Goodwood - Issue 2 - Autumn 2017 by bravenewworldpublishing

Exhilaration, amplified. 570S Spider Sports Series

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LETTER FROM THE EARL OF MARCH

something old something new Welcome to the autumn issue of Goodwood Magazine. There is a strand running through much of what happens at Goodwood which can be summed up as Ancient and Modern. For Goodwood is a centuries-old house and estate, replete with historical artefacts, noble traditions and echoes of the past. Yet for Goodwood to flourish, we have to stay ahead of the times. That old-andnew theme is especially evident in this issue, as you’d expect in the lead-up to the vibrant and thoroughly modern celebration of all things vintage that is Goodwood Revival. On the automotive side, we celebrate the 70th anniversary of a momentous win by two young drivers, Stirling Moss and Tony Brooks, driving a British car – a victory that began an era of success in this highly competitive field which continues to this day. And we salute an American racing hero, Dan Gurney. But we also meet the design innovators working today at Maserati and McLaren and take a look under the bonnet of a car so powerful, its engine could power Goodwood House and The Kennels. As for other kinds of horsepower, there has been horse racing – glorious horse racing – here on the Sussex Downs for more than 200 years now. A few days before Big Orange’s brave but ultimately unsuccessful bid to win an historic hat-trick at the Qatar Goodwood Festival, we visited his yard – and learned from trainer Michael Bell just what’s involved in keeping a global superstar of a horse on tour and in form. To rev up for Revival, we meet Mark and Cleo Butterfield, the king and queen of vintage. We salute the Revivalists – those brilliant amateurs who every year honour a brave generation by donning the uniforms of British and Allied warriors of World War II. Meanwhile our fashion feature celebrates contemporary collections which draw inspiration from Revival style. The past, then, is all around us. But it’s what we do with it that counts.

Earl of March

Hermès Arpège dressage saddle extra-deep seat

UNEE BB, JESSICA VON BREDOW-WERNDL AND THEIR HERMÈS ARPÈGE SADDLE, THREE MAKE A PAIR.

FOOD STORY

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

Benjamin Madgwick

Kate Muir

Benjamin studied fine art and assisted leading lensman Miles Aldridge for four years before becoming a fashion and beauty photographer, shooting for Hunger Magazine and Sunday Times Style. He shot this issue’s fashion story in the Jackie Stewart Pavilion at the Motor Circuit.

As a correspondent for The Times in New York, Paris and Washington, Kate spent two decades observing the lives of others, before switching duties to become a film critic – making her the perfect person to interview revered documentary photographer Dorothy Bohm.

Dorothy Bohm

Bill Prince

Picture director Lyndsey Price Picture assistant Louisa Bryant Design Sophie Dutton Sub-editor Damon Syson

A highly respected photographer in her own right, Deputy editor of GQ and Telegraph Luxury’s Dorothy is a co-founder of the Photographers’ Menswear Expert, Bill is a leading authority on Gallery. Now 93, she has published many books, men’s style, from the tailors of Savile Row to the including A World Observed and Sixties London. runways of Milan. In these pages he writes In this issue, we have the privilege of sharing her about the welcome return of Fifties Man: little-seen images of Sussex in the 1960s and ’70s. debonair, dashing and double-breasted.

The front cover shows a helmet from Lord March’s private collection, which was given to him by its famous owner, the racing driver Dan Gurney. Cover, Start and Finish images all photographed by Louisa Parry.

Louisa Parry

Alan Franks

Still-life photographer Louisa is a regular contributor to Goodwood Magazine. For this issue she photographed the cover image of Dan Gurney’s helmet (see left), and a Union Jack and chequered flag representing the Start and Finish at Goodwood's Motor Circuit.

Alan is a man of many parts – journalist, poet, musician, playwright... and passionate walker. He is often to be found striding the highways and byways of Britain, a subject about which he writes regularly in The Guardian. For us, he celebrates the renaissance of country walks.

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

For all advertising enquiries please contact Chris Wilson, Luxx Media: chris@luxx-media.com © Copyright 2017 Brave New World Publishing Ltd. All rights reserved. No part of this publication may be reproduced without prior permission from the publisher. While every effort has been made to ensure the accuracy of the information contained in this publication, the publisher cannot accept responsibility for any errors it may contain

CONTENTS

START Features

Power station Porsche’s dynamic new 911 14

How to be a domestic goddess 1950s kitchens go all the rage 34

What goes around... The new hi-tech turntables 16

Hoppy days DIY craft beer 36

Dan the man Racing legend Dan Gurney 18

Take the lead Designer dog accessories 38

This old house The history of Richmond House 20

Aerial art Using drones to paint murals 40

Silk route Sumptuous silk scarves 23

Old sport Classic sporting artefacts 42

Fine form Revolutionary new riding gear 24 Swing kids Hipster golfers hit the links 26 A leaf out of their book Goodwood’s exquisite antique herbaria 28 Cosy up How to wear shearling 30 The champions Stirling Moss and Tony Brooks 32 10

Big Orange Top-flight racehorses are the globetrotting rock stars of their world. We track 12 months in the life of current equine darling Big Orange 44 Revivalists Meet the WW2 enthusiasts who love to dress the part 54 Wild at heart Discover the joys of country walking: it’s healthy, free and good for the soul 64 The line of beauty Four leading automotive designers reveal what goes into creating an iconic car 70 The king and queen of vintage Collectors Mark and Cleo Butterfield on their vintage fashion treasure trove 76 Pump up the volume Men’s style is embracing a baggier silhouette that channels Fifties icons such as Cary Grant and Gary Cooper 82

Back in time Fresh takes on mid-century style, photographed in Goodwood's retro-chic Jackie Stewart Pavilion 84 Another Country Celebrated photographer Dorothy Bohm shares her little-seen images of Sussex life in the 1960s and ’70s 96 Calendar Important dates in the Goodwood diary 106 Lap of honour Words of wisdom from designer Barbara Hulanicki OBE, founder of iconic clothes store Biba 112

FINISH

GETTY; BENJAMIN MADGWICK; TINA HILLIER

Shorts

START

Start your engines. You’re in pole position for the autumn edition of Goodwood Magazine. You could say this issue delivers flag-to-flag coverage, given that we open with a Union Jack and end with the chequered flag – just like at Revival, where drivers race the Motor Circuit in the tracks of so many automotive greats. Our front cover salutes one such great – a superb champion and frequent visitor to Goodwood, Dan Gurney. To discover why his racing helmet is at Goodwood today, turn to p18. Gurney is an American hero – but one that we’ve taken to our hearts. Hats off to him.

power station Porsche’s new 911 produces so much energy, you could run the entire Goodwood Racecourse off it. Erin Baker salutes an automotive powerhouse Porsche pulled the wraps off its most powerful, mad-as-a-box-offrogs 911 to date at Goodwood Festival of Speed this summer: the 911 GT2 RS. With a price tag of £207,506, and limited availability, plus the increasing propensity of any limited-edition 911 to travel only one way in value, this car may turn out to be the most expensive second-hand 911 so far, too. What’s more, we easily pushed the price north of £240,000 with endless fiddling on the online configurator, taking the cost even higher with the addition of the performance-boosting Weissach Package, which adds such fripperies as a roll-cage, just to be on the safe side. You can smother the interior in carbon, have the dials in Guards Red, paint the climate-control panel bright blue, add IsoFix points in the front passenger seat, get the 12 o’clock steering wheel marking in red… and before you know it, it’s lunchtime. But this car wouldn’t be a Porsche if the truly staggering price tag were not matched by an equally eyebrow-raising power output. The twin-turbocharged petrol engine develops 700 horsepower and the rear wheels of the 911 GT2 RS are capable of producing 500,000 watts of power. Now here’s an electrical discussion about a car we’re all keen to delve into. Bless Porsche: while the rest of the world debates the recharging time of a Nissan Leaf and how much energy the battery is capable of storing, Porsche has built a car for which the talking point is how much electricity the rear wheels can generate. This may be the ultimate poster boy for the eco brigade: a car that can power a house’s electrical supply, rather than the home powering the car. To give you an example of just how powerful the GT2 RS is, consider the following, worked out by Goodwood Estate’s sustainability manager (you don’t often hear “GT2 RS” and “sustainability” in the same sentence): 500,000 W means that if we took the car on a splendid jaunt from London to Goodwood at the peak revs required for maximum horsepower all the way (wishful thinking) it would generate 500 kWh. That means the Porsche's engine, via the rear wheels, could power the entire Goodwood Racecourse (413 kWh), or Goodwood House (183.4 kWh) and The Kennels (143 kWh) combined. It could certainly light up the entire hillclimb at Goodwood, given that one new light bulb uses 15 watts. The future’s bright.

SHORTS TURNTABLES

Below: the innovative Love turntable has a device that spins on top of a still record

‘The experience you get when playing a record is something people still crave’

It’s not just Revival purists and DJs who are buying vinyl records these days – more and more of us are returning to the ritualistic pleasure of playing music the old-fashioned way. According to BPI, which represents the UK’s music industry, more than 3.2m records were sold last year in Britain, a rise of 53 per cent on the previous year. No surprise then that a number of brands are capitalising on vinyl’s renewed popularity by releasing futuristic, design-led turntables. Since Edison invented the phonograph in 1877, not much has changed in the world of turntable design – and when digital audio came to the fore, any impetus to innovate disappeared. But now there's a genuine hunger for change, with crowdfunding platform Kickstarter emerging as a breeding ground for cutting-edge new designs. Towards the end of last year, MAG-LEV Audio successfully raised over $500,000 for a brilliantly designed turntable that incorporates a levitating platter. Earlier this year, Taiwanese brand HYM smashed the target for its Seed turntable (which claims to be “the world’s first all-in-one turntable system that integrates excellent fidelity sound and 70W output”), before Dutch brand Miniot followed suit with Wheel, a turntable that

dispenses with the traditional tone arm, instead positioning the stylus underneath the record and using the centre spindle to control all functions (play, pause, skip track). Of this new crop of Kickstarter-funded turntables, perhaps the most eagerly anticipated is the Yves Béhar-designed Love (pictured, above): “the world’s first intelligent turntable”. “It’s an exciting proposition, and an enormous challenge, to reinvent something as timeless as the turntable,” Béhar tells us. “While technology has greatly improved since the era of vinyl, the experience you get when playing a record is something people still crave.” Love is an entirely novel concept in that the device spins on top of a still record. It can be controlled by a smartphone to play, skip and repeat tracks, alter volume and select different RPM, and it even connects to your speakers or headphones wirelessly via Bluetooth or wi-fi. “The Love turntable brings the best of old and the new – the warm texture of vinyl audio, with the benefits of modern technology,” says Béhar. To purists, the idea of blending old and new might seem sacrilegious, but somehow we don’t think these turntables were created with them in mind.

WHAT GOES AROUND COMES AROUND PHOTO: LOVE

Vinyl is back in vogue – and its newfound popularity has inspired an array of hi-tech turntables that are rewriting the record-playing rules. By Alex Moore

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SHORTS GRAND PRIX

DAN THE MAN Daniel Sexton Gurney is one of only a handful of Americans to conquer the circuits of Europe as well as his homeland. Tall and handsome, the son of a New York opera star, “Dan the Man” cut a glamorous figure – a gladiatorial racing driver in the Hollywood mould who dared to take on the Europeans at their own game. As a young man in the 1950s Gurney was captivated by the hot-rod scene in California – and built his own cars, which he raced both on the Bonneville Salt Flats and at Riverside Raceway. By 1959 his natural talent had taken him to Grand Prix racing, initially with Ferrari, where he achieved podium positions. His maiden victory came with Porsche in the French Grand Prix at Rouen in 1962, but it was the fearsome speeds at Spa that brought out the best in him. In the 1964 Belgian Grand Prix he was on pole in the Brabham. He set a new lap record in the race and led until the last lap, when he dramatically ran out of fuel. But he won the next race in France and the last of the year in Mexico. Gurney captured the hearts and minds of fans on both sides of the Atlantic. They loved his fluid driving style and admired the way he’d risen through the ranks by dint of his pure, natural speed and his talent – in any kind of racing car. Such was the popularity of this erudite and charming man that in the mid-1960s, the US magazine Car and Driver was distributing “Gurney for President” bumper stickers and badges, urging his fans to propel their hero into the White House. The campaign rapidly gained momentum until it was pointed out that Gurney was still too young to qualify as a candidate. Nonetheless, it was a measure of his appeal. In 1966 Gurney brought his All American Racers team across the Atlantic, choosing British engineer Harry Weslake to build him an engine for the Eagle Grand Prix car that he would race in Europe. The following summer, Gurney and his co-driver AJ Foyt trounced the Ferraris to win the 24 Hours of Le Mans for Ford, the first all-American victory. On the podium at Le Mans, Gurney spontaneously began spraying the crowd with champagne, establishing a tradition that continues to this day. A week later he won the Belgian Grand Prix in the Eagle, the only American ever to win a Grand Prix in a car built by his own team. His main

On the podium at Le Mans, Gurney spontaneously began spraying the crowd with champagne, establishing a tradition that continues to this day

rival that day was the great Jim Clark, whose father later confided to Gurney that he was the only man his son feared on the track. A fine engineer, he also invented the “Gurney flap”, a small right-angle tab attached to the trailing edge of his car’s rear wing that increased downforce. The device was soon imitated by his competitors and is still used today on both cars and aircraft. In 1968 he turned up at the German Grand Prix with a full-face helmet – the first ever driver to wear one. The story of Gurney’s racing helmet goes back to 1959, when he came to Europe to compete for Ferrari and later BRM. Drivers had been encouraged to display their national colours, with Gurney choosing blue with a white stripe. Tragically at the 1960 Dutch Grand Prix he had the worst accident of his career when his BRM suffered brake failure. He was lucky to escape with cuts, bruises and a broken arm but a member of the crowd, standing in a prohibited area, was killed. Although not normally a superstitious man, Gurney was badly shaken and decided to abandon the blue helmet, leaving it on a shelf with his trophies until 2012, when he presented it to Lord March. After the crash he had taken to wearing a black one, hoping it would change his luck. Gurney continued to race at Goodwood throughout the 1960s, when the circuit hosted major international events, so when he heard that Lord March was bringing motorsport back to the Estate, he needed little persuasion to visit the Festival of Speed, where he was reunited with his Eagle-Weslake. He would return twice more, memorably bringing the Alligator motorcycle he had designed and built. Only 36 of these bikes, notable for a very low-slung seat, were made, and they remain collector’s items. In 2012 Goodwood Revival staged a celebration of Gurney’s career, bringing together many of the cars he raced on both sides of the Atlantic. “That was a wonderful occasion,” says Lord March. “Dan is a super-special guy and his helmet, the only one that ever existed, is one of my most prized possessions. I also have his AARley-Davidson motorcycle, which Dan and his All American Racers team re-engineered from a Harley. It arrived out of the blue, in a crate from California – so typically kind of the man.”

