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LETTER FROM THE DUKE OF RICHMOND
back to THE FUTURE It’s been 25 years since the first Festival of Speed was launched here at Goodwood, and as we mark the Silver Jubilee, we’re looking ahead to what the next quartercentury will bring. On the cover of this issue is Roborace’s magnificent Robocar – the world’s first driverless electric racing car, which will be powering its way up the famous Goodwood hill in July. Erin Baker looks at the evolution of Porsche on page 60, and what’s next for this iconic, innovative marque. On p36, Giles Richards speaks with Jamie Chadwick, one of motor racing’s most promising young drivers, while Jonathan Glancey talks to Norman Foster on p40 about the future of design – from skyscrapers that breathe to homes on Mars. You’ll be able to explore the latter at the FoS Future Lab next month, our very own cathedral of technology at the Festival of Speed. Of course, no celebration of FoS would be complete without a look back at its most memorable moments. Stirling Moss and Denis “Jenks” Jenkinson reuniting in 1995, 40 years after their famous Mille Miglia victory, is one of my favourites (p80), along with Bob Riggle entertaining crowds with showers of sparks in 1991. And it seems fitting to remember Jim Clark, one of motor racing’s greatest drivers, and a true gentleman, on p14. We are delighted to have the Jim Clark Trust, which manages a museum in his honour in Scotland, as our event charity at this year’s Festival. In this issue we also look back at beards throughout the ages (p64) – worth reading if you’re planning your look for Goodwood Revival in September; we admire paintings inspired by Virginia Woolf (p16), who had a particular fondness for Sussex; and we commemorate the Suffragettes (p78). It’s 100 years since women were given the vote, and some of the brave protesters for women’s rights will adorn the specially designed jockey silks at this year’s Magnolia Cup. And so, as we celebrate progress in all its forms, we eagerly anticipate the future of Goodwood. Here’s to many more innovators and free-thinkers for the years to come – they will always be welcome here.
Duke of Richmond
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Hermès Allegro jumping saddle flat seat
SUPER SOX, LILLIE KEENAN AND THEIR HERMÈS ALLEGRO SADDLE, THREE MAKE A PAIR.
CONTRIBUTORS
The front cover shows the Robocar, the world’s first driverless electric racing car, which will tackle the Goodwood Hillclimb at this year’s Festival of Speed. Cover, Start and Finish photographs by Greg White.
Giles Richards
Florrie Thomas
Giles Richards is the Formula One and motor racing correspondent for The Guardian. He has followed the sport since he was six, attending a broad spectrum of racing, from F1 to Le Mans, as a fan, long before he had the privilege to do so for a living. Watching and writing about racing remains his great passion.
Florrie Thomas is a freelance stylist and the Contributing Fashion Editor at Harper’s Bazaar. As a stylist, she has dressed the likes of Olivia Coleman and Emilia Fox and she is also the co-founder of &Finally (and-finally.co.uk), an editorial platform devoted entirely to the world of accessories.
Erin Baker
Paul Blow
Erin Baker is editorial director at Auto Trader and motoring content consultant at Goodwood. She has been a guest on BBC Radio 4’s Today, PM and Woman’s Hour programmes as well as appearing on Channel 5 News. In her spare time she rides motorbikes and drives fast cars.
Dorset-based illustrator Paul Blow has worked for The Guardian, New Scientist, New York Times, Wall Street Journal, Penguin Books and Random House. His bold conceptual illustrations mix contemporary themes with touches of humour and a healthy sense of the absurd.
Andrew Woffinden
Jonathan Glancey
Andrew Woffinden is a fashion and portrait photographer whose high-profile clients have included the likes of Vogue Paris, Japanese Vogue, Harpers Bazaar and Mr Porter. He has also photographed numerous celebrities, ranging from Hugh Grant and Benedict Cumberbatch to Grayson Perry and Sadiq Khan.
Former architecture and design editor of The Guardian, and an honorary fellow of the Royal Institute of British Architects (RIBA), Jonathan Glancey is a journalist, author and broadcaster who has written extensively on architecture, engineering and design for a wide range of publications.
Editorial director Gill Morgan
Art director Vanessa Arnaud
Picture director Lyndsey Price
Sub-editor Damon Syson
Editor Charlotte Hogarth-Jones
Publisher Crispin Jameson
Picture assistant Louisa Bryant
Style editor Rosie Boydell
Contributing editor James Collard
Project director Sarah Glyde
Design Jon Morgan
For Goodwood Catherine Peel catherine.peel@goodwood.com
Goodwood Magazine is published on behalf of The Goodwood Estate Company Ltd, Chichester, West Sussex PO18 0PX, by Brave New World Publishing, 6 Derby Street, London W1J 7AD. Tel:+44(0)20-3819-7520. For enquiries regarding Brave New World, contact Sarah Glyde: sarah@bravenewworld.co
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©Copyright 2018 Brave New World Publishing Ltd. All rights reserved. No part of this publication may be reproduced without prior permission from the publisher. While every effort has been made to ensure the accuracy of the information contained in this publication, the publisher cannot accept responsibility for any errors it may contain.
