I failed the first time round for speeding. I might not be the best mechanic, but I understand how to get the best out of a car. I like to drive in bare feet, in a proper manual, and really feel how the car’s responding. I WAS BORN AND BRED IN SUSSEX, and it absolutely feels like home. From the little villages to the coastline, the sporting events and the glorious South Downs… there’s just something very special about this place.
I’M CAMPAIGNING AGAINST THE INCREASE IN BEER TAX AT THE MOMENT. Running a rural pub is really tough, and with 1,000 pubs closing every year, we’re rapidly approaching a tipping point where they’ll simply cease to exist, which would be a real travesty. It would be like losing a bit of our heritage. I have my own pub, the Half Moon, in Sussex, and while I wouldn’t necessarily say I’m the world’s most natural publican, it’s had a great response up to now. So far, so good. I’M ALWAYS WALKING INTO ROOMS, to the fridge, outside and completely forgetting why I’m there – it’s a real family trait. CARS ARE MY FIRST LOVE, but I’ve also got a BMW R90 motorbike – it’s quite a beast. You get a totally different sense of freedom when you’re out in the elements, but you have to really pay attention… sometimes it feels like everything is out to kill you. But then, that’s what makes it more exciting. I WENT CRAZY FOR CYCLING LAST YEAR, but I think I overcooked it. I did the White Rose Classic in Yorkshire, the Cavendish in Wales, the Etape du Tour, London to Brighton, RideLondon. I’ve put my bike away now. Going for a cycle ride is the last thing that crosses my mind. I think I got my fix.
IN MY EARLY MODELLING DAYS THERE WERE A LOT OF MISCONCEPTIONS. I was constantly saying, “I’m not like that, really.” I think everyone thought I was just some polo-playing, incredibly posh god-knowswhat. But now I’m doing car shows, pulling pints in the pub… I think that’s a much truer representation – and everyone gets me now. Certainly, it’s a lot better than it was.
ILLUSTRATION BY ELISABETH MOCH
HAVING MY SON INDIE WAS THE BEST THING I’ve ever done. I’m incredibly proud of him, and he’s an amazing boy – very stubborn, opinionated and passionate, but also so gorgeous and big-hearted. People say that we look similar but I don’t see him like that. To me, he’s just Indie.
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AT g o odwo od
A MAGNIFICENT 10-BEDROOM C O U N T RY R E T R E AT goodwood.com
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New fund launch - FP CRUX UK Special Situations Fund
Cars Fashion Farming Vintage Dogs Horses Tech Food & Living the life
A UK icon - that’s the
Ready to roll
A proven manager with over 25 years’ experience actively picking UK stocks Richard Penny, the manager of the new FP CRUX UK Special Situations fund, has over 25 years experience in the UK market and has had around 5,000 company meetings.
The UK Fund will be formed of a core of mid-cap holdings topped up with some FTSE100 names and a number of carefully selected small-cap ideas.
His investment process is tried and tested and focuses on the fundamentals of businesses to ensure they offer clear upside potential. This approach has delivered a solid track record over the long-term.
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Consult your financial adviser, call or visit:
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www.cruxam.com Autumn 2018
Fund Featured; FP CRUX UK Special Situations Fund. This financial promotion is issued by CRUX Asset Management Limited who are regulated by the Financial Conduct Authority (FRN: 623757). The value of an investment and the income from it can fall as well as rise and you may not get back the amount originally invested. Past performance is not a guide to future performance. A free, English language copy of the full prospectus, the Key Investor Information Document and the Supplementary Information Document for the Fund, which must be read before investing can be obtained from the CRUX website or by calling us (details above).
£10.00
Autumn 2018
Ready to roll