Above: Dan Gurney driving a Ferrari 250 TR59 at Goodwood in 1959. Right: preparing to race at Goodwood the same year

OPPOSITE: DOUG NYE. RIGHT: O’NEILL CLASSICS

Racing legend Dan Gurney has a special link with Goodwood – which is why his helmet is our cover star. By Rob Widdows

FOTOGRAAF ONBEKEND / ANEFO

SHORTS RICHMOND HOUSE

This old house

Given the topsy-turvy nature of political life right now, the notion that the House of Commons might decamp elsewhere while the Palace of Westminster undergoes its multi-billion pound refurbishment has barely raised a national eyebrow. Two potential options have been floated for when the Mother of Parliaments goes hot-desking: a “pop-up Parliament” to be built by Norman Foster on Horse Guards Parade, or a move into Richmond House, over on the other side of Whitehall. Today, Richmond House is a 1980s office block housing the Department of Health. But several Richmond Houses have been built on or near this spot – between Whitehall and the Thames – on what was formerly the grounds of Whitehall Palace. And all but today’s office block were the London townhouses of the Dukes of Richmond. Confusingly, the first was built in the reign of James I by Charles Stewart, 3rd Duke of Richmond and Lennox “of the fourth creation” – the last in a line of Scottish grandees who had followed the Scottish king down to his new capital, and no relation to today’s Gordon Lennox family. But when Stewart died without an heir, Charles II awarded his titles to Charles Lennox, the king’s son by Louise de Keroualle, Duchess of Portsmouth – who coincidentally had been Stewart’s next-doorneighbour, as the king’s mistress occupied vast

apartments in the corner of Whitehall Palace. Charles Lennox, 1st Duke of Richmond and Lennox (“of the fifth creation”) went on to acquire Goodwood – and build his own Richmond House beside the old one. Two paintings and a sketch by Canaletto now at Goodwood show the vista from Richmond House’s first floor during the mid-18th century, when it enjoyed views of the City and St Paul’s. The house overlooked the Thames – which was much wider before the Victorians built the Embankment. Also in Goodwood House today are many important pieces of furniture and some chimneypieces from the last Richmond House to be occupied by the family – which was destroyed by fire shortly before Christmas of 1791. The house was uninsured at the time, and a contemporary report describes an anonymous gentleman appearing on the scene and quickly directing the panicked household staff into throwing books from the library through the windows and saving important works of art, while water was pumped from the river in a vain attempt to save the house. When, to his great distress, the 4th Duke spotted his favourite spaniel trapped at an upstairs window, a workman mounted a ladder to rescue the animal – winning a sizeable tip, worth the equivalent of a year’s wages, for his brave actions. Goodwood House is open to the public until October 29

THE GOODWOOD COLLECTION

Today it’s the rather unprepossessing home of the Department of Health, but Richmond House was once a grand townhouse between Whitehall and the River Thames, owned by the Dukes of Richmond. James Collard traces its history

Above: The Thames and the City of London from Richmond House, 1747, by Canaletto. Opposite page: a sketch by the artist â&#x20AC;&#x201C; both in the Goodwood Collection

Richmond House overlooked the Thames â&#x20AC;&#x201C; which was much wider before the Victorians built the Embankment

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SHORTS STYLE

silk route The silk scarf is always in fashion. This season, wear yours bandana-style for true Sixties glamour Floral-print silk-satin scarf, £290, Valentino, at matchesfashion.com; Brandebourgs Tattoo 90cm scarf in twill silk, £295, Hermès, at Hermès; Grand Manège Fleuri Maxi Twilly in twill silk, £240, Hermès, at Hermès; Panther-print silk-satin scarf, £265, Valentino, at matchesfashion.com

Photography Mitch Payne

SHORTS STYLE

FINE form The days of your riding shirt riding up are over, thanks to a revolutionary new design from Italy. By Charlotte Hogarth-Jones

So many design classics have their roots in horseriding – the perfect example of sporting function producing beautiful form

Practical, elegant, and beautifully crafted, equestrian clothing has always made an impact beyond the gallops. From the medieval squire’s leather riding boot, with its straps and buckles, to the generous jodhpurs repurposed by Coco Chanel in the 1920s, so many design classics have their roots in horseriding – the perfect example of sporting function producing beautiful form. And of course you only have to look at the likes of Ralph Lauren, Hermès and Tory Burch to know that designers continue to seek inspiration from the showjumping arena. Indeed, there’s an argument to say that today’s contemporary competition outfit – white or tan breeches, white shirt, jacket, gloves and boots – can’t be improved upon. Devotees of a bold new bodysuit, however, disagree. Made by Italian brand Miasuki Cavallerizza e Cavaliere, the Moonlight Sleeveless Bodysuit was created by the brand’s founder, Mia S Lei, and has become an instant hit with young female riders in Europe. A keen rider herself, Lei became frustrated with her shirts riding up and moving around during competitions, so she set about finding a design solution. Made up of 28 different panels of fabric, the garment is a triumph of engineering. A kind of equestrian onesie, it’s made from a heat-bonded, four-way stretch fabric, as opposed to a typical bi-weave, meaning that the material moves easily in all directions – ideal for showjumping. Wearers also wax lyrical about the suit’s flattering and supportive panelled design, which creates a far sleeker, and more sculpted silhouette than the traditional shirt. Designed and produced in Milan, the bodysuit adheres to competition rules and is only available in white. A sporting design classic in the making. miasuki.com

SHORTS HIPSTER GOLF

swing kids The colonisation of parts of East London and Brooklyn by hipsters – with their plaid shirts, cereal cafes, beards, fixed-gear bikes and sleeve tattoos – has been without doubt one of the defining counter-cultural movements of the past 20 years. While these urbanites may embrace hobbies such as beekeeping or jam making, sport is rarely on their radar. Until recently, that is. Until they took up golf. Yes, golf. The individuals who make up this new breed of golfing hipsters are often successful young men who work in non-traditional industries, such as tech. They might own a digital agency, say, or produce music videos. They live in East London rather than the suburbs, and they're drawn to golf not by the need to cosy up to their CEO on his weekly game (they probably are the CEO) but by social media and the videos of golf bloggers such as Rick Shiels, or the online antics of five-time PGA Tour-winner and general goofball Ben Crane. Nic Liu, 32, is a music producer and DJ; Nicolas Salzano, 38, a digital director and chef; and Fred Warburton, 22, a product designer. They embody this golfing avant-garde. They’re cool, for a start. They’re not members of an individual club, preferring the variety of public courses (where, as at Goodwood, there is no dress code) or their increasingly natural habitat, a late-night driving range. There, they can, in the words of Warburton, “have a beer and hit some balls” until 1am. They shun the typical golfing attire, instead wearing clothes (or “wavy garms” in their parlance) that wouldn’t look out of place in an Old Street pub. “Fashion is massive in golf now,” says Warburton, citing labels such as FreshClobber and VICE Golf. Bright polo shirts and baseball caps figure highly. In terms of kit, in Liu’s bag you’ll find second-hand TaylorMade clubs, but he has his eye on a set of handcrafted forged irons by Miura. The hipster golfer also loves a gadget: BioMech’s putting app and sensor analyses your stroke in real time, and can be used to add a further element of competition to a round. “I like the fact that golf is a never-ending battle with yourself, both your body and your brain,” says Salzano. “It's very addictive. It's also a good way for me to unwind, to not think about work, to get out of London and breathe some fresh air.” The poster boy for these golfing hipsters is Andrew “Beef” Johnston, a 28-year-old pro who plays on the European Tour, known as much for his baseball cap, long beard and ample girth – together with his laidback and genial attitude – as for his ability. He and his ilk are breaking down much of golf’s fusty, exclusively middle-class image. Whisper it, but the hipster golfer might be the future.

ILLUSTRATION BY SATOSHI HASHIMOTO

With golf’s popularity reportedly on the wane, Paul Croughton meets the urban hipsters who are bringing a new energy and attitude to the game

SHORTS FLOWERS

When designer Cindy Leveson was asked to imagine the interiors of Goodwood’s new restaurant, Farmer, Butcher, Chef, she knew straight away that it was an opportunity to do something unique. “I said to Lord March, ‘Wouldn’t it be amazing if the whole thing was about Goodwood and Sussex and England and farming,’” she remembers. So the idea was born of using everyday artefacts from around the Estate to decorate this bright, airy space. The result is a contemporary take on country chic: a world away from dark, cluttered rustic décor, yet layered with interest and colour and filled with humble yet beautiful objects that connect with Goodwood’s history. One especially striking feature is the use of pressed flower pictures. “Lord March mentioned that he’d recently found some albums of beautiful pressed flowers and wondered if they could be used,” recalls Leveson. These “herbaria” – books of dried plants and flowers – had been made in the 18th century for the 2nd Duke, who had a keen interest in gardening and natural history. Now kept in the Large Library of Goodwood House, they are too delicate and precious to be moved, so an ingenious solution was found. Leveson selected two sets from the original 48 pages of flowers. The pages – which over time had become crinkled with the moisture from the plants – were then meticulously photographed in such fine detail that every petal vein and paper crease was revealed, then printed onto very fine, old paper. The printed images were then “floated” in white box frames to give a cool contemporary feel. Such is the level of detail and the patina of aged paper, many visitors don’t realise that the flower pictures are not the originals. The pressed flowers are just one example of Leveson’s enthusiastic mining of historic detail in this lovely upcycled interior. She talks with infectious enthusiasm about trips down to “R & M” – Goodwood’s repair and maintenance yard – to uncover buried treasures (“found objects” in artspeak) that she could repurpose, from farm tools to broken pieces of plaster to be displayed in cabinets. Particular pride of place is given to an 18th century fire hose, which Leveson shipped off to the blacksmith in nearby Halnaker. He polished the copper and brass fittings, oiled the leather hose and it now hangs, like a conceptual piece of art, on one wall of the restaurant.

a leaf out of their book These ‘herbaria’ – books of dried plants and flowers – had been made in the 18th century for the 2nd Duke, who had a keen interest in gardening 28

©LEVESON DESIGN

The interior of Goodwood’s new restaurant celebrates the estate's unique history with a range of locally sourced artefacts, including exquisite antique pressed flowers. By Gill Morgan

Right, and opposite: pages from Goodwood's antique books of pressed flowers were carefully photographed and framed, and now grace the estate's restaurant as unique wall art

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SHORTS STYLE

Cosy Up Don't get left out in the cold. For menswear aficionados, shearling is this year’s hot story Leather and shearling shoeshine mitt, £158, Cedes Milano, at matchesfahion.com; cashmere-trimmed shearling bomber-jacket, £5,170, Brunello Cucinelli, at Brunello Cucinelli; Aspen Walk shearling-lined full-grain leather boots, £1,335, Loro Piana, at mrporter.com

Photography Mitch Payne

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SHORTS GRAND PRIX

Left: Stirling Moss (right) and Tony Brooks after winning the British Grand Prix in 1957

Seventy years ago two drivers won one race – and began Britain’s long supremacy in Formula 1. By Andrew Frankel

Today, Britain is such a dominant force in Formula 1 that the majority of F1 teams have their bases here, including four of the top five manufacturers in the 2017 Constructors’ Championship. So it’s hard to remember that there was a time when Britain made no impact in motor-sport at all. The man who finally dragged Britain to the forefront of the sport in the 1950s is known only to motor-racing cognoscenti, and the team he created was a significant force in racing for just three seasons. He was Tony Vandervell, his cars were called Vanwalls, and with drivers like Tony Brooks and Stirling Moss they beat Maserati and Ferrari – the dominant teams at the time. Vandervell was a wealthy industrialist who’d promoted his engine bearing business through the sponsorship and support of other teams since the end of the 1940s. But dissatisfied with their approach, in 1954 he decided to go it alone. Results were disappointing at first, but hiring Lotus founder Colin Chapman and world-leading aerodynamicist Frank Costin in 1956 helped Vandervell develop the car he needed; signing Moss and Brooks for 1957 gave him the drivers. Even so, the start of the 1957 season was patchy: Vanwall missed the opening round in Argentina and Moss and Brooks were both unable to compete in the French Grand Prix, the former with a sinus infection, the latter because he’d had an enormous accident at Le Mans, which ended up with him on a grass bank with an Aston Martin on top of him. It’s inconceivable today that Brooks would have been allowed anywhere near the British Grand Prix, held at Aintree in July. He’d been in hospital and then bed-ridden at home since his accident less than a month earlier. He’d lost a stone in weight and was still covered in contusions, one of which he described as “a hole in my thigh as big as a tennis ball”. But this was the British Grand Prix and he was damned if he was going to miss it. Even so, Brooks