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CONTENTS
Shorts
26 What lies beneath Nick Veasey’s fascinating X-ray artworks 30 Past form Why vintage racecards are the latest collectible
16 A show of one's own A new exhibition of art inspired by Virginia Woolf
31 The wild bunch When it comes to bouquets, brides are going back to nature
19 Glory days From Bromley to Brands Hatch: the history of Lola Cars
32 The sky's the limit Meet Gerry Judah, the man behind those FoS sculptures
21 Pork life British charcuterie’s recipe for success
36 Girl power F3 star Jamie Chadwick, one of racing’s brightest talents
22 Symphony in flat 6 The world’s most beautifulsounding cars
39 A life less ordinary Remembering Hilda Gordon Lennox
GEOFFREY GODDARD/THE GP LIBRARY
14 Gentleman Jim Celebrating motor-racing legend Jim Clark
From top: fashion designer Morvarid Sahafi models one of her Suffragette-inspired prints (p72); Jackie Stewart, left, and Jim Clark cool down during the 1967 Italian Grand Prix at Monza (P14)
40 The futurist He’s the man who brought us revolutionary buildings like the Gherkin, so how does architect Norman Foster see the shape of things to come? 50
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Features
A day at the races Race day at Goodwood provides the backdrop for our fashion story: bold summer suits for seasonal glamour
PHILIP SINDEN
START
24 Rocket man The history of Goodwood’s epic fireworks displays
60 Leading the charge Electrification might seem daunting for Porsche, but the 70-year-old marque is embracing the challenge 64 Chin chin Beards are everywhere these days, sported by everyone from City boys to princes, but is there more to this trend than hipster fashion? 72 Prints and the revolution Fashion designer Morvarid Sahafi reveals the feminist inspiration behind this year’s Magnolia Cup silks 78
Battle fields
In 1913, the Suffragette movement stepped up its efforts with a new target for disruption: sporting events
80 Fast times As the Festival of Speed celebrates its Silver Jubilee, the Duke of Richmond looks back at his top FoS moments
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Goodwood Your guide to Estate experiences and important dates for your diary
Lap of honour Michelin-starred chef and Goodwood enthusiast Marcus Wareing dishes up his words of wisdom
finish
Start
The Robocar driverless electric car pictured here will be one of the vehicles embarking on the 26th Festival of Speed’s Hillclimb, and like all the participants, its wheels will cross a very special startline. In 2011, some bricks from the Indianapolis Motor Speedway were transported to Goodwood and laid as part of the centenary celebrations for the Indianapolis 500. Originally made up of 3.2 million of these bricks, the American race track was known throughout the world by its nickname, “The Brickyard”. These days, the Indy 500 is run on smooth asphalt, but a little slice of American motorsport history remains forever in the Sussex countryside.
LAT PHOTOGRAPHIC
SHORTS JIM CLARK
In the Berwickshire village of Chirnside, near the top of the parish churchyard, a simple granite headstone marks the final resting place of a local sheep farmer who died 50 years ago. It reads: “In loving memory of Jim Clark OBE… born 4-3-36… died 7-468… farmer, Edington Mains Chirnside… and of Pembroke Bermuda.” Save the OBE and Bermudan residence, it seems a fittingly modest memorial to the humble son of a traditional Borders farming family, by all accounts shy, indecisive and possessed of a severe nail-biting habit. Yet the stone tells another story, engraved below: “World Champion Motor Racing Driver 1963 and 1965. Winner of 25 Grand Prix races. Indianapolis 500 winner 1965.” Jim Clark’s death shocked the world. It wasn’t merely the violence of his end, so at odds with his gentlemanly demeanour, but its inconceivability, even in a sport accustomed to tragedy. Clark was more than merely the best of his generation. Only Juan Manuel Fangio was rated more highly, and even he described Clark as “the greatest grand prix driver of all time”. While Clark’s father and mother tolerated his interest in rallying they were very much opposed to racing, so his track career began almost in secret; in June 1956, acting as mechanic for his friend Ian Scott-Watson, he took an opportunity to get behind the wheel at a race in distant Aberdeenshire, thinking his parents would never hear of it. “In fact,” Scott-Watson recalled, “so many of his cousins were there that by the time we got back home the family knew, and I was in the doghouse.” Nevertheless Clark’s preternatural talent was obvious. By 1958 he was a multiple race winner for the local Border Reivers team. In a Lotus Elite he finished second behind Lotus boss Colin Chapman at the Boxing Day meeting at Brands Hatch, and the
following year he was 10th at Le Mans. Impressed, Chapman offered him a ride in his new Formula Junior, and he duly won the first race at Goodwood in March 1960. He made his F1 debut three months later at the Dutch Grand Prix. The fact that Clark won two F1 World Championships hardly encompasses his decade at the top. Such was his dominance that but for mechanical problems he might well have won many more titles, as his smooth technique eased the best from Lotus’s fast but fragile cars and many others besides. He was equally happy in saloon, spor ts and rally cars, yet never quite under stood why he was quicker than everyone else. “I don’t drive any faster,” he said. “I just concentrate harder, which makes me go faster.” “Jimmy was like a god to me,” said fellow Scot and erstwhile flatmate Jackie Stewart, who set a joint lap record with Clark at Goodwood’s last F1 race in 1965, going on to win three world titles of his own. “He was a terrific role model. He never bullied a car; he caressed it into doing the things he wanted it to do. He was unquestionably the best driver I ever raced against.” Then suddenly he was gone, killed in an F2 Lotus at Germany’s tree-lined Hockenheim circuit on a damp April afternoon in 1968. That the accident was , and remains , inexplicable made the loss all the more traumatic, not least for Colin Chapman. The faces of all who attended his funeral revealed the same terrible thought: if it could happen to Jim Clark, it could happen to anyone. Not everyone has a museum dedicated to them, however. Thousands of fans still make a pilgrimage to the Jim Clark Museum in Duns, Berwickshire, which is the official event charity at this year’s Goodwood Festival of Speed. Fifty years after his untimely death, Jim Clark’s legacy lives on.