Moss’s dream afternoon was rapidly turning into a nightmare, as the Vanwall’s engine started to stutter

LAT IMAGES

the champions

was under no illusions about his strength lasting the full 90 laps around the track, located inside Aintree Racecourse. But in the 1950s, drivers could swap vehicles mid-race, so his plan was to drive as far and fast as he could, then make his car available to either Moss or their third driver, Stuart Lewis-Evans, if it was needed. In qualifying, Moss captured pole position, with what was left of Brooks a barely believable third. At the start, after a brief tussle with Jean Behra’s Maserati, Moss took the lead and proceeded to sail off into the distance. Brooks held third for a while but by 20 laps his strength was failing and he started to slip down the order. By this point, however, Moss’s dream afternoon was rapidly turning into a nightmare, as the Vanwall’s engine started to stutter. He came into the pits and promptly swapped seats with the exhausted Brooks – the fittest man taking over the car in the best working order. Nonetheless, by the time he rejoined he was down in ninth place, over a minute behind the leaders and with all hope of catching Behra and the lead apparently lost. But one of the defining characteristics of Moss’s career was an inability to know when he was beaten, so he set about demolishing the field. By half distance he was fourth, and he passed Lewis-Evans for third with 20 laps remaining. And then, proving that fortune really does favour the brave, Behra’s clutch exploded and Mike Hawthorn in second place ran over the debris, both cars retiring on the spot, leaving Moss to cruise to victory – shared with Brooks. This was not only the first win in a World Championship Grand Prix by a British car crewed by British drivers, for Vanwall it marked a turning point. Moss would win two of the remaining three races that year and, in 1958, Vanwall would claim six out of ten F1 championship races, winning the inaugural Constructors’ Championship. But the team paid a terrible price for its triumph: in the last round in Casablanca, Lewis-Evans’ engine seized, causing the car to crash and catch fire. He succumbed to his injuries six days later. For Vandervell, whose health was already failing, it was too much, and he announced his withdrawal from racing. But by then other British manufacturers – Cooper and Lotus in particular, were rising fast. In just three short years, Britain had taken a grip on the top level of racing that today remains as strong as ever. The 70th anniversary of this race will be celebrated at Goodwood Revival, September 8-10

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

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

SHORTS VINTAGE KITCHENS

HOW TO BE A DOMESTIC GODDESS Ultra-modern kitchens have had their day, with today's interior design trendsetters looking to the past for inspiration. Charlotte Hogarth-Jones explains why vintage kitchens are having a moment

THE ADVERTISING ARCHIVES; JOHN LEWIS OF HUNGERFORD

In bright shades and about the same cost as a family car, fitted kitchens were the height of luxury and modernity in a Britain still recovering from post-war austerity

When the first fitted kitchens went on sale in the 1950s, Mad Men -style advertisements promised a glittering world of convenience and glamour. Evershinier appliances would deliver delicious meals to a smiling family, while the happy housewife floated effortlessly around, perfectly dressed and coiffed. Of course, domestic goddessery didn’t quite deliver bliss to all, but the appeal of the shiny new kitchen was powerful. In bright shades and about the same cost as a new family car, fitted kitchens were seen as the height of luxury and modernity in a Britain still recovering from post-war austerity. Now, more than 60 years on, a new generation is discovering the allure of these vintage designs. Bristol-based Source Antiques is one of the only companies in the UK that restores and fits original mid-century kitchens today. As Source’s Tom Donaldson explains, “These sleek, fun kitchens were lapped up hungrily by people who wanted to express themselves and show off. Today we sell to everyone from couples in their seventies to restaurants, from 1950s enthusiasts to trendy folks in London who want them for their loft apartments. The appeal is pretty wide-ranging.” English Rose, the kitchen brand that Source uses, was one of the most sought-after names at the time, with units produced in Warwick from aluminium left over from making Spitfire nose-cones. “Found throughout the world in the homes of discerning people who recognise nothing less than The Best”, their advertisements proclaimed. Today, English Rose sales are booming: John Lewis of Hungerford manufactures English Rose-style kitchens, enthusiasts bid aggressively for units on sites like SalvoWEB or eBay, and Source has a steady flow of clients. “My father first took a punt on an English Rose kitchen about 15 years ago”, says Tom. “He put it in our shop window in Bath and within two days it was sold. Since then we’ve started stockpiling them and over the years we’ve really advanced our restoration techniques. We used to just spray-paint the units,

Opposite: 1950s glamour with John Lewis of Hungerford's Crème de la Crème collection

Above: a 1958 English Rose magazine advert extols the virtues of a fitted kitchen

but now it’s about stripping everything down to the metal, replacing every single screw and repolishing every little bit of chrome. The whole process takes two months.” The average cost is around £15,000. The aesthetic appeal of these kitchens is clear: a quick look at past Source projects reveals a riot of colour – bright yellow units, orange worktops, aquamarine door fronts and traditional Bakelite handles. There are unexpected upsides, though, to veering away from today’s mass-produced offerings. “The quality of vintage kitchens is unmatchable today,” says Tom. “They were made of pine, beech or hardwood, but today you’re often looking at chipboard or MDF, which degrades much more quickly over time. Vintage units are smaller, so that also makes them great for small spaces and galley kitchens. I’ve got a black-and-aquamarine one on my narrowboat, and it’s my absolute favourite thing.” With high-profile enthusiasts ranging from singer Paloma Faith to actor Clive Owen, and a buoyant vintage market, the appeal of 1950s kitchens is growing fast year on year. It seems a nation of domestic goddesses – and gods – is in the making. source-antiques.co.uk; john-lewis.co.uk

SHORTS CRAFT BEER

Forget dodgy 1970s home brew – today’s craft beer enthusiasts are taking a new DIY approach: renting equipment in microbreweries to create their own bespoke ales. By Adrian Tierney-Jones

The British craft beer revolution goes from strength to strength, with brews concocted everywhere from urban railway arches to bucolic microbreweries. Goodwood, of course, has its very own trio of tasty beers, made using the farm's organic malted barley and hops – Sussex Lager, Festival Lager and Sussex Ale – but wouldn’t it be fun to have your own brewery, you might think to yourself as you savour a cold, crisp pilsner after a day’s hard slog, or admire a hoppy IPA on a Saturday afternoon. If you’re nodding as you read this, you’ll be pleased to know that a growing trend in the everburgeoning world of craft beer is for people doing just that – but without the considerable expense, effort and expertise that commonly goes with it. It’s like home brewing, just not in your home and with much better kit. How? Simple – you just rent the equipment in a professional brewery and concentrate on coming up with a catchy name for your first blonde beer. Stewart Brewing in Edinburgh is one such place – its Craft Beer Kitchen pairs a group of enthusiasts with one

Wouldn’t it be fun to have your own brewery, you might think to yourself as you savour a cold, crisp pilsner after a day’s hard slog

Above: the rise of ‘open breweries’ means that enthusiasts can create their very own craft beer

GETTY IMAGES

hoppy days

of the company’s brewers, who will accompany them every step of the way to making a bespoke beer. Further south in East London, there’s Brew Club, whose members are keen on making hoppy pale ales alongside traditional English styles. Then there’s UBREW, an “open brewery” in London founded in 2015 by Wilf Horsfall and Matt Denham. “We wanted a space to brew our own beer without trashing our kitchens and annoying partners,” says Horsfall. “We did an initial crowdfunding campaign to see if we could rent a small shed in East London to subsidise our own brewing costs and got 300 per cent of our £3,500 target. We then followed this up with an equity raise of over £100,000, which enabled us to set up on the Bermondsey Beer Mile. We sold out of our membership scheme within the first month and have only recently started to be able to offer this on a regular basis.” The way UBREW works is that aspiring brewers join a group membership scheme (usually five people), which allows them to come up with a beer recipe and produce it on a 35-litre kit. It doesn’t matter if you don’t know your mash tun from your elbow: whether you’re a novice or a know-it-all, staff will be on hand to give as much or as little guidance as you require. Rob Dagley is a keen member of the scheme, having been given a UBREW course as a present (the company also offers brewing lessons). He then became a member with three friends. “We’ve been brewing for almost a year now and have done a dozen brews including a single hop IPA, a stout and a raspberry Weisse,” he says. “And I’m happy to say we’ve had no disasters.” You may know that Goodwood is already ahead of the trend, as the estate has been brewing award-winning organic beers in conjunction with Horsham brewery Hepworth & Co for some time. So this is a bandwagon well worth jumping on. In fact it almost feels like it might be time to form a collective… Goodwood ales and lagers are available from Home Farm (farmwholesale@goodwood.com)

DAW N

B L ACK BADG E For the fearless, the rebels and the risk-takers. Iconic silhouettes are intensified. Performance is enhanced. A darker aura emerges. Dawn Black Badge is temptation itself. Contact us to experience the uncompromising allure of Dawn Black Badge.

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

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

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

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

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

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

Official fuel economy figures for the Rolls-Royce Dawn Black Badge: Urban 12.3mpg (22.9l/100km). Extra Urban 28mpg (10.1l/100km). Combined 19.2mpg (14.7l/100km). CO2 emissions 337g/km. Figures are obtained in a standardised test cycle. They are intended for comparisons between vehicles and may not be representative of what a user achieves under usual driving conditions. ÂŠ Copyright Rolls-Royce Motor Cars Limited 2017. The Rolls-Royce name and logo are registered trademarks.

SHORTS STYLE

take the lead Make sure your canine companion is stepping out in style with our carefully curated edit of designer dog-collars and luxe leads From left Black leather dog collar, £20, Barbour International, at Barbour; Amalfi blush/tan dog lead, £95, Mungo & Maud, at Harrods; Amalfi cornflower/navy dog collar, £73, Mungo & Maud, at Harrods; Signature dog leash, £98, Shinola, at shinola.co.uk

Photography Mitch Payne

Will the world always be this unpredictable? Am I prepared? Or do I need to rethink? Right now, the only certainty is uncertainty. So the temptation is to do nothing. But your plan may no longer be the right one. Together, we can navigate a changing future. Now there’s a thought. For some of life’s questions, you’re not alone. Together we can find an answer.

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

SHORTS DRONES

aerial art

CARLO RATTI ASSOCIATI

From holiday photography to wildlife monitoring, drones are revolutionising modern life. Now artists are using them to take their work to new heights. By Paul Croughton

An Italian architect has devised a way of using drones to paint large-scale murals where the sky is, almost literally, the limit

From the beautiful aerial landscapes painted by the Carline brothers during World War I to Peter Lanyon’s 1960s gliding paintings, aviation has inspired artists for more than a century. Now, in the era of drones, things have gone one step further: the aircraft are not just providing the view, they’re actually creating the art – in this case, great big towering walls of it. In the world of street art, it used to be that you could paint only as high as your spray can, ladder or scaffold, could reach. No longer. An Italian architect has devised a way of using a fleet of drones to paint large-scale murals where the sky is, almost literally, the limit. It’s a development that could have been born at this year’s inaugural FOS Future Lab, where flying vehicles and autonomous racing cars were revealed, alongside the world’s most advanced 3D printer. But instead, this is the work of Milan-based Professor Carlo Ratti, whose system is called Paint By Drone and puts to work a fleet of unmanned aerial vehicles (UAVs, or drones to you and me), each with its own tank of paint. They all paint with CMYK colours (cyan, magenta, yellow, key/black), replicating traditional printing set-ups. The artistic process is – somewhat inevitably – controlled by an app, which co-ordinates each drone and can recreate any piece of art that has been programmed into it. Alternatively you can draw on the app, and watch as the drones bring to life your brush strokes in real time. Carlo Ratti Associati has employed drones before: in 2013 the firm’s project Skycall used UAVs to guide students and visitors around the MIT campus in Massachusetts. “With Skycall, we investigated two main development paths of UAV technology: a drone’s capacity to autonomously sense and perceive its environment, and its ability to interface and interact with people,” Professor Ratti tells us. A year later, New York graffiti artist KATSU created a spray-can-wielding drone to paint at altitude, but his work lacked finesse – more Pollock than polished. Now Professor Ratti’s “phygital graffiti”, as he calls it (with a nod to his favourite Led Zeppelin album), aims to transform unloved scaffold sheeting or building facades into “a space to showcase new forms of open-source, collaborative art. It’s the idea of leveraging digital technologies to create participatory works of public art, especially in cities’ outskirts, to give them new life.” The fruits of this project will be seen towards the end of the year when two installations are revealed in Berlin and Turin, using local talent to come up with the final designs. The location is yet to be finalised but, as Professor Ratti explains, “The great thing about our system is that it can paint anywhere…” carloratti.com

SHORTS COLLECTIBLES

old sport

GETTY IMAGES

Beautiful sporting artefacts steeped in history are in high demand. Some are even finding their way back to the playing field, says James Collard

A cartridge magazine, hand-crafted in leather – all the more handsome for the patina of age and a dent or two from a shooting party that happened decades ago; gun cases – long and thin, or in the curvy shape known as “leg of mutton”, by Holland & Holland or Purdey; hip flasks in alligator or plain silver; polo mallets from the 1930s; a whip case in the shape of a horseshoe; leather wallets of flies, lovingly arranged by a long-dead sportsman… The paraphernalia of British country pursuits, as made in their late Victorian and Edwardian heyday, has become increasingly collectible – and the good news is, these beautiful artefacts are largely being bought by collectors who enjoy those pursuits today. “We have a very international clientele,” says Tim Bent of Knightsbridge antique shop Bentleys, which specialises in this type of equipment. “But I find that most customers are buying vintage sporting goods for houses or estates in this country. There is a definite hunger for authenticity in the market – and you can’t beat the quality of hand-crafted vintage leather, whether it be trunks, cartridge magazines or Chesterfield sofas.” Some pieces, such as gun cases, cartridge magazines and accessories, are intended for use in the field. Others, it seems, are ornamental. “Our clients are looking for pieces to decorate shooting rooms, hunting lodges and fishing huts,” explains Bent. Perhaps, as much of today’s sporting equipment becomes increasingly high-performance and hi-tech, there’s a certain romantic appeal to a fine old fishing rod – the kind of rod our great-grandfathers might have fished with. What’s more, the craftsmen of that era spent decades perfecting their skills, furnishing a class of leisured but passionate sportsmen and sportswomen with the best possible equipment for their country pursuits. “Today,” says Bent, “even though many of the materials – the vegetable-tanned leather, hand-cast brass fittings and stitching techniques – remain the same, it’s much harder to find the quality of craftsmanship that existed in the 1880s.” So is there anything that makes items especially collectible? “The patina of the leather is important,” says Bent. “And the historical context. It could be the story behind a piece – perhaps a geographical reference, such as a gun case from the estate that you shoot at. But it’s also worth noting that collectors will pay more for pieces that belonged to one of the heroic sporting figures of that golden era. A gun case, for example, that once belonged to the noted shot Lord Ripon recently fetched £2,500.” bentleyslondon.com

VINTAGE SPORT

Big How a Goodwood hero went global

Orange â&#x20AC;&#x201C; a year in the life of a racehorse, by Sean Magee

Photography Tina Hillier

The twelve months separating his Goodwood Cup appearances had seen Big Orange established not just as an equine national treasure, but a global star

Above: Big Orange has an experienced back-up team – notably his groom, Twyron Lloyd-Jones

An air of excitement pervades the Newmarket yard of Michael Bell. It is late July 2017, and there are just days to go before Big Orange will attempt to become the only horse to win the Goodwood Cup over three consecutive years. His genial trainer has hit the jackpot before, when he landed the 2005 Derby with Motivator. But training this giant six-year-old, and seeing him perform in races all around the world, affords a different form of satisfaction. Bell is beaming as he and his grey hack Miller, a familiar sight on the Newmarket training grounds, escort his string of horses – their rugs bearing the monogram “MWB” – back to Fitzroy House Stables after their morning exercise. He’s got plenty to smile about. Big Orange has just shown his pre-Goodwood wellbeing up the famous Warren Hill gallop. God’s in his heaven, all’s right with the world – and although we now know, with the benefit of hindsight, that a horse called Stradivarius would get between this popular favourite and the triple, the 12 months between those two Big Orange appearances in the Goodwood Cup had seen this horse established not just as an equine national treasure, but also a global star. He is one of a small number of racehorses who, like elite athletes, have a global following and perform in races around the world – a group of travelling all-stars,

supported by expert handlers, adding lustre to races from Hong Kong to Melbourne. Right now, however, Big Orange is looking very much at home at the yard in Newmarket, where later that morning, in the run-up to Goodwood, visitors who ask to pay their respects are happily indulged by Bell’s smiling staff. Sensing the approach of yet more admirers, Big Orange sticks his head over the box door, and you’re immediately struck by the improbable height from which that head pokes out. It’s one thing to have cheered Big Orange home from the stands or the sofa; another to appreciate the sheer scale of the horse by standing close in to him. He measures 17 hands high – in lay terms, 68 inches tall at the shoulder – and he looks more like a three-mile steeplechaser than a Group One-winning stayer on the Flat. But one of the time-honoured racing clichés is that handsome is as handsome does, and Big Orange’s career has a magnitude to match his size. By the time he ran at the Qatar Goodwood Festival of 2017, he had won nine of his 24 races – including a pulsating defeat of the favourite, Order Of St George, in the Gold Cup at Royal Ascot – and won the prestigious Princess of Wales’s Stakes at Newmarket’s July meeting twice. His successes in big marquee races ensured that as well as a lively programme of British races, in the 12 months between the two Goodwood festivals the horse earned thousands of air-miles. The history of long-distance racehorse travel essentially began in the early 1950s with the founding of the Washington DC International at Laurel Park, Maryland, where some of the world’s best horses went in pursuit of big money. The most distinguished winner from overseas was Derby winner Sir Ivor, ridden by Lester Piggott, in 1968. But it was in the Eighties that it started to establish itself as a major new dimension to the sport. The Breeders’ Cup, the peripatetic American end-of-season jamboree which each year attracts many European raiders, began in 1984. The following year’s 47

BIG ORANGE

The more horses fly in planes, the more they get used to it. The logistics of delivering a racehorse to a distant land are now well established

event saw the first British-trained winner, Pebbles, and today it is the natural target for the cream of the world’s thoroughbreds. The Australian scene is dominated by the Melbourne Cup, the fabled two-mile handicap run on the first Tuesday of November, while Hong Kong has been gradually establishing itself. The Hong Kong International Races in early December regularly attract runners from Europe, Australia, Japan and South Africa. Several factors underlie the spectacular development of horseracing on a global scale. The more horses fly in planes, the more they get used to the experience, while the logistics of delivering a racehorse to some distant land are now well established. If a horse is trained in Newmarket, it’s likely he will travel by road to the airport – probably Stansted – where he will be transferred into the pallet, a sort of portable horsebox. This is lifted into the aircraft – usually a freight plane but occasionally a “combi” which is also carrying human passengers – and from then on the in-flight care is essentially a question of keeping the passenger physically hydrated and mentally calm. The horses are, after all, the star turn, and just as rock festivals need big names, so the big racing festivals need the presence of well-known competitors from around the world. As with any global rock star, Big Orange has a back-up team, notably Twyron Lloyd-Jones, his groom, and Gill Dolman, a stalwart of Fitzroy House Stables who is highly experienced at getting a horse from A to B. That Big Orange has joined the planetary elite is all the more remarkable when you consider that as a youngster he was so unprepossessing, he nearly didn’t pursue a racing career at all – the equine equivalent, if you like, of the Ugly Duckling. “Big Orange was homebred by his owner Bill Gredley,” Bell explains, “and I had trained his mother Miss Brown To You. She wasn’t particularly good, but she did win a one-mile maiden... Big Orange’s sire was Duke Of Marmalade – hence the name – and the combination of unfashionable sire and very ordinary dam meant that Big Orange was highly unlikely ever to make a stallion. So Bill had him gelded as a yearling and had him broken in a pre-training yard near Newmarket, which is where I first set eyes upon him. He was obviously very immature. In fact he was downright ugly: very tall and weak, and to make matters worse he was a box-walker,” – that is, he constantly walked round and round his box, a sign of nervous agitation. “Eventually Bill decided to put him into training,” Bell continues, “and he’s gradually filled his frame. But in some ways 48

A year in the racing life of Big Orange

28.07.16

Goodwood Cup (1st)

01.11.16

Melbourne Cup (10th)

11.12.16

Trainer Michael Bell with Big Orange, the ‘ugly duckling‘ that grew into a champion racehorse

he’s like a gangly teenager, still coming to his peak.” There’s more to being a racehorse than just the ability to run fast, of course, and Big Orange’s placid temperament is key to Michael Bell’s decision to “travel” the horse so regularly. In autumn 2015 Big Orange made the long journey to Australia to run in the Melbourne Cup. Ridden by Jamie Spencer and starting at the insulting odds of 60-1, he ran a storming race to finish fifth out of the 24 runners, just two and a half lengths behind the winner, Prince Of Penzance. “Kept on gamely under pressure,” read the form-book, and the blow of travelling so far to finish unplaced was softened by fifth-placed money to the tune of £91,623. (The owner of the 100-1 winner pocketed over £2.5 million.) After resting through the winter, Big Orange was off on his travels again in spring 2016, this time to Meydan, where on the night when California Chrome won the Dubai World Cup, Big Orange ran a superb race to finish runner-up to Vazirabad in the two-mile Dubai Gold Cup. Such a performance gave encouragement for other trips, and so after winning his second Goodwood Cup, his next four races were all overseas. On his return from Hong Kong, and with no race on the programme for the immediate future, Big Orange

25.03.17

Dubai Gold Cup (4th)

25.05.17

Henry II Stakes at Sandown Park (1st)

01.08.17

Goodwood Cup (2nd)

RACING POST/EDWARD WHITAKER; DOMINIC JAMES PHOTOGRAPHY; GETTY; RACINGFOTOS.COM; PA IMAGES

Hong Kong Vase (11th)

BIG ORANGE

Although he’s earned plenty of air miles, he hasn’t clocked up many miles on the track. He enjoys being a racehorse

was allowed a short holiday. Not that he really wanted one. “He was given a month off,” recalls Michael Bell, “but he is happiest in his box, and doesn’t do particularly well when turned out. He’d rather be in work, which suits us, as the less time off you give a horse, the less he loses his fitness. “The key to this horse is that we’ve kept him mentally fresh, and although he’s earned plenty of air miles, he hasn’t clocked up many miles on the track. He enjoys being a racehorse.” Then March 2017 brought another trip to Dubai, and another defeat by Vazirabad, this time into fourth, in the Dubai Gold Cup – and another £40,000 in the kitty. So what qualities make Big Orange such a good traveller? “Until a horse undertakes a long-haul flight you cannot be sure that he will have the physical constitution or the mental ability to cope with what can be quite an ordeal. Big Orange has both in abundance. Going to Australia was especially demanding for him, as he had to stay in quarantine in Newmarket for two weeks before setting off, and then the flight, door-todoor, took 27 hours. Horses adapt remarkably well to long flights, but there is always the risk of respiratory problems.” But only once has Big Orange had a bout of potentially serious travel sickness – on his way back from Melbourne in 2015. “He spiked a very high temperature on the flight,” says Bell. “But luckily the vet was completely on the ball, and on his return, Big

Orange was treated with antibiotics for a week at the equine hospital before coming home to Fitzroy House.” There are several ways in which intercontinental travel for racehorses is becoming easier: advances in in-flight health care, for example, or improvement in the design of the pallets. In any case, Bell stresses that international equine travel is as much about the owner as the horse. “You’ve got to have an owner who’s adventurous enough to take a punt. The prize money on offer is considerable, but so can the expenses be.” And to illustrate the point, he digs out the documentation regarding Big Orange’s trip from Newmarket to Melbourne – one way, via Amsterdam, Sharjah and Singapore – for the 2016 Melbourne Cup. The cost was just shy of £28,000 – just for the horse. In addition, owner, trainer, jockey and groom need to be accommodated. The economics of races vary. For some major international festivals – the Hong Kong International Races, for example, or the Dubai Racing Carnival – expenses for horses and humans are met in part or in full by the hosts. For other occasions – such as the Melbourne Cup or Breeders’ Cup – the owners stump up for themselves and the horse’s entourage. This spring, after a short rest on his return from Dubai, Big Orange led all the way to land the Henry II Stakes at Sandown Park, and then he achieved the biggest win of his career when just holding off Order Of St George to win the Gold Cup at Royal Ascot by a short head. But sadly the latest chapter in the fairy tale did not go according to plan. Big Orange led for most of the way in the 2017 Goodwood Cup, but then along came a party-pooper in the form of the three-year-old Stradivarius, who carried 13lb less than Big Orange and beat him by a length and three quarters. That defeat did nothing to diminish the sheer love which Big Orange attracts in the racing community – and in his trainer. “To win two Princess of Wales’s Stakes, two Goodwood Cups and the Gold Cup is wonderful,” says Michael Bell. “He has taken us on an amazing journey.” Goodwood’s Racing Season Finale is October 15

DOMINIC JAMES PHOTOGRAPHY

Big Orange celebrates his second Goodwood Cup victory in 2016

Reviv Dafydd, 29, RAF vehicle mechanic Revival role: flight sergeant, Battle of Britain pilot 54

‘The moustache? I grew it a few years back for Movember but it worked so well for Revival. My warrant officer gripped me one day and told me if I wished to keep it as a permanent fixture I’d have to fill in a form.’

alists Elle, 36, secondary school teacher. Revival role: WW2 US Flight nurse

‘I’m a collector of WW2 military clothing. The flight suit, shirt, tie and cap I’m wearing here are original and the sunglasses are 1930s. This was my first time at Goodwood and the highlight was winning the best-dressed competition on the Sunday.'