Gentleman Jim Words by Peter Hall
Jim Clark was a supremely talented driver whose untimely death sent shock-waves through the world of motorsport. We look back at the life of one of racing’s true legends
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SHORTS VIRGINIA WOOLF
THE MURRAY FAMILY COLLECTION © THE ESTATE OF EILEEN AGAR/BRIDGEMAN IMAGES
Right: Catus que veliquo quia imagniendis eossus, untium volorror aut vel idelliandae labo
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©REPRODUCED WITH PERMISSION OF THE ESTATE OF DAME LAURA KNIGHT OBE RA 2018
Left: Eileen Agar’s Collage Head (1937, collage on paper). Right: Dame Laura Knight’s The Dark Pool (1908 – 1918, oil on canvas)
For the author Virginia Woolf, Sussex was a rich source of creative stimulation – as a new exhibition of artworks inspired by her writings reveals
A SHOW OF ONE’S OWN Words by Charlotte Hogarth-Jones
A new exhibition at Pallant House Gallery in Chichester will feature works inspired by the writings of Virginia Woolf. The author had a special affinity with Sussex, having lived in two separate houses in the county with her husband Leonard, who was himself an author and political activist. The first, which was Woolf’s favourite, and which no longer exists, was Asheham House in Beddingham, while the second was Monk’s House in Rodmell, which the couple bought at auction in Lewes in 1919. From here, Woolf would embark on long walks across the South Downs to see her sister Vanessa Bell at Charleston, where members of the artistic and literary nexus known as the Bloomsbury Set could often also to be found – from painter and critic Roger Fry to biographer Giles Lytton Strachey, author of Eminent Victorians. This bohemian group enjoyed the freedom of a countryside escape, and Woolf worked while in her writing-lodge in the garden at Monk’s House. In one of her essays, Evening over Sussex – Reflections of a Motor Car (1927), she wrote that “Evening is kind to Sussex, for Sussex is no longer young, and she is grateful for the veil of evening as an elderly woman is glad when a shade is drawn over a lamp, and only the outline of her face remains.” The Pallant House Gallery exhibition is divided into four of the main themes present throughout Woolf’s literary work – landscape and place; the home and “a room of one’s own”; the self in public; and the self in private – and features 80 female artists from 1854 to the present day. Works on show include paintings, photography, sculpture and film, and there are pieces by Bell exhibited too.
Virginia Woolf: an exhibition inspired by her writings, is at Chichester’s Pallant House Gallery until September 16
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‘…a fantastic audio package.’ What Hi-Fi?
DREW GIBSON
SHORTS LOLA CARS
For a period of over half a century, starting 60 years ago, Lola Cars grew from nothing into one of the biggest racing car manufacturers on earth. In that time its cars saw success in almost every important field of motor racing, from Formula One and Indycars to sports car and Can-Am racing. It all started in 1958 when Lola founder Eric Broadley built a beautiful little sports car in a friend’s garage. Powered by a Coventry Climax engine originally designed to act as portable fire pump, he called it the Lola Mk1 and registered the first car as 600 DKJ. Success came almost at once. With Broadley at the wheel it won what was only its third race. Further glory meant orders started to pour in – and within four years around 35 had been made. Lola was up and running. The company’s first top-level championship success came when the new T70 Spyder absolutely dominated the inaugural 1966 Can-Am series, winning five out of the six rounds and making John Surtees the first ever Can-Am champion. The stiffest competition came from McLaren’s M1B, but with its light, stiff, advanced monocoque construction, the Lola almost always held a definitive advantage. The T70 was developed over the next four seasons until it appeared in its ultimate Mk3B guise in 1969. Regarded as one of the most beautiful sports cars ever to race, the 3B’s greatest achievement of all was winning the 24 Hours of Daytona in 1969, outlasting a fleet of factory Porsche prototypes – not bad for car built to a limited cost and sold to private individuals. It also had a second life as a stunt double in Steve McQueen’s 1971 movie Le Mans. In the film’s two big crash sequences, the cars being destroyed may look like priceless Porsche 917 and Ferrari 512S prototypes, but what you’re actually looking at are radio-controlled T70s merely wearing the clothes of their blue-blooded rivals. Lola’s greatest moment in F1 came, curiously enough, when Honda won the 1967 Italian Grand Prix. In fact, Honda had turned to Lola when its own F1 efforts failed to bear fruit and the resulting collaboration of a Honda engine in a Lola chassis was known officially as the RA300, but actually to all and sundry as the “Hondola”. Its unique claim to fame is to have won a world championship Grand Prix on the only lap of the only race it ever led. But perhaps the most raced Lola of all is a 2-litre Group 6 sports car called a T297 that started life in 1972 as a T290 with chassis number HU22. It raced for 11 straight seasons, competing in no fewer than five Le Mans 24 hours, finishing four of them, – two with Pink Floyd’s Nick Mason, who owns the car to this day, at the wheel. And it only stopped racing when new Group C regulations for 1982 rendered the old Group 6 ineligible in the competition. Sadly Lola stopped trading in 2012, but not before leaving an indelible mark on the motor racing world.
GLORY DAYS Words by Andrew Frankel
From its humble origins in a garage in Bromley, Lola Cars rose to become Britain’s most successful manufacturer of racing cars, with a glittering history in every sphere of motorsport
Below: a 1966 Lola T70 Spyder driven by Mike Whitaker leads the field in the Whitsun Trophy at 2016’s Goodwood Revival
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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 CO 2 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.
CANNON & CANNON. PHOTO: GAVIN KINGCOME
SHORTS CHARCUTERIE
Pork Life Words by Alex Moore
British cured meat used to mean bacon or ham. But now saucisson from Sussex and Cornish chorizo are heralding a charcuterie revolution
Imagine a platter of delicious cured meats, and chances are your mind will drift towards France, Italy or Spain. This could be about to change, however, because British farmers are now producing world-class charcuterie, unfettered by the strict rules that govern production across the rest of Europe. “There’s a revolution happening in the British craft food and drink world,” says Sean Cannon, founder of Cannon & Cannon, one of the leading distributors of British cured meat and charcuterie. “We’ve never really been recognised as a truly foodie culture. In fact in the past we Brits have been mocked by our continental friends. But look what’s happening: we’re leading the way in b e e r th an k s to o u r wonderful craft beer industry, our sparkling wine is regularly outdoing champagne in blind tastings, we won the World Cheese Award last year [with Cornish Kern from Truro], and n ow we h a ve o u t s ta n d i n g charcuterie to rival anything being made on the Continent.” T im H a sse ll , G o o dwo o d Home Farm General Manager, also sees the potential. “There’s no reason why we can’t do charcuterie really well,” he says. “Our livestock is more than up to it, people’s tastes are changing, and farmer s are diversifying accordingly.” And so, products such as seaweed and cider salami from Cornish Charcuterie in Bude or red deer venison bresaola from G r e a t G l e n C h a rcu te r i e i n Inverness-shire are emerging, as small-scale farmers and adventurous chefs set about experimenting.“There are laws that protect the way certain products are made on the Continent, but over here these kinds of products are brand new, so there are no restrictions on what a salami has to be, or what a cured ham should taste like,” says Cannon. “We’re making it up as we go along, and that is creating some wonderful opportunities.” Goodwood’s Home Farm has already produced a couple of its own products including an excellent rosemary and garlic saucisson and a Sussex Limousin cattle bresaola – while the butchery that produces its cured meats, Moons Green in Northiam, is considered one of the leading producers of British charcuterie in the country. “Our ultimate goal is to do everything in-house,” says Hassell. “We’ve got the livestock and the opportunity is there to start playing around with flavours.” Today there are over 200 charcuterie producers curing meat throughout the UK. Meanwhile, Cannon & Cannon now has five stalls across London, including Borough Market, and has recently opened Nape, a cured meat bar and deli in Camberwell in South London. More tellingly, it has started to export its products to restaurants in Asia and Europe. Surely it can’t be long before the rest of the world catches on?