REVIVALISTS

Russell Cobb’s portraits of Goodwood’s most enthusiastic Revivalists reveal a passion for dressing up and an exacting obsession with wartime sartorial detail. By Paul Croughton Photography Russell Cobb

“There’s an actor in everyone,” says Russell Cobb, and he should know. The award-winning illustrator-turned-photographer has spent the past five years documenting the men, women and children who spend their spare time – and sometimes all their time – dressed in period clothing. Those shown here were all photographed at Goodwood Revival in 2015 and 2016, their particular passion being, as you see, World War II. According to the National Association of Re-enactment Societies, some 18,000 people are actively involved in the UK in a pastime that, to outsiders, can seem quite bizarre. So what’s the fascination? For Cobb, a childhood watching war films, reading comics and listening to his grandfather’s stories generated a passion for history, which he shares with his subjects. Which meant he was drawn to observe, sketch and document these people – and join in. Rather than using a long lens like other photographers, he “kitted up as well, as that’s what gets you over the wire and earns their trust”, he says. The best way to fit in is to procure an authentic outfit, right down to the buttons or insignia. “The first group I joined were German soldiers,” Cobb remembers. “D-Day 1944 era. Everybody is very particular about whether you’re early, mid or late war – particularly at Goodwood. I got told off because I was in the wrong type of battle dress.” “I saw people from all walks of life step into a role and adopt an alternative persona,” he continues. “Everyone from an NHS porter to a chap who works for the Queen. You end up building a relationship, drinking with them after the event, even camping with them. There’s a lot of camaraderie and mutual respect.” For Cobb, revivalists are eccentrics, part of a great British subculture of obsessives. And it’s not always just Brits. “I spoke to a French friend and he said they just don’t have this in France. And World War II re-enactment isn’t allowed in Germany – there, it’s mostly medieval. So they come over here and join in,” Cobb says. For most, dressing in period clothing is a hobby, albeit a passionate one. “The attention to detail these guys have is unbelievable,” he says,

“and their historical knowledge is vast.” For a few, however, it has led to a further career in TV and film, either as extras or as historical experts, drafted on to sets to ensure accuracy. Richard “Dicky” Bass, 26, is a reenactor and costumer who is hired by film studios to assemble outfits and ensure authenticity. His credits include The Legend of Tarzan, the forthcoming Churchill biopic Darkest Hour, and Allied with Brad Pitt – on whom he made quite an impression. “I was asked to show Mr Pitt the proper saluting technique, and I was wearing a cropped, Americanmade, suede jacket that I’d found in a charity shop. It transpired that Mr Pitt took rather a liking to my jacket and it’s no coincidence that the one he wears in the film closely resembles my own!” Bass came to re-enactment through watching black-and-white films with his father and then, his interest in World War II ignited, “My mother did a first-class job of nurturing that spark with Action Men, history books and my own pint-sized uniforms,” he says. He now has a wardrobe that spans two rooms, a barn, a stable and two sheds, and he was the proud winner of Goodwood Revival’s “Best Dressed” award last year. “I wear vintage, or vintage-inspired, clothing every day,” he says. “A large proportion of my wardrobe consists of original 1930s-’40s pieces. I guess it’s because they were built to last, both in design and manufacture. “Most re-enactors immerse themselves in the mindset of the people they’re portraying,” he adds. “A huge part of what we do is to educate the public on what it was like. But you also want to experience the trials and tribulations of that character yourself – carrying a full pack, eating the same food. Which is why in 2014 I organised a march in the footsteps of the 2nd Battalion, Essex Regiment, from their landing point on Gold Beach, over two days, to the point of one of their most fierce battles at a town called Tilly-sur-Seulles. We slept in the same ditches outside Bayeux and even posted sentries throughout the night. It’s these experiences that really help you evolve as a re-enactor.” The Best Dressed competition takes place at Goodwood Revival from September 8-10; cobbphoto.com

Steve, 68, retiree Revival role: RAF Battle of Britain pilot, Squadron Leader ‘George’ Darley

'I don’t normally represent an individual person, but this time I did - Darley was the commanding officer of 609 Squadron of the Auxiliary Air Force. I’m wearing a Service dress cap, and a white roll neck submarine sweater. For me, the best thing about Revival is the number of vintage aircraft. 2015 was especially gratifying as it was the 75th anniversary of the Battle of Britain.'

REVIVALISTS

Bradley, 24, owner of historical display team Revival role: RAF airman 1943

‘A lady came up to us once and started talking about her father flying Spitfires during the war. Moments later, he appeared, put down his walking stick and hopped into the cockpit. Later, as he shook my hand before leaving, he said, “Thank you for keeping our memory alive.”’

Kitten, 37, stay-at-home mum and 1940s/’50s singer and model Revival role: RAF – with a burlesque twist 'This is my famous RAF corset costume – with a steel-boned corset made from an original RAF jacket. I wear it to sing at Revival. Singing to Stirling Moss, Jackie Stewart and Murray walker is one of my Revival highlights.'

Sam, 20, apprentice electrician Revival role: offduty fighter pilot 'I am wearing a standard issue RAF side cap with a cricket jumper and scarf. The best thing abut Goodwood Revival is about being so close to the planes â&#x20AC;&#x201C; and talking to the pilots.'

Claire, educator at Castletown D-Day Centre Revival role: female American war correspondent

â&#x20AC;&#x2DC;We have a number of period cameras and a press camp set up as accurately as possible, as we portray the US female war correspondents and the hardships they faced. I'm very passionate about educating the next generation about war and the effect it had, not only on those who fought but also on civilians.â&#x20AC;&#x2122;

REVIVALISTS

George, 79, retiree Revival role: General Patton

‘In 1992 I met General Patton’s granddaughter Helen in Nehou, France, which was the general's camp during World War II. We’ve been friends ever since. I’ve visited the Patton family in Massachusetts. I created and run the Patton Appreciation Society, and I’ve just finished writing a book about the general, called Patton: Fact or Fiction.’

Dicky, 26, freelance costumer Revival role: lieutenant in the Fleet Air Arm 'Growing up and watching dashing, daring and charismatic characters brought to life in war movies by John Mills, Richard Attenborough and a host more made me fall in love with both British cinema and military history. I became interested in all aspects of that period â&#x20AC;&#x201C; the vehicles, the music and especially the clothing.'

WALKING

Country walking has enjoyed a renaissance in recent years. And it’s easy to see why: it’s healthy, free, therapeutic and, declares enthusiast Alan Franks, good for the soul Illustrations by Melvyn Evans

Wild at heart It was JB Priestley, the author of the 1934 classic English Journey, who spoke of the “skull cinema” when describing the meditative effects of putting one foot in front of the other for hours on end in the open countryside. True, Priestley was doing much of his legwork through the dire urban streets of the Great Depression but here again walking was the best way to the heart of the matter by being the simplest. You are your own vehicle, unencumbered by the machinery of other transport, and there are times and places when this plainest of facts can strike you with the force of a revelation. Never more so than now, on a small island which over the past half-century has seemed bent on imprisoning itself. The choked ring roads, the jam as standard, the motorways transformed into linear car parks, the powerless rage of the drivers in their over-mighty cars; all these symptoms of strangulation have led to a rearguard action by the footsoldiery of Britain, taking to the highways and holloways with the zeal of an occupying but benign force. For while walking may give the impression of being a timeless pursuit beyond the reach of trends, it is now enjoying what observers of fashion would call “a moment”. And if people aren’t actually doing it themselves, they are reading about it from others who do. The new wave of nature books attests to this, none more emphatically than Florence Williams’ The Nature Fix and Robert Macfarlane’s revisiting of The Old Ways in 2012, which revealed the origins and biographies of the nation’s ancient paths. These may head the field of classy pedestrian authorship, but there are others at their shoulders. They include Simon Armitage, who wrote Walking Home, a poetic account of doing the Pennine Way “the wrong way” – ie, north to south; Rachel Joyce, author of The Unlikely Pilgrimage of Harold Fry, a novel about a man walking the length of the country in order to hand-deliver a letter to a dying ex-colleague; and Keri Smith with her celebration of walking’s imaginative stimulus in last year’s much-praised The Wander Society. The success of such titles has also brought fresh readers to many of the genre’s late great practitioners, such as the restlessly inquiring Patrick Leigh Fermor, who crossed Europe on foot, and the cultish literary rambler WG Sebald.

Robert Macfarlane comes the way of JB Priestley and John Hillaby, author of Journey Through Britain in 1968 about his walk from Land’s End to John o’Groats, avoiding all metalled roads (with the exception of 11 miles in the West Midlands). Macfarlane, who came to prominence with his book The Wild Places in 2007, pays tribute in turn to a great walking writer of the previous century, Stephen Graham, who wrote that “as you sit on the hillside or lie prone under the trees of the forest, or sprawl wet-legged by a mountain stream, the great door, that does not look like a door, opens.” This metaphorical door might have slammed shut more often in Macfarlane’s face if he had not enlisted the advice of the extraordinary Roger Deakin, author of Waterlog, a book about swimming his way through Britain. Macfarlane’s search for wildness was doused in poignancy by the fact that his mentor was dying. This sad reality grafts itself onto the writing as an emblem of urgency, finiteness, imminent vanishing, of not knowing what you’ve got until you lose it. What distinguishes much of the new writing is not simply its powerful evocation of the natural world, but its ability to focus on nature as a moral, physical and even spiritual force for good in our lives. If the vision of these authors is a broad one, this is partly because they stand on the shoulders of such varied giants as the Cumbrian fell-walker Alfred Wainwright MBE, the early twentieth century Hampshire poet Edward Thomas and John Clare, the so-called “Peasant Poet” of Northamptonshire in the nineteenth. Like the impassioned voices of today, these writers conveyed the sense that to damage or diminish the countryside is to inflict a wound on the body and soul of humanity. Such a view has gained new impetus from some of the ideas emanating from neuroscientific research. You may have missed the April issue of the US online journal Neuroscience News, but it carried an article headlined “How Walking Benefits The Brain”. This asserts that it’s not just your heart and muscles that gain, but that “the foot’s impact sends pressure waves through the arteries that significantly modify and can increase the supply of blood to the brain”. Today, woodlands enjoy a particularly revered status, with “forest-bathing” a key item in the urban stress victim’s

'It’s hard not to feel the pull of a grounded reality when you’re dipping into a muddy trail or a flowing river'

armoury of soul-soothing activities. Florence Williams’ much-lauded The Nature Fix has become a central text in the current, heartfelt quest to reconnect with nature. Her arguments are so intense, her reasoning so visceral, that to read her is to encounter, well, a force of nature. “I’m no tree hugger,” wrote the New York Times’ critic, “but The Nature Fix made me want to run outside and embrace the nearest oak. Not for the tree’s sake but for mine.” The point to which her book repeatedly returns is that the appreciation of nature is not so much some decorous contrast to our cities’ clogged grids but an absolute necessity for our survival; even limited exposure to the living world has a direct and immediate effect on the state of our cognition. “Perhaps what matters,” she writes, “is not the source of (our) stress, but the ability to recover from it. This is a key point because it’s perhaps what we’ve lost by giving up our connection to the night skies, the bracing air and the companionate chorus of birds. When I’m walking across a pleasant landscape, I feel I have time and I have space. I’m breathing deeply things that smell good and seeing things that bring delight. It’s hard not to feel the pull of a grounded reality when you’re dipping into a muddy trail or a flowing river.” Williams makes approving mention of a project called Mappiness, launched in 2010 by a Sussex University economist called Dr George MacKerron, an aim of which was to assess the part played by place in the happiness, or otherwise, of his 20,000 participants. One of the biggest factors turned out to be where you are, rather than who you are with or what you are doing. Elsewhere she reminds us that Jesus, Buddha and Reese Witherspoon (in the guise of author Cheryl Strayed) all went to the desert to seek wisdom. One of Williams’ spiritual forbears is the author Richard Mabey. Still best known for his encyclopaedic Flora Britannica, a sort of Domesday Book of the nation’s plant life, he has been credited with doing for botany what Elizabeth David did for cooking. But it was a smaller and more personal volume of Mabey’s, called Nature Cure that restated the sense of connection between the state of nature and our own mental and emotional condition. Mabey had suffered a serious breakdown, brought on in part by a painful deracination from his childhood home. There is a parity between his own lowness and that of a swift that he once found stranded in an attic. He saved its life by flinging it out into the open air, allowing instinct to reassert itself. The book sees him treating himself with the same bracing compassion. Although I am writing this in suburban Surrey, I am also three-quarters of the way between the Paddington Basin in West London and Gas Street in Central Birmingham. If you had caught me at another time, it might have been at one of the villages of the South Downs Way between Chichester and Eastbourne, or else somewhere along the rugged Pennine Way, that seminal route in the tremendous evolution of Britain’s postwar footpath network. It begs the question: “Why?” I take the points made by Williams, Mabey and others, but there is another answer, and it remains as good as any. It is the one given by George Mallory when he was asked in 1923 about the slightly hillier proposition of Mount Everest: “Because it’s there.” The

WALKING

If ever you doubt what a sociable, talking-shaped thing a long walk can be, look to your Chaucerian prototypes

joy of it lies in things such as these: the taking of the train that sneaks you out, empty against the rush-hour tide; the plotting of the day’s stretch, anything between five and 15 miles; and discovering the near-secret lives of rural bus timetables. The Ramblers, formerly The Ramblers’ Association, boasts more than 120,000 members. The name remains as deceptive as ever. Throughout its 80-year life its positioning and campaigning have not rambled at all, and it has waged bitter, timeless-feeling wars with all manner of corporate or civic bodies that have had the nerve to threaten the walker’s right of way. So-called leisure pursuits don’t come more serious, more resonant with historic struggle, than this. Some would go further, arguing that the truest analogy for walking is nothing less than life, our time on the earth being a passage – whatever our walk of life. In the case of Chaucer’s 14th-century pilgrims to Canterbury, a varied bunch treading what is now M25 and North Downs country, the life stories were indivisible from the travelling. Somewhere between Leighton Buzzard and Milton Keynes, I broke the rhythm of my stretch-by-stretch walk along the Grand Union in order to join the British Pilgrimage Trust, founded just last year on the principle that our holy places are all connected by green lanes and public footpaths. Though the title gives the word a capital P, the organisation’s vision is a more secular one, commending the sheer enjoyment, health and good company to be had. If ever you doubt what a sociable, talking-shaped thing a long walk can be, look no further than your Chaucerian prototypes. The Trust has already compiled an enticing batch of routes. Our own pilgrimage took the centenary of Jerusalem as its motif. Therefore anything or any place with connections to the posthumous lyricist William Blake or to the composer Hubert Parry, who set the two stanzas to music in order to stiffen the national sinews during the Great War, was fair game. Hence it started at Bunhill Fields, location of Blake’s unmarked grave, stopped by at the Royal Albert Hall, where that song is the second-most frequently sung, after the National Anthem; went on through Surrey and Hampshire, calling in at Shulbrede Priory where Parry’s piano stands, and on top of it the original sheet music of Jerusalem. On to Chichester, where Blake just avoided the death penalty on a charge of high treason. On the way we went into churches and pubs and open fields and sang “And did Those Feet…” at the tops of our voices. Which made us wonder, and argue, and dissect: what was, what is, Blake trying to tell us? Did he intend or not intend a question mark after “walk upon England’s mountains green”? If not, then it stands as a statement, and we might have to consider a new nomination for pedestrian patron sainthood. Next week I’ll be back up on the canal’s hard shoulder, wondering whether to do the short stage from Napton-on-theHill to Long Itchington, or strike out all the way to Leamington. Footling questions, but how large they loom on the day. Alan Franks writes regularly about walking in The Guardian. His new play, Looking At Lucian, has been showing at the Theatre Royal Bath this summer