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XXX XXXXXXX SHORTS GREAT-SOUNDING CARS
SYMPHONY IN FLAT 6 There are fast cars, there are beautiful cars, and there are some cars that sound extraordinary, from the distinctive growl of the ’68 Dodge Charger to the mesmeric thrum of the Matra V12 Words by Andrew Frankel
We don’t know why one car sounds better than another, but nor do we need to: we know a great-sounding car when we hear one, and that’s all that counts. Here then, from road and track, present and past, are some of the most sonically stunning machines ever created. We start before the war, with Bugatti, and it doesn’t really matter if you choose a Type 51 Grand Prix car or a Type 55 street machine because they both shared the same engine: a 2.3-litre supercharged motor with eight cylinders all in a long line. Decades ago someone likened its ripping, screaming voice as being akin to “tearing calico” and I don’t suppose anyone will ever describe it better. The purest sounds, however, were always made by straight-six engines. For some reason they always remind me of Britain, so let’s choose the engine of a lightweight Jaguar E-type, tuned to the very limit of existence. Hearing such a car howling its way around Goodwood is like listening to the very soundtrack of the circuit. We need an eight-cylinder too, or a V8 to be precise. But these can be engineered to make very different sounds, as anyone who’s heard, say, a V8 Ferrari and almost any American V8 will attest. I won’t dwell on the crankshaft configuration responsible but to me it’s always been the American approach I’ve preferred: if you ever feel an engine shake the ground beneath your feet, turn to your neighbour and say, “That’ll be a V8 with cross-plane crank,” and 99 times out of 100 you’ll be right. The best? In the racing arena, the Aston Martin AMR1 Le Mans car of 1989. Among road cars it’s probably the 1968 Dodge Charger 440 R/T. Perhaps the most interesting sound made by a conventional car engine these days belongs to those with five cylinders in a line. These engines are inherently unbalanced, but that’s actually the source of their amazing noise. Their offbeat thrum was captivating when we first heard it regularly in cars like the original Audi Quattro, but with its cylinder count doubled to make a V10, and shoehorned into the back of a modern supercar, the configuration can sound absolutely incredible. Indeed the current Lamborghini Huracán Performante is probably the most exciting-sounding car on sale today. Best of all? It has to be a V12, the most classically configured engine arrangement of them all. A proper V12 can do it all, changing its voice from growl to howl to scream to shriek as the revs rise. But the V12 sound, at least if you’re listening to the right one, is also deeply layered and complex, a mesmeric orchestration of mechanical sound. It’s an old cliché, so motoring journalists no longer use it, but there is something symphonic about these engines that no others have. As for the best, racing geeks will know it’s the Matra V12 engine, used in F1 and sports cars from 1968 through the 1970s. Its sound is incomparable. But the car that most people have heard of that has the best claim to being the greatest-sounding car ever created? I’d probably choose the 1962 Ferrari 250 GTO, thanks to its 3-litre V12 engine. Its voice is not the loudest, nor the most exciting, but simply the most beautiful I’ve ever heard a car make. And that’s good enough for me.
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XXX XXXXXXX
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SHORTS FIREWORKS
GETTY IMAGES
A coloured engraving depicting the Duke of Richmond’s fireworks and illuminations over the River Thames (1749)
ROCKET MAN Goodwood is famed for its spectacular fireworks displays, a tradition that stretches right back to the time of the second Duke of Richmond
Words by Damon Syson
As visitors to the Festival of Speed and August Bank Holiday marvel at the extraordinary fireworks displays that round off these and other Goodwood events, they may be unaware that the Estate’s connection with fireworks stretches back to the 18th century and the time of the second Duke of Richmond. During the mid-1700s, fêtes champêtres nocturnes (rural night-time parties) were all the rage. The grounds of grand country houses were transformed into lantern-lit stage sets in which guests were entertained until the early hours with food, drink and illuminations. As Kate Feluś writes in The Secret Life of the Georgian Garden, this custom was inspired by Grand Tourists, who would encounter Italian feste on their travels and recreate them at home: “In London it was often Italians who were commissioned to mastermind state-sponsored celebrations, like the stage designer Giovanni Niccolò Servandoni, who created the ill-fated macchina in Green Park in 1749.”
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The macchina was a huge temple built of wood and canvas in which an orchestra was hidden, along with equipment to launch fireworks. Unfortunately, an hour into the display, one of the pavilions where the fireworks were kept caught fire, setting off some of the stored fireworks and ruining the display. “After the fiasco of the display in Green Park the Duke of Richmond opportunistically bought the remaining fireworks,” Feluś reveals. “Two weeks later… the Duke staged his own display in the garden of Richmond House and the adjoining Thames.” The second Duke’s show was a huge success by all accounts. A contemporary engraving (pictured above) depicts some of the pyrotechnic devices used. Sadly, history does not record what type of music, if any, accompanied them. For Michael Lakin, director of Starlight Design Group, the company that has created Goodwood’s firework shows for the past 23 years, music is always the starting point. “I cut the music track first and have in mind the kind of fireworks that will go with it. For something soft and tinkly it might be white flickering stars, while a slow passage might have a Golden Kamuro, with cascading, glittering tendrils.” When it comes to Goodwood’s displays, as many as 2,000 individual fireworks can be used, launched in time with the music by means of a computerised firing system. The largest fireworks used at Goodwood are 8-inch “shells” – the diameter of a football – fired from mortar tubes. “A fireworks display is like a cabaret act that assaults the senses,” Lakin adds. “Done well, it’s like painting magical pictures in the sky.” A spectacular fireworks display takes place on the Friday night of August Bank Holiday Weekend at the Goodwood Racecourse.