CAR DESIGN

Everything from architecture to national identity goes into creating an iconic car, as Erin Baker learns in conversation with four leading lights of automotive design

CAR DESIGN

The line of beauty 71

CAR DESIGN

’In German design there’s an underlying rational form; French design is too flamboyant; Italians put these together’

“Ave Maria, gratia plena”: the words of the Angelic Salutation, set by Schubert, echo through the ancient gloaming of Modena’s cathedral. The voice is Luciano Pavarotti’s – pleading for the intercession of the Virgin Mary among the UNESCO-protected Romanesque pillars. The year is 2008, just months after Pavarotti’s death, and hearing it in the tenor’s home town, one cannot help but be deeply moved. The reason for my stay in Modena back then was the launch of the previous-generation Maserati GranCabrio. This year, the new version was unveiled at the Goodwood Festival of Speed, timed to mark 70 years of Maserati GTs since the launch of the A6 1500 GT in 1947. It was not just music and aged balsamic vinegar that we had come to experience in Modena with Maserati; it was a taste of Italian culture itself, which is so integral to the marque. Although the age of globalisation is upon us, a swift glance at the world's many car companies still reveals echoes of the countries that created the badges, from the external styling to the feel and smell of the materials inside each model: Bentleys still seek to channel a London gentlemen’s club; DS-badged Citroëns still aim to mirror the sumptuous jewel tones of a Parisian boudoir. Maserati, like Fiat, Abarth, Ferrari, Lamborghini, Alfa Romeo and Lancia, has evolved a design language that is hard to separate from the fabric of Italy. Ever since the arrival in the Fifties of the sumptuous A6G/54 and the 3500 GT, with its wonderful straight-six engine and long wheelbase, its grand tourers have been the stuff of boyhood dreams. They present the archetypal fantasy of free-wheeling across Europe, a long bonnet ahead of you, sharp lines down the flanks, and a curvaceous rump behind. But what is it about Italian design of the Fifties and Sixties that put Maserati grand tourers on the map, alongside such truly iconic Italian models as the Ferrari 250 GTO? Why do these cars grow inexorably in desirability, and how do you capture the aesthetic desire of a car for generations to come? While engineering developments consign chassis and powertrains to the history bin on a regular basis, good styling and perfect proportions are empirically eternal. It somehow comes as no surprise that three of the most famous and successful coach-building design houses of all time are Italian: Pininfarina, Zagato and Giugiaro. These questions come to the fore over a summertime lunch at Goodwood House with Lorenzo Ramaciotti, former boss at the legendary Italian coachbuilders Pininfarina and ex-head of design at Maserati and the Fiat Chrysler group. He expounds on the reasons why Italy, home of opera, pasta and extraordinary architecture, art and fashion, is also the godfather of 20thcentury automotive design. And why, in particular, the Fifties and Sixties were so seminal in this regard. “The Fifties in Italy was a time of great change,” he explains. “The economic boom, the arrival of mass-produced vehicles, and the motorisation of the country – this was the backbone

of the approach. The viability of the country’s coach-building capacity was strong. You could still build speciality vehicles.” For Ramaciotti, design is strictly related to the culture of the country. “German design, for example, is closely related to Bauhaus,” he explains. “The shape is more rational than passionate. French design is too flamboyant. Italian designers put these together: they embrace the practicality of the design but never stop trying to make something with poetry in it. That’s something natural, not the result of a rational process.” The conversation gets me thinking about whether car design is still so influenced by the culture of a nation in its broadest form. Do today’s great automotive design stars take inspiration from the buildings that surround them, the landscape they grew up in, the films they watch, even the food they eat? I track down Klaus Busse, Ramaciotti’s successor as global head of design at Fiat Chrysler Automobiles. He encapsulates a different, more global approach to the heritage behind car design, and presents something of a conundrum for Ramaciotti’s theory. Here is a 48-year-old German, educated in automotive design at Coventry University, who then spent 10 years at Mercedes before moving

CAR DESIGN

Previous pages: Maserati GranTurismo headlight, left, and right, interior of the Zaha Hadid-designed Guangzhou Opera House. Above: the wheel of the McLaren 720S, left, and right, the ‘mechanical versus natural’ McLaren Technology Centre

to America as head of design for Chrysler, and has now landed at FCA, based in Turin, signing off the designs for the new Maserati GranTurismo and GranCabrio. What car design language will such a designer speak – and what cultural influences will come to bear in his work? Perhaps, in the end, this is the effect of globalisation: car companies will become eclectic houses, taking their influences from a mixture of cultures? “I would certainly define myself more as a ‘global’ designer than a German one,” agrees Busse. “I grew up in Germany and studied art and industrial design in Germany, but my transportation design education happened in the UK.” Busse agrees that the Bauhaus movement was a powerful influence on the German design community in general. “Historically, it came right after World War I,” he explains, “when the country was changing significantly, and the design and art community needed to reflect that change – visibly showing that the country was heading into a new direction. It was a very different artistic direction to the one being taken in other countries at the time. The Bauhaus movement tried to radically simplify things and to create something that is

purified down to the essence, with the hope that by doing so they were creating something timeless. They also believed it was fundamental to combine art and craft, to reunite them, in order to create something that is not only highly functional but also aesthetically pleasing.” Speaking of his own designs, he adds: “That purity, which is clearly visible in some of the Bauhaus movement’s bestknown architecture, did not really influence my work. However, the underlying principle of combining functionality and aesthetics most certainly has. In fact I would argue one needs that combination to be a designer, as opposed to an artist. That is particularly true for car design where, at any point of the process, we need to take into account not only the aesthetics of the project we are working on, but also how our customer will be using the car we are designing.” But that seems so at odds with the Italian sensibility of which Ramaciotti speaks, I argue. “The fascinating thing is that when you ask Italian designers to explain it, in most cases, they can’t,” says Busse. “They never studied Italian design or made a conscious decision to create Italian designs – it’s deeply ingrained in their culture. Most Italians spend their holidays within Italy… As a result, the Italian culture is very pure, hardly diluted with external influence, and the inspiration mostly comes from Italian heritage. Whether they realise it or not, Italians grow up surrounded by beautiful architecture, art – this is the country of Michelangelo, Da Vinci – and this becomes part of their body, their mind, and their thinking. “That translates into Italian automotive design as well, where the human aspect is just as important. If you look at a Maserati or an Alfa Romeo, the design is very much influenced by that sculptural heritage where the human touch is of utmost importance. Of course we use the latest technologies to assist us in the design process but we focus our time and efforts on the hand-modelling, sculpting the surfaces by hand to ensure a harmonious design, a smooth transition from side to rear of the different surfaces. If you hand-wash a Maserati, you realise that it was not designed just from one view and certainly not by a computer: as your hand moves around the panels of the car you feel only smooth transitions – no hard edges.” Busse cites architects like Zaha Hadid and Santiago Calatrava as influences. “Their work elegantly combines sculpture and architecture and embraces the fact that visual stimulation can also be part of the building’s functionality. While the original purpose is functional – be it a train station, an airport or an office building – these architectural sculptures often become tourist attractions, as in the case of the Lyon train station [designed by Calatrava] or Zaha Hadid’s Guangzhou Opera House.” At the other end of the sensual spectrum, in many ways, is British car design. Think Land Rover, Rolls-Royce or McLaren… all car marques that translate successfully around the globe,

CAR DESIGN

Above: a close-up on the eye of a dragonfly, which inspired Daniel Simon's design (right) for the Bubbleship in Hollywood sci-fi Oblivion

but with very clean, simple machined surfaces and defined edges, a world away from the lyrical curves of a Ferrari. Rob Melville, McLaren’s newly crowned design boss at just 39, says his approach for this venerable British sports car company boils down to “design and engineering hand-in-hand from the getgo; understanding each other’s objectives (aero, ergo, weight, manufacturing, cost etc) and pulling in the same direction, which makes for a far more cohesive and progressive end product.” His four new pillars for the team are: “Everything For a Reason” (can you imagine anyone at Pininfarina saying that?), “Functional Jewellery”, “Perfect Proportions” and “Always Brave” – the last a design ethos that echoes founder Bruce McLaren’s outlook. “That approach informs what our DNA is and will become going forwards,” explains Melville. “British car design is about simplicity, integration and overall visual reduction. This approach can be seen on the [new McLaren] 720S. It’s a sophisticated technical sculpture integrating aerodynamics, cooling, visibility etc, into a single beautiful whole.” Melville grew up in Leeds, on the outskirts, between the heavy industry and the Yorkshire Dales, and cites the divergent landscapes as his inspirations: mechanical versus natural. “My holidays would be spent working with my dad at his engineering business or walking with my grandparents in the countryside. In both scenarios I would always want to know how things worked.” And what of the man these designers are all in the habit of quoting, the designer whose book adorns automotive styling offices worldwide: Daniel Simon? Currently Chief Design Officer for Roborace, the world’s first autonomous race series, he is also author of Cosmic Motors, a book of wonderful images of fantasy cars that nonetheless have an aura of plausibility about them. His imaginative, glossy designs have led to conceptual work on

Hollywood blockbusters like Tron: Legacy and Star Wars VIII. Closer to home, he also worked on Bugatti special editions. His influences are suitably cosmic and global: “If the Robocar evokes descriptions such as ‘predator-like’, then it rewards my prior inspiration: an aggressive animal ready to jump. If the Bubbleship for sci-fi thriller Oblivion makes the audience think of a dragonfly, then the influence on me of this specific insect has transpired wonderfully.” In fact, the natural world is often a source of inspiration: “I sometimes imagine the object to be designed as a soft mass that’s being forced into shape by wind or water. Influences come from the way trees and roots grow, how evolution shaped a fish or insect, how two liquids mix together.” The world of car design is a kaleidoscope of materials, shapes, colours, patterns and silhouettes inspired by an infinite number of variables: cultures, architecture, nature, emotions… Cars provide arguably the richest expression of design the world has produced, for these machines must express desirability but perform a demanding function, combining power, speed and safety, all at the same time. Car designers are the aesthetic heroes of our generation, but they’re about to enter uncharted territories with the arrival of autonomous and fully electric cars, both of which will demand a different set of parameters in order to function, from fully connected interiors that no longer need a steering wheel or front-facing seats, to platforms that require batteries but no engine or transmission. If anyone can find the forms to express these functions, however, it’s the world’s greatest car designers of our time. Goodwood Revival, September 8-10, includes a celebration of Italian design and the 70th anniversary of the 1957 Nuova Fiat 500, with a circuit parade of Fiat 500s and other iconic Italian cars of the 1950s, along with Italian fashion from the era

GETTY IMAGES; DANIEL SIMON

Cars provide arguably the richest expression of design the world has produced

Mark and Cleo Butterfield are the proud owners of what might well be the finest collection of vintage clothing in Europe, which will be showcased through a live catwalk show at The Emporium every day during Revival

VINTAGE FASHION

Words Charlotte Hogarth-Jones Photography Alun Callender

Right: Mark and Cleo Butterfield, posing in homage to Hockney's Mr and Mrs Clark and Percy â&#x20AC;&#x201C; they own a large collection of Ossie Clark clothing, including the design worn by Celia Birtwell in the painting. Cleo wears Fortuny, Mark a Comme des GarĂ§ons shirt with a Liberty print

The king and queen of vintage

VINTAGE FASHION

‘I’d wear chiffon dresses and walk around London barefoot. I guess it was anti-consumer’

Above: George Harrison in his Apple Boutique jacket. Below: Madonna in Evita, wearing a purple wool jacket from the Butterfields' collection. Opposite, clockwise from top left: an Apple

Boutique design identical to the one worn by George Harrison – or possibly even the same jacket; an unbranded 1920s sequin dress inspired by a Charles Rennie Mackintosh rose design; the fringed Ossie

Clark suit jacket, with print by Celia Birtwell, used by the Royal Mail for its Great British Fashion series of stamps released in the Jubilee year; the jacket worn by Madonna in Evita