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SHORTS NICK VEASEY
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What lies beneath Words by Gill Morgan
Nick Veasey X-rayed his trainers out of curiosity and was so impressed by the results, he wondered what else he could get under the skin of. Since then, his ethereal images of objects ranging from flowers to aircraft have propelled him onto art’s A-list
Nick Veasey started his professional life as an advertising photographer, presenting the shiny surface of things. Yet his abiding passion over the last two decades has been for the very opposite – taking X-ray images that reveal what lies beneath. “All of my work is a statement against superficiality,” he says. “I feel we are too obsessed by material issues: what we wear, what we drive, where we live. My work is a metaphor for looking on the inside – for it is what we feel on the inside, rather than what we project superficially, that really matters.” Veasey’s X-ray art started almost by accident. He was X-raying a soda can for an advertising job, and then thought he’d take a shot of the shoes he was wearing that day. The result, an ordinary pair of sneakers,
complete with dirt and grit embedded in the sole, was transformed into something ethereal and beautiful – and Veasey was hooked. His body of work is impressive, ranging from complex large-scale images of aeroplanes, cars and motorbikes to much simpler X-rays of single blooms or leaves. He finds that both have their charm – and their challenges. One of his most impressive achievements was photographing an entire Boeing 777, which he describes as being akin to doing “a jigsaw puzzle with thousands of pieces. The most amazing fact to me is that I somehow persuaded Boeing to send me a plane in parts from the West Coast of the US to my studio in Kent. How it works is that the X-rays are exposed onto film at 100 per cent
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SHORTS NICK VEASEY
life size. The largest film available is 35 x 43cm so if the object is bigger than that, we use more films, all overlapped. Each film is then processed and the drum scanned. Once we have the digital file we start the process of joining up the pieces of the jigsaw. The plane took over a year to complete and consists of over 1,000 separate X-rays. It’s the world’s largest X-ray, by some margin.” Although it’s hugely satisfying to master such technical complexities, Veasey admits that sometimes the smaller natural objects are more rewarding: “The process is faster, and the beauty and intricate details of nature never cease to amaze me.” All of this happens in Veasey’s studio outside Maidstone in the fields of Kent – a kind of shed-cum-bunker, with specially fortified walls and a door that can withstand radiation. This summer he is due to move to a larger studio nearby with an adjacent gallery. He takes particular pleasure in knowing that the images he produces in this unlikeliest of spots are hanging on the walls of galleries and museums all over the world. Modest about his work, Veasey is happy to tread the line between art and commercial projects, citing both Dalí and Warhol as highly respected artists who managed to do both throughout their distinguished careers. Veasey is always up for a new challenge. A recent collaboration with the V&A saw him invent and build the world’s first mobile X-ray studio, as part of a project to X-ray key pieces from the museum’s fashion collection. He has just started work on a project called The Kit , producing images of the equipment people wear in extreme jobs or environments. He’s also working with X-ray video for the first time and looking at X-raying
more iconic classic cars – “to capture an innovative internal exploration of the collectors’ pride and joy”. One dream, however, keeps him up at night: “I would love to X-ray a submarine. Can you imagine seeing inside that! All the chambers, the mechanical details – that would be special.” Veasey speaks about his work with a poetic, almost philosophical passion. There is something in the transformation that occurs in X-ray that thrills him. Every detail, every nuance, every speck of dirt, is revealed yet somehow elevated. “Radiation is used to detect disease,” he has said, “and I’m using it to reveal beauty.”
Previous: Veasey’s stunning image of a Lockheed F-104 Starfighter supersonic interceptor aircraft. This page, from top: a chrysanthemum bloom; the classic 1960s Arriflex 16BL movie camera
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Goodwood has recently acquired a series of 20 vintage racecards dating from 1823 to 1835, a period of pomp during which the fifth Duke of Richmond enjoyed his most prolific years as a racehorse owner. These palmsized cards were the racing programmes of the day, containing information on everything from race times, owners and jockeys to suppers and balls. Racecards from this era are increasingly collectible, with large sums paid for particularly rare examples. Timothy Cox, owner of The Cox Library, a collection devoted to the history of Thoroughbred racing, and a trustee of The National Horseracing Museum, explains how the cards reveal the highly social aspects of racing at this time: “We can see there was often a circus and fireworks; they were going to the theatre in the evening, or to the Race Ball and supper – details you don’t find in The Racing Calendar. You get a much better picture of the sort of life people were leading.” To give the cards more context, Cox dug deep into “Weatherby’s Racing Calendar” – a list of every British horse-racing result since John Cheney published the first annual in 1727. During the period represented by the newly acquired racecards, the Duke of Richmond had 92 runners and 43 wins. In 1827, he won all six of the races he entered. Cox also notes that during these years, Goodwood went from being little more than a point-to-point to a much grander proposition. A stand was built for ladies in 1826 (five shillings admittance) and the following year a betting stand was erected. Events increased in size – only three horses raced in 1827’s Scrub Cup while 40 entered the Goodwood Cup of 300 Sovereigns in 1834 – and there was a rise in more idiosyncratic races like the “Cocked Hat Stakes”, in which jockeys wore Dick Turpin-style headgear. A lovely detail can be seen on one racecard, from 1826. It reads: “A Grand Match of Cricket will be played at Goodwood Park on Friday next, the day after the races, by Lord Dunwich and ten Noblemen and Gentlemen Visitors and Goodwood House against Eleven of the G.C.C [Goodwood Cricket Club] for 500 sovereigns. Wickets pitched at 11 o’clock.” “I get the impression a very high proportion of those involved were friends of the Duke,” says Cox. “These cards seem as much itineraries between friends as programmes.” Yet at times they also struck a more serious note, with one card even warning guests: “All dogs seen at large on the Race Course will be destroyed.”
Past form Words by Alex Moore
Rare and collectible vintage racecards offer a fascinating glimpse of 19th-century equestrian life
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THE WILD BUNCH Today’s chicest wedding florists are abandoning formal bouquets in favour of loosely gathered meadow flowers and foraged branches. Say “I do” to the natural look
IMAGE COURTESY OF GRACE & THORN
Words by Charlotte Hogarth-Jones
From photo booths to icing-free cakes, each year seems to bring a new wedding fad. This summer, many of Goodwood’s brides will be carrying wildflower bouquets down the aisle. Incorporating freshly picked meadow flowers and foraged foliage with larger cut-flowers, this new style is relaxed and informal and gives a pleasing nod to the natural environment. “I don’t think this style of bouquet will ever disappear,” says Hannah Agnes Antmann of Saint Floral, which specialises in wild wedding flowers. “In the same way that what we wear has become more relaxed, we’re starting to embrace nature for all its quirks too.” Indeed, while cow parsley, astrantia and other varieties of wildflower have a tendency to droop, Antmann believes this is part of their charm. She uses wild herbs and foraged elements such as pear and almond blossom to add fragrance, and seeks out grasses and hardier plants like heather to add texture and ensure the bouquet stands out in photographs. “There’s a beauty to combining big blooms with meadow flowers,” explains Nik Southern of Dalston-based Grace & Thorn, whose Keep it Green foliage bouquet regularly sells out. “It’s about mixing textures, layers and colours.” Patricia Duggan, in-house florist at the Goodwood Estate, picks fresh flowers from the
Duke and Duchess’s garden, and sources everything from spring blossom from the trees, cowslips and bee orchids from the lawn, and sprigs of ivy, berries and thistles from around The Kennels in winter. Given that a bridal bouquet only needs to last a day, flowers with a shorter shelf life, such as bluebells and sweet peas, can also be used, and one added bonus of using wild foliage is that it dries very effectively, meaning a bouquet or arrangement can be preserved long after the wedding day. When it comes to knowing what to pick, some combinations are just too beautiful to be tinkered with. “I saw the first stems of Lily of the Valley coming up in my garden this morning,” says Duggan, “and they were interwoven with violets, primroses and other wildflowers that had been blown in by the wind and had settled. There’s just no way you could improve on a gift from nature like that – it’s really rather special.”
SHORTS GERRY JUDAH
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THE sky’s the limit The annual unveiling of the Festival of Speed sculpture has become a highlight of the Goodwood calendar. Meet Gerry Judah, the polymath artist behind these gravity-defying masterpieces
Words by Oliver Bennett
Classic roadsters spin around enormous steel arabesques, F1 cars whoosh around tracks like giant Scalextric sets and hang upside down as if frozen in a moment of torque. These vast, hallucinatory sculptures are a magical and annual part of Goodwood’s Festival of Speed and since 1997 they have encapsulated the sheer dynamism and panache of the event. “It’s sculpture as theatre,” says their creator, artist Gerry Judah. “The front of Goodwood House becomes a stage where we perform feats of sculptural engineering.” Judah is a loquacious deep-thinker with a continenthopping past, a refreshing candour and the ultimate portfolio career. After attending art school at Goldsmiths and the Slade, he supplemented his life as a fine artist with work in opera and theatre, making props and painting backdrops, then becoming a model-maker and production designer for advertising photography during its 1980s heyday. “If they needed anything – from an Italian city made of biscuits to props for a Nureyev ballet – I did it.” Around this time, Judah worked for photographic talents like David Bailey, Adrian Flowers and Charles Settrington. Years later, in the 1990s, the Earl of March, as Settrington had become (he is now the Duke of Richmond), rang Judah to commission a triumphal arch for Ferrari. “He realised the potential of a central feature that would define the Festival of Speed, its sponsors, their history and the spirit of the event itself,” says Judah. Each year since then, Judah has come up with new variations on the speed theme. In 2016 a series of spikes supported three BMW classics, as if leaving steel vapour
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SHORTS GERRY JUDAH
trails; in 2014 an arc curved over Goodwood House with a pair of Mercedes-Benz racing cars passing each other; while in 2015 a pair of Mazdas followed a twisting track skywards. Uniting all the sculptures is a lightness of touch – they’re never overcomplicated or inaccessible. “Sometimes it can be quite hard to make something simple,” says Judah. Each sculpture begins as “a dialogue”. Judah comes up with the design, develops it with the Duke of Richmond and presents it to the client and sponsor. The process then takes a further few months, during which Judah creates sketches and models and refines the designs. “I still work with pencil and paper and bits of card,” he says. “I can’t even draw a line on the computer.” Then everything has to be tested by engineers, as “these pieces have massive wind loads and need enormous foundations”. This summer’s design – celebrating 70 years of Porsche – is the tallest so far at 52 metres, the same height as Nelson’s Column, yet so fine at the bottom that you’ll be able to put your hands around it. All of this needs help from Judah’s engineers Diales and nearby steel contractors Littlehampton Welding. “These are the real heroes,” says Judah. “They have the right attitude. Nothing fazes them.” The vast sculptures are delivered in sections, then bolted and welded together with the classic cars mounted on-site. “This needs great care,”
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PHOTOS – OPENING PAGES AND TOP LEFT: DAVID BARBOUR. LEFT: DAFYDD JONES
says Judah. “These cars are priceless. Often they’re back racing as soon as they’re demounted.” From an ancestral background in Baghdad’s Jewish community, Judah was born and grew up in Kolkata and moved to London when he was ten years old: a journey that has informed many of his pieces, which often have climate change, humanitarian and anti-war messages. He’s currently working on a large sculpture that he says will be “Kolkata’s Eiffel Tower”. The Goodwood pieces are temporary and, for the most part, end up recycled, which seems a shame. But one remains intact, his enormous nose-down Jaguar E-Type, which may yet gain pride of place at Jaguar’s Coventry factory. Judah is adamant that his other work doesn’t conflict with Goodwood’s speed thrills. “Not at all. In fact, they’re connected in the sense that they’re all, one way or another, commemorative pieces.” A Goodwood sculpture commemorates the centenary of a classic marque such as BMW, while his two large white crosses in St Paul’s Cathedral commemorate the centenary of World War I. Judah is no petrolhead, and is keen to emphasise that his Goodwood pieces are not “motorshow” sculptures, designed to sell the latest model. However, he is a great admirer of the extraordinary annual event that the Festival of Speed has become. “I appreciate great cars, and I respect the passion people have for them,” he says. For many FoS regulars, catching a first glimpse of one of Judah’s soaraway sculptures is a highlight of their visit, a fact that must please this perennially inventive creator. “I want to express the spirit and aspirations of the event and the people who participate in it,” he concludes, with a rhetorical flourish. The Festival of Speed’s hundreds of thousands of fans would no doubt return the compliment.