TOP: PHOTOGRAPHER UNKNOWN. LEFT: GETTY IMAGES

Kate Moss helicopters in from London to see them; Madonna’s stylist is a frequent visitor; fashion designers from luxury houses and high-street brands peruse their collection for inspiration; Rachel Weisz just bought one of their original Ossie Clark dresses; and yet, for a couple so highly sought-after and revered by the fashion industry, Mark and Cleo Butterfield are a million miles from our stereotypical notion of fashion players, with a pleasing streak of anti-consumerism to boot. “We’re just mad collectors,” says Mark, as we chat over tea and biscuits at the couple’s thatched cottage in the West Country. Enthusiasts, then, rather than fashionistas. “We can’t go anywhere without seeking out a vintage shop – it’s an obsession.” A passion project it may be, but there’s no doubt the Butterfields’ love for all things retro has led to one of the most significant fashion archives in Europe – from delicate Twenties satin honeymoon trousseaux and Thirties tweed suits to Biba gems and a unique collection of pieces by Swinging Sixties designer Ossie Clark. In short, the couple’s addiction to buying vintage clothing has made them custodians of some of the rarest garments to emerge from the 20th century. “It was the V&A that really put us into the big league,” says Cleo, talking about the Ossie Clark exhibition at the museum in 1993 which showed some key pieces from their collection. “We had a lot of his stuff – just because we love it. The cut is amazing, so clever and flattering – and we were selling it on a stall at Hammersmith Vintage Fashion Fair.” Mark and Cleo had already got to know Clark’s friend, the milliner Brian Harris, who convinced the couple to lend to the show. It was there that they first met Celia Birtwell, the designer’s muse and partner, and a significant designer in her own right, with whom they remain on good terms. And then, when the retrospective was over, a flood of Ossie Clark sellers came knocking at the Butterfields’ door. “It was incredible what came out of the woodwork,” says Cleo. “We bought some fabulous pieces.” The couple now open up their archive to the fashion world in exchange for a fee, lend to photo shoots for the likes of Vogue, and provide inspiration and garments to film-makers’ costume departments – particularly for productions with a 1920s or ’30s slant, as those are Cleo’s favourite decades. The Butterfields are also involved in one-off projects – from lecturing at the Royal Albert Hall to collaborating on a collection of commemorative stamps for the Royal Mail and curating an exhibition of iconic fashion pieces that they personally showed to the Queen as part of her Diamond Jubilee celebrations. Right now, they’re busy gathering items for the upcoming vintage runway shows at Goodwood Revival. Options include a 1969 Ossie Clark “Lamborghini Suit”, like the one Twiggy was photographed in, stepping out of a RollsRoyce, in 1970. It’s hard to imagine anything more fitting for Goodwood, though the final choice is still to be made. The story of the couple’s collection begins during Cleo’s teenage years. With a passion for old films and a lack of enthusiasm for the futuristic fashion of the time, she first began buying retro pieces – to wear herself – in 1966, and was soon selling vintage clothes to fund her shopping habit. “I’d wear chiffon dresses and walk around London barefoot,” she recalls. “I guess it was anti-consumer.” A thriving shop in Portobello and then a stand at Antiquarius on the King’s Road helped support her through her degree at the London School of Economics, before she started working in costume for film. Mark, meanwhile, had no interest in vintage fashion and

SUSSEX WINE

GETTY IMAGES

VINTAGE FASHION

Above: Twiggy in 1970 wearing an Ossie Clark ‘Lamborghini suit’. Right: three of the Butterfields' Ossie Clark designs

made his living as a social worker when the couple met in 1996 – at a French country-dancing class. He did, however, have a passion for all things rock ’n’ roll, and once the couple were living together it wasn’t long before he caught the vintage treasure-seeking bug. He pulls out a crushed-velvet, emerald-green suit from one of the many boxes brought out of storage for the photo shoot. “It’s by [Savile Row tailor] Tommy Nutter,” he explains. “It belonged to Maurice Gibb of the Bee Gees, right at the time they were making Saturday Night Fever. Like any bespoke suit, it’s got his name sewn into it, and the date it was made.” There’s also a jacket worn by Madonna in Evita, a 4th century scrap of fabric (which they bought because they couldn’t believe how old it was), shearling jackets, ball gowns, and a 1960s psychedelic-print shirt in synthetic fabric that the couple admit is “particularly horrible”. “This is like wearing your curtains,” Mark continues, producing a patterned 1960s jacket from another box. Originally sold at the Beatles’ famous Apple Boutique in Baker Street, George Harrison wore one like it – possibly even this very jacket. “It’s one of the most expensive things I’ve ever bought,” says Mark. “I found an American woman selling it online. She wanted an enormous amount of money for it. I negotiated down to £3,000 in the end, but can you believe she found it for $10 in a thrift store?”

America, they explain, is where they get their best finds now. On a recent trip to LA, they stepped off a plane and went straight to an enormous vintage fair, almost leaving empty-handed – before catching sight of the metal on a Sixties Pierre Cardin dress glinting in the sunlight at the back of the stall. eBay is another good resource, and buyers now seek the Butterfields out independently as well. But all too often these days, they find that British vintage shops hold nothing for them. “Sometimes I can just stand in a shop doorway and I’ll say, ‘No, there’s nothing here,’” says Cleo. “I see stuff that I think is 1960s and then I realise, ‘Oh, it’s just Topshop,’” adds Mark, “but then I guess we’re partly to blame for that.” Indeed, everyone from Topshop to leading fashion houses sends designers to the Butterfields for inspiration. It’s hard, they explain, to know what to show people. What one person finds interesting, another finds irrelevant, and while it’s nigh on impossible to second-guess the mind of a creative, there’s simply too much stock for one person to work through the rails alone. Of the hundreds of emails the Butterfields receive offering rare pieces for sale, Mark can’t resist following each one up, “just in case”. Chatting to people in shops and at markets, they say, is also key, and it helps that they have the knowledge between them to identify pieces that others often miss. One of their Ossie Clark shirts, for example, bears an Alice Pollock label, but the Butterfields have been chatting to his machinists for years and know that this was an era when a workshop might produce clothes for multiple clients and could accidentally sew the wrong label into a garment. With so much in stock, they focus solely on rare items in perfect condition. “Our advice to any buyer would be: buy the most expensive you can afford, and buy something because you like it. Don’t ever think of it as an investment. To make money out of anything, it has to be in fashion, and that can take forever – the Ossie Clark dresses, for example, were at a premium five years ago, but now they’ve gone off the boil a bit.” Their personal favourite items (that they wear) are an original 1920s Mariano Fortuny dress, which Cleo bought in its box with a note that reads, “To my very spoilt daughter Nancy,” and a shrunken Comme des Garçons jacket from 2001. Cleo has a weakness for all things kitsch and trashy – particularly acid-wash denim – and they both love Jean Paul Gaultier – “just because he’s a laugh”. Clearly, it’s a delight to them that the thing that they love doing is now a lucrative business, though each day brings a mountain of clothes to be washed, steamed, painstakingly restored and packed up. And as Cleo’s grown-up children have never shown an interest in vintage fashion, the future of the collection is uncertain. “Maybe one of the grandchildren will be interested one day,” says Cleo, “or some of it might go to Topshop.” One thing is certain, however: the couple have no plans to slow down their collecting. “Could I stop this? No, never,” says Cleo. “I’ve never even imagined it.” c20vintagefashion.co.uk The Emporium at Goodwood Revival (Sept 8-10) will host specially curated fashion shows every day, including a vintage one showcasing Mark and Cleo’s collection

SUSSEX WINE

REX FEATURES

STYLE ESSAY FIFTIES MAN

Pump up the volume

Writer Bill Prince

The origins of the modern suit may lie in military tunics and the various innovations of the “original dandy”, Beau Brummel, but the origins of the modern suit wearer are rather more recent. This goes back to the big bang of Sixties style culture, when “modernists”, rebelling against the more voluminous uniform of the previous era, adopted the Rat Pack uniform of sharkskin, stiletto-lapelled Italian tailoring. For the last two decades, suits have generally followed the same sparse pattern. But things are changing, as men turn to the era before that big bang for inspiration. Last seen in the Fifties, an approach that espouses the manly style of Cary Grant and Gary Cooper is transfiguring the skinny-fit rules of contemporary dressing with elegantly draping suits and just-so accessories that talk to the timeless appeal of classical comportment and masculine style. Think of it as clothes for men, not boys. Apart from the obvious fact that trends by their very nature change, indicative of a much wider dissatisfaction with the way the slimming down of the suit’s silhouette has hindered our ability to stand apart from the sartorial “crowd”. The clearest indication of this can be found on the various social media feeds of today’s style mavens and bold-face fashion leaders – the most attuned of whom have long moved on from the skinny look to define the mood for a more expansive, elegant mindset. Follow journalist and stylist Tom Stubbs, for instance, and you’ll see a regularly updated account for his current passion: high-waisted, pleated trousers, often worn as-casually-as-you-like with a chest-baring shirt or his trademark vest. “What was natty a few

years ago, is ‘meh’ now,” says Stubbs of the Noughties’ obsession with slick tailoring. In contrast, Stubbs favours a less austere approach. “Flat fronted trousers look dated,” he says baldly. “And anyway, pleats are easier to wear.” And if you look like a gangster? “Then your suit’s too big.” If you’re searching for a seminal look to define the new exuberance in tailoring, then consider the “Hollywood Top”, a trouser style last seen in the Forties and Fifties but recently re-introduced by Edward Sexton, the master tailor who is the progenitor of much of what represents classically stylish suiting today. By dropping the belt loops two inches from the top of the waistline and adding two generous pleats, the tailor has created perhaps the breakout piece in the new era of suave menswear (and the good news is that this will shortly go into production as a ready-towear item). Sexton trained as a cutter on Savile Row before joining up with celebrity tailor Tommy Nutter to dress the likes of Bryan Ferry and Lennon and McCartney – stylish bon vivants who shared Sexton’s love of the high-glamour heyday of Hollywood in the Thirties and Forties – decades that, then as now, sum up a sartorial high-water mark for menswear. “People don’t look good when they’re uptight,” counsels Sexton, who prefers his signature doublebreasted, broad-lapelled suits in traditional (yet often strikingly patterned) fabrics cut and proportioned in a style he refers to as “long, low and leafy”. This means a stronger, squarer shoulder-line, teamed with a high armhole (“to lengthen the body”) and a low “button stance” designed to accentuate the contours of the ideal figure. Accessorise, as Sexton does, with a tab- or pin-collared shirt, or dress up (and down) with a single-ply cashmere roll-neck, and you can be assured of being about the smartest man about town – or country, come to that.

This approach espouses the style of Cary Grant and Gary Cooper... clothes for men, not boys

Cary Grant cuts a dash in To Catch a Thief (1955)

MAIN SHOOT

B A C K Fresh contemporary takes on mid-century chic,

I N photographed at Goodwoodâ&#x20AC;&#x2122;s Jackie Stewart Pavilion

T I M E Photography Benjamin Madgwick Styling Florrie Thomas

Previous spread: a geometric print and pointed collar give Pre-Fall Fendi a 1960s vibe, while a Gieves & Hawkes suit is teamed with a roll-neck for a nod to Sixties mod Sofie wears satin dress by FENDI, £2,290, fendi.com. Conrad wears navy cashmere wool turtleneck, £375, and burgundy windowpane wool suit, £995, both by GIEVES & HAWKES, gievesandhawkes.com Opposite page: Joseph’s creative director Louise Trotter found inspiration for her Pre-Fall collection in a box of family photos from the 1970s Trousers, £325, jacket, £545, and blouse, £445 by JOSEPH, all at MATCHES, matchesfashion.com. Above: teal jumper, £360, by PAUL SMITH, paulsmith.com

Above: geometric print in earthy tones gives a Sixties flavour at Fendi Satin dress by FENDI, ÂŁ2,290, fendi.com Opposite page: orange wool and silk dress by FENDI, ÂŁ2,400, fendi.com

Above: Erdem’s Pre-Fall collection combines 1940s and 1970s influences to bold effect Sofie wears leather embroidered dress, price on request, and pussybow cotton-poplin shirt, £695, both by ERDEM, erdem.com. Conrad wears knitted sweater, £235, by ACNE at LIBERTY, libertylondon.com Opposite page: the intricate sleeve detailing on this cornflower-blue blouse by Emilia Wickstead projects 1940s glamour Lauren gathered-cuff twill blouse, £550, by EMILIA WICKSTEAD, emiliawickstead.com; bag, £950, by MIU MIU at MATCHES, matchesfashion.com

Opposite page: adopt a retro palette with Chloé’s Pre-Fall Sixties-style pinafore and eau-de-nil blouse by Lanvin Crepe pinafore dress, £890, by CHLOÉ, chloe.com; tie-neck blouse, £835, by LANVIN at LIBERTY, libertylondon.com Above: Raf Simons’ keenly anticipated first collection for Calvin Klein references retro Americana Grosgrain-trimmed wool trousers by CALVIN KLEIN at MR PORTER, mrporter.com; handmade Oxford captoe brogues, £890, by DUNHILL, dunhill.com

Opposite page: an oversized Louis Vuitton coat in a heritage fabric gives a timeless vintage feel Belted knickerbocker wool coat, £3,600, and patent calfskin sleeveless dress with bijou button belt, £3,500, both by LOUIS VUITTON, louisvuitton.com; calfskin ankle boots, £1,030, by HERMÈS, uk.hermes.com Above: accessories give a playful nod to the past, as in Gucci’s autumn/winter bags or Manolo Blahnik’s geometric-print flat pumps (Clockwise from top) Sylvie mini leather shoulder bag, £1,450, by GUCCI at MYTHERESA, mytheresa.com; suede shoes, £665, by MANOLO BLAHNIK, manoloblahnik.com; Madras goat leather and soft calf leather bag, £1,460 by MIU MIU, miumiu.com; elasticated embroidered yarn boots, £910, by FENDI, fendi.com hair: adam garland

make-up: anita keeling

stylist’s assistant: sophie chapman lighting assistant: jack storer

digital technician: roland gopal-chowdhury

models: sofie theobald at the hive management; conrad leadley at next models shot on location at the jackie stewart pavilion, goodwood estate

DOROTHY BOHM

At 14, Dorothy Bohm arrived in England to escape the threat of Nazism. She was alone and spoke no English, yet went on to make her name as one of the post-war era’s leading chroniclers of everyday life – and as a cofounder of the influential Photographers’ Gallery. In the 1960s, she and her family bought a house in the South Downs, where she took a series of elegiac – and largely unseen – photographs celebrating her adopted home. Now 93, she shares these images and tells Kate Muir about her extraordinary life

Another country When 14-year-old Dorothy Bohm fled the Nazis in 1939, she headed across Europe from Lithuania to safety in England. “As the train was about to leave, my father took off his Leica camera, which was hanging round his neck, and handed it to me through the carriage window. ‘Maybe it will be useful to you…’ he said.” Dorothy did not see her parents or her little sister for another 20 years, but in those terrifying, exhilarating and sometimes lonely years after she arrived in Britain, the little Leica camera did indeed come in useful, setting Dorothy on a career-path as a major photographer, a powerful

documentarian of the post-war years in Europe, and a co-founder of the Photographers’ Gallery in London. Now a sprightly and articulate 93 years old, with a mane of white hair, she has retained her outsider’s eye, but also a tenderness and warmth, which can be seen in her fleeting pictures captured on the streets of Paris, the beaches of Brighton and even among the bookmakers at Goodwood. “Only the English would wear bowler hats like that,” she says, laughing at a black-and-white racing photograph taken in the late 1960s.