Above: Gerry Judah. Top left: one of the artist’s twin St Paul’s Cathedral installations. Previous pages: Judah’s sculpture for the 2017 FoS was a celebration of Bernie Ecclestone’s career
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SHORTS JAMIE CHADWICK
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Left: Jamie Chadwick, one of the few women competing in the upper echelons of motor racing. Right: Chadwick in action at Silverstone, 2017
Girl Power Nineteen-year-old F3 star Jamie Chadwick turned down a trial for the England Under-18 hockey squad to become a racing driver. She made the right choice
LEFT: CHRISTIAN MAROT; ABOVE: JEP/LAT IMAGES
Words by Giles Richards
There is a genuinely refreshing honesty to Jamie Chadwick – a young woman who has set herself the formidable task of making it to the top in motor racing, but who harbours no illusions about how hard it will be to achieve her goal. She has already made a considerable impact on the sport, but is looking to the future with a driving ambition that transcends gender. The 19-year-old from Gloucestershire first attracted attention when, having started out in karting relatively late, she won the Ginetta Junior Scholarship in 2013. Two years later, at the age of 17, she became the first woman and the youngest driver to win the GT4 class of the British GT Championship. With her co-driver, Ross Gunn, she also took top honours in the Britcar 24 Hour at Silverstone, becoming the youngest-ever winner of a 24-hour race. Next, single-seaters beckoned, and last season she made her debut in British Formula Three, the only woman competing in the championship. This year, racing for Douglas Motorsport, fighting for the title is the ultimate target – another step on the way to realising her long-held ambition of reaching Formula One. “I
want to make it there but only as long as I am competing successfully and I merit the opportunity,” she says. “If I was struggling to win races then I wouldn’t deserve a place in F1. But if I can do what I set out to achieve this year and beyond, then F1 would be the eventual goal. It’s the dream I’ve had since I first started driving.” Nor does she allow herself any special consideration because she is one of the few women driving in the upper echelons of the sport. “At the top level I want to be able to compete against men because I know I can and because I want to go up against the best,” she says. “If I’m not on pole because I braked a bit too early though, I can’t say that my gender has caused me to do that – I just haven’t braked late enough.” This competitiveness is a character trait that has stood her in good stead, but one that meant she very nearly didn’t pursue a career in racing. She attended the Ginetta Scholarship weekend at the cost of turning down a trial with the England Under-18 hockey squad – a pivotal decision about which she has no regrets. It very much appears to have been the right choice. Chadwick has a natural affinity for driving, with an old-school, seat-of-the-pants feel for the car, recognised by three-time Le Mans class-winner Darren Turner. “ S h e’s g ot a s m o ot h d r i v i n g s t y l e a n d a g o o d understanding of what makes a car work,” he says. Last season, Chadwick’s highest placing was third at Rockingham, but she rates her best race as the hardest-fought – a fifth place at Spa, having started from tenth. The challenge is all, and there’s no lack of comprehension nor candour about what she has to do to achieve her goals. “Last year I didn’t work hard enough on my strength and fitness,” she admits, “and I did struggle with that a little. It was a limiting factor.” A winter of training has already paid off, with a third place at the opening round at Oulton Park, and – at time of going to press – fifth place overall in the Championship. If she has a chance to challenge for the title, there will be no holding back. “I’ll be there trying to grab it with both hands,” she says.
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SHORTS HILDA GORDON LENNOX
“Women today are using the licensed house in numbers that would have appeared incredible three years ago,” declared the Brewers’ Journal in 1917. Respectable women going to the pub – in groups or even on their own – was an unexpected and really rather shocking side-effect of the First World War, during which women went to work in factories and offices, earned their own wages and led more independent lives, which included heading out for the odd tipple. Clergymen tutted, as did parents. But one gathering of women in a pub in 1915 couldn’t have been more respectable. For this was the first branch meeting of the Women’s Institute in England, hosted by Mrs Laishley, landlady of the Fox Inn at Charlton, near Goodwood – and one of the local women in attendance was Hilda Gordon Lennox, Countess of March at the time, later Duchess of Richmond. The regular WI meetings that began in the pub in Charlton (now called The Fox Goes Free) were yet another example of wartime social change.
A century ago, war was changing British society in countless ways, as revealed by the story of a surprising visit to a Charlton pub by Hilda Gordon Lennox, the future Duchess of Richmond
Words by James Collard
A LIFE LESS ORDINARY
For the Countess usually walked to these gatherings, collecting local women along her way, in a manner that now seems neighbourly, but which back in this class-bound era must have seemed boldly democratic. Hilda was by all accounts a remarkable woman: highly intelligent, good-natured, yet forceful and determined. She came from extremely capable stock: her grandfather was Thomas Brassey, the civil engineer and contractor who built many of the world’s railways. “The Brasseys famously had extraordinary energy,” says Frances Osborne, a descendant of Thomas and the author of The Bolter, a biography of Idina Sackville, the wayward daughter of Hilda’s first cousin. “They were busy 26 hours a day, doing and giving.” Two of Thomas’s grandchildren married into the Gordon Lennox family. Hilda’s brother Leonard had become friends with Charles Gordon Lennox at Oxford – and they eventually married each other’s sisters. Hilda would have a profound influence on her husband, encouraging him to take up a career, much to her fatherin-law’s disapproval – which he did very successfully, in the army – while as Duchess of Richmond she proved an astute partner in the management of the family’s estates. And the local WI wasn’t the only channel for her energies and sense of duty. As well as being made a Fellow of the Royal Horticultural Society, the first chairman of the National Garden Scheme and a Dame – for her services to charity – she was also a Justice of the Peace (JP) and an outstanding sportswoman. Living to the age of 99, she spent her final years in a flat in Knightsbridge where, in the words of Rosemary Baird, Curator Emerita of the Goodwood Collection, “It is said that visitors always had to do what they were told, but that instructions were given with a great twinkle.”