DOROTHY BOHM

Above: car lovers at a race meeting in 1970s Sussex. Overleaf, right: spectators keep a sharp eye on the field at the Goodwood races

DOROTHY BOHM

‘Only the English would wear bowler hats like that,’ she laughs, recalling her portraits taken at the races

DOROTHY BOHM

Her tenderness and warmth can be seen in pictures captured on the streets of Paris or the beaches of Brighton

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Bohm is famed for her ability to capture split-second opportunities, like this street scene in Brighton, 1971

Opposite: enjoying the British summer at Worthing beach. Below: nodding off in Brighton, 1966

We are studying a series of photographs of Sussex over afternoon tea and lemon cake at Dorothy’s Hampstead home, where the walls explode with art and her own colour prints. Her first experience of Sussex was at North End House boarding school in Ditchling, which was at least close to her brother Igor, who had been sent away earlier to Brighton College. Raised in Prussia, she only spoke German when she arrived at the school. “I had no English,” she recalls, “and they were very good to me. I was the only Jewish child there, and I got my school certificate. England was wonderful to me.” Dorothy lost contact with her parents, and had no idea whether they had lived on died, until news arrived in 1960 that they were living in Riga, after being sent to separate labour camps in Siberia. “They escaped the Nazis but they did not escape the Soviets,” she says. But like any young woman in wartime, Dorothy knew it was her duty to get on with living life, and followed her brother to Manchester (where her father had links within the cotton trade), did a two-year photography course and then found work in a portrait studio. “During the war, everyone wanted portraits to send to their family.” She began as “an operator” but “I must have been good”, she says, smiling, and soon she became the local photographer of choice, so flattering were her angles. She was also asked to speak to groups about her personal experience of the Nazis. “Tom Swan, who was a father-figure to me and worked at the Ministry of Information, said, ‘We English are slow to hate,’ and

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DOROTHY BOHM

black-and-white for colour, after she visited the famous photographer André Kertész in New York and they experimented with Polaroids. Even today, the camera still beckons. “I went to the Design Museum the other day with my daughter and took a few shots.” After Dorothy’s daughters were born, Monica in 1957 and then Yvonne in 1960, the Bohms decided to look for a country house as well as Hampstead, and settled in 1966 upon Coneyhurst Farm, near Billingshurst in Sussex. “It was 500 acres of working farm. We had cattle, wheat, barley, sheep – and a tennis court. We were very lucky.” There, she took gentle photographs of the landscape of trees, hills and furrowed earth – and relaxed. In an essay, expert Colin Ford suggests that Dorothy’s ability to capture split-second opportunities was helped by “the speedy reflexes she had developed as a keen tennis player”. Mostly unseen, these Sussex images are a gentle celebration of English life, much of it now longgone: countrymen and women at bucolic rural fairs, working fishing boats on the coast, bowler-hatted chaps at the racing, and big-nappied toddlers and headscarfclad ladies idling away summer afternoons. Dorothy plans to exhibit the work in Sussex. Eventually in 1964, Dorothy and Louis managed to get her parents to Britain, though her father remained traumatised by his experiences. Like her photographs, Dorothy’s long life is a story of darkness and light, and she was always open to that quality in others. As she says in her 2010 book A World Observed 1940-2010: “People everywhere experience the same joys, terrors, loves and tragedies, but it is a world of constant change. I am deeply aware of the vulnerability of human existence, happiness that passes, beauty that fades…” Dorothy Bohm’s latest book, About Women, is available now, published by Dewi Lewis

Dorothy's Sussex images are a gentle celebration of English life, much of it now long-gone

insisted that people should understand how terrible the Nazis were.” Dorothy, whose birth name was Dorothea Israelit, described to audiences her experiences of living under the Nazi regime. Happiness was heading Dorothy’s way too, in the form of another refugee, Louis Bohm, also studying at Manchester. They fell in love and married in 1945, with Dorothy supporting Louis through his PhD by setting up her own company, Studio Alexander, in the city. The couple toured Europe, and Dorothy left behind the narrow world of indoor portraiture to experiment with the freedom of photographing outdoors, on the hoof, on the shores of Lake Maggiore in Switzerland, and in Paris, which some years later resulted in the book and exhibition Un Amour de Paris at the Musée Carnavalet. Dorothy travelled everywhere, from Egypt to San Francisco. Women were often the focus of her pictures, and she is convinced that “as a woman, it was easier to work unnoticed”. In the early 1980s, she abandoned

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Above, below and overleaf: scenes of Sussex life in the 1970s. Opposite: the Crawley and Horsham Hunt

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DOROTHY BOHM

Dorothy's Sussex photographs included country men and women at rural fairs

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Where the historic and modern are equally valued.

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

bonhams.com

CALENDAR

The end of the summer can mean only one thing: Goodwood Revival. This three-day festival, taking place every September, is the only historic race meeting to be staged entirely in period dress. Hundreds of thousands of fans come from all over the world to soak up the unique atmosphere and experience – a return to the halcyon days when Goodwood was the spiritual home of British motor sport. And what a roster we’ve got in store this year. Away from the circuit, this year’s Revival sees an exciting new fashion concept open “Over The Road”. The Revival Emporium will bring vintage fashion to life with live catwalk shows throughout the day and a fabulous range of boutique and market stalls where enthusiasts can indulge in serious retail therapy. The iconic British sports-car maker TVR will unveil its brand-new car as a global debut, while rare classic motors will go under the hammer at the celebrated Bonhams auction. The Freddie March Spirit of Aviation is a magnificent Concours d’Elégance for pre-1966 aircraft, giving guests the chance to get close to rare and beautiful flying machines. On the musical front, Goodwood celebrates the return of vinyl with a new release from Revival Records, featuring hits from the early years of Rock ‘n’ Roll, from Chuck Berry, Buddy Holly, Bill Haley and Tommy Steele (see right).

revival 2017 HIGHLIGHTS

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September 8 – 10

Goodwood REVIVAL

Following its hugely popular debut in 2016, the Kinrara Trophy for closed-cockpit GTs that raced pre-1963 makes a triumphant return. For cars in the spirit of the Tourist Trophy races at Goodwood in 1963-4, the Royal Automobile Club TT Celebration is widely regarded as the jewel in Revival’s crown. This 60-minute two-driver race is always a fantastic spectacle. For the St Mary’s Trophy, 1950s saloon cars take centre stage. Expect to see some delightfully quirky machines – such as the Nash Metropolitan and Morris Minor – go up against the more traditional Austin A40s and Jaguar MK1s. It’s the turn of the 1960s GP machines in the Barry Sheene Memorial Trophy this year. The two-part, two-rider race sees owners team up with motorcycle legends past and present on Manx Nortons, Matchless G50s and MV Agustas. Have your tartans and bagpipes at the ready as the 2017 Goodwood Revival looks North of the border to honour the iconic Ecurie Ecosse team, 60 years after the team took an iconic victory (1-2) at the 24 Hours of Le Mans. The 1957 Grand Prix Parade will mark 60 years since Juan Manuel Fangio’s final World Championship title, as well as the first victory for a British manufacturer. To celebrate the 60th anniversary of the Fiat 500, each morning the track will be opened by a swarm of Fiat 500s and various other Italian road-going wonders.

Social membership at the kennels

Until the end of October, Goodwood House, the ancestral home of the Dukes of Richmond, opens most Sunday and Monday afternoons, and Sunday to Thursday afternoons in August. As well as a fabulous art collection including paintings by Van Dyck, Canaletto and Stubbs, the House is also home to some magnificent Gobelins tapestries, given by King Louis XV, and one of the finest collections of Sèvres porcelain in the world. Guided tours are available at regular intervals, and a splendid afternoon tea is served in the ballroom, surrounded by portraits of the royal family. Charles Lennox, 2nd Duke of Richmond (1701–1750), was a true Renaissance man. His interests ranged from art and architecture to gardening and natural history. He loved sport, in particular hunting and cricket, and was devoted to his family. The summer exhibition will explore his short but fruitful life. To book, call 02143 755055 or visit Goodwood.com.

The Kennels features all the cherished hallmarks of a private members’ club without any of the associated stuffiness. Somewhere comfortable to relax and enjoy anything from a cup of coffee to a light lunch, a delicious dinner or early evening drink, all in stunning surroundings. The Kennels Social Memberships gives you access to an array of fun and unique events throughout the year, as well as special offers and discounts across the Estate. This Autumn, due to popular demand, we will host Oktoberfest, which will take place over two days (October 13-14). Each evening involves Bavarian-style food and beer topped off with a traditional Oompah band for a fun night out. Members can also look forward to a special Beaujolais Nouveau dinner in November, when the first wines of the 2017 season will be celebrated. Our inaugural Christmas market, ideal for finding more unusual gifts, is held during the first weekend of December. Whether you wish to hold a private celebration or event, or to use it as a place to meet family, friends or colleagues, The Kennels offers the very best of traditional values and modern luxuries. The Kennels Social Membership is available for £180 for a year. To find out more, please call our Membership team on 01243 755132.

Until October 29th

goodwood house

House dates The house is open until October 29 (Sunday and Monday 1-5pm) Summer Exhibition: until October 29 (Sunday & Monday 1pm-4pm, September 3-25 and October 1-29)

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CALENDAR

March 17 – 18 2018

76th Members’ Meeting: Historic Season Opener

Members' Meeting combines the serious business of driving great cars with lively entertainment

Members’ Meeting is an epic weekend of motor racing founded by Lord March, which aims to recreate the atmosphere and camaraderie of the original BARC Members’ Meetings held at Goodwood throughout the 1950s and 1960s. As well as a full programme of racing, Members’ Meeting features all kinds of cars from classic tin-tops and GTs to motorcycles and open-wheeled Formula 3 and F1 machines, and enjoys a friendly and intimate atmosphere with no crowds. There’s always a whole lot going on away from the track, the original Goodwood Members’ Meeting placed as much emphasis on socialising as on motor racing – and we have taken the concept of ensuring everyone has a jolly good time to a whole new level. Once the chequered flag falls on the final race of Saturday, the sound of engines is replaced by a rousing drumbeat welcoming guests to our now legendary Saturday evening festivities with a spectacular array of entertainment for visitors of all ages. A winning formula of spectacular cars, high-speed track demonstrations, fun-packed festivities and great entertainment; along with the very best food and drink.

The next Goodwood Members’ Meeting takes place on March 17-18 2018. For more information, visit Goodwood.com or call us on 01243 755055.

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Revelling in a timeless moment: PricelessÂŽ MastercardÂŽ is the proud sponsor of the ďŹ rst Revival Emporium, a celebration of the iconic styles of the Revival period.

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

FINISH The first photographically recorded use of a chequered flag at the end of a race was in the Vanderbilt Cup, Long Island, in 1906. Its origins are unclear, but itâ&#x20AC;&#x2122;s a widely recognised symbol. To drivers, whether at Revival or Le Mans, it means race over. Some computer programmes display it to show that installation is complete. But to most, those black and white squares signal motor-racing, loud and clear.

LAP OF HONOUR

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

Barbara Hulanicki Barbara Hulanicki OBE co-founded Biba, the highly influential boutique, beauty and fashion brand that from 1964 to 1974 was at the very heart of fashionable Swinging London. Since then she has designed clothes for Topshop, wallpaper for Habitat and hotel interiors for Ronnie Wood and Island Records founder Chris Blackwell. Born in Jerusalem, she has lived in Brighton and Brazil and now lives in Miami

I grew up partly in Sussex. I remember the pebbly beach at Brighton. And I also remember happy times with my father in Jerusalem. Today I live in Miami. I love the high-energy pace of holiday towns.

Great shapes and fabrics make enduring fashion. It’s the most expensive vintage now that I find fascinating. Pieces that retailed for £12 are going for £2,000 at auctions today.

The most overrated virtues in Miami are efficiency and timekeeping.

I love working across multiple projects – right now that includes clothes, accessories, ballet shoes, sneakers, wallpapers, and an interior design project for a private client in Miami Beach, as well as a little hotel in the Florida Keys.

Four o’clock in the afternoon is the moment when the ideas flow for me. And I find watching Netflix is the perfect downtime. Right now my reading is catching up on back issues of Vanity Fair.

Miami has great art deco architecture – but sadly it feels like the old part is disappearing fast.

Growing up, I wasn’t really inspired by fashion designers – only by film stars. Audrey Hepburn especially.

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When I’m in Miami I prefer to be driven, rather than to drive.

If there’s one thing I miss about the Sixties or Seventies it’s the ignorance we had about business life back then. The ideal client is a client you’re working with for the second time around – when they trust your judgment.

My favourite part of a project is when it’s a work in progress. I love that, and the anticipation of new projects yet to come.

My one word of advice for my younger self would have to be: listen when you hear it the first time.

ELISABETH MOCH

I despise rules. I can never remember them.

I don’t think there are many stores today that are exciting in the way that Biba was exciting. Nope! Maybe the Comme des Garçons store in Dover Street Market.

FOOD STORY

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