Left: Hilda Gordon Lennox photographed at Molecomb with the 7th Duke of Richmond and other family members
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As a boy growing up in 1950s Manchester, Norman Foster was captivated by Dan Dare, space travel and visions of the future. Now, at 82, the globally acclaimed architect retains his belief in the power of human ingenuity to solve the world’s problems. Jonathan Glancey meets him as he prepares to show his plans for homes in space at the FOS Future Lab at this year’s Festival of Speed
The Futurist
Previous pages: the Foster + Partners concept for a lunar habitation constructed using 3D printing. This page, clockwise from top: Joseph Bazalgette’s Thames Embankment under construction; Lord Foster at the Hearst Building in New York; his iconic 30 St Mary Axe, aka The Gherkin
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GETTY IMAGES; FOSTER + PARTNERS
NORMAN FOSTER
“WE CAN COLONISE THE REMOTEST ENDS OF THE EARTH; we can conquer India; we can pay the interest of the most enormous debt ever contracted; we can spread our name, and our fame, and our fructifying wealth to every part of the world; but we cannot clean the River Thames.” So railed the leading article of the 26th June 1858 issue of The Illustrated London News. What the press dubbed “The Great Stink” that hot summer was no laughing matter. The Thames ran low as ever more raw sewage and offal from slaughterhouses was drained into it. Parliament debated the subject with the riverside windows of the new Palace of Westminster draped with curtains soaked in lime chloride. As MPs considered moving shop to Oxford or St Albans, cholera struck. This was London at its most grimly Dickensian. “What happened?” asks Norman Foster. “Bazalgette happened! The Great Stink was one of those events that demanded change. What London got was a forwardthinking civil engineer who invented the Thames sewer system that we still rely on today. Joseph Bazalgette looked ahead not just to the next few years, but as far into the future as he could. He gave London not just a firstrate sewage system built on a scale foreseeing population growth, but integrated it with underground railways and water pipes running under his Victoria, Chelsea and Albert Embankments. Bazalgette was a practical visionary.” You could say the same thing about Lord Foster (he was made a life peer in 1999), an architect who has dreamed about, researched and built the future from
the moment he first went to watch Buck Rogers films as a boy at his local Manchester cinema, cycled to take in Owen Williams’ futurist Daily Express building on Great Ancoats Street or was thrilled by the cross-sectional colour drawings of L Ashwell Wood in the centre spread pages of the Eagle – depicting cars, ships, aircraft, locomotives and even buildings of the future. The front-page feature of this legendary English comic was Dan Dare: Pilot of the Future, who, in the mind of his creator Frank Hampson, was born in Manchester in 1967 and based at Space Fleet Headquarters in Formby, north of Liverpool. When Colonel Dare visited the London of circa 2000, London Transport was the stuff of overhead monorails and helibuses. Hovercars mixed it on Regent Street with single-wheeled cars balanced by gyroscopes. It can be hard not to think of Norman Foster, a keen pilot himself, as Dan Dare come-to-life. What the fictional space pilot and perfectly real architect share is not just adventure, but a spirit of unbending optimism. The world – outer space, too – might be a bad place at times, yet from negative events like the Great Stink we get sudden progress and positive change. “Change,” says Foster, on the theme of progress, “is the only constant. It always has been and probably always will be.” The changes that have happened around us so quickly since the Great Stink are, he says, largely a product of the growth of cities. “The rise of cities – their sheer density – has gone hand-in-hand with dramatic and even catastrophic events. When London caught
Below: a 1950s illustration of an “electronic car of tomorrow” driving on a futuristic city highway
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ALAMY
FASHION FEATURE
From top: the Apple Park in Cupertino, California; Foster is fascinated by Alexander Graham Bell’s experiments with kites, such as this flying saucer tetrahedral structure
fire in 1666, the tightly packed timber streets went up like a torch. This, though, led to the city being rebuilt in brick and rational lines that spared it a second Great Fire. And London also got the inventive churches and civic buildings of Wren and Hooke as a result. English architecture and city planning moved forwards. “After the earthquake, tsunami and fire that destroyed Lisbon in 1755, modern seismology developed along with earthquake engineering. This was real progress, change for the better. And so it goes on. The Great Horse Manure Crisis of 1894 led The Times to claim that, ‘In fifty years, every street in London will be buried under nine feet of manure.’ There were so many thousands of horses that
it had become all but impossible for the city to clear up their mess. Working horses lived just three years and were cut up on the side of city streets. This crisis led to the world’s first international urban planning conference, held in New York, and to the electric tram and the motorcar. Within just a few years, inventive new design and engineering had made the problem disappear.” Foster has many other examples to hand, from the Great Smog of 1952 that killed 12,000 Londoners and prompted the Clean Air Act of 1956, the Great Flood of Venice of 1966 that nurtured serious debate around the world about the future of cities set by the sea (very many of them) and of the joined-up thinking that goes under the banner of “environmentalism” today. “If you look at contemporary China,” says Foster, “you’ll be aware of how quickly a society can leap forward into the future when it realises it has to. Pollution in fastgrowing Chinese cities – and there are many brand-new cities under construction – has led to rapid advances in railway design and engineering, in green buildings and the promotion of electric cars. Energy for electric cars can be produced not just by long-life and ever smarter batteries, but by solar energy farms feeding power cleanly into national grids that allow batteries to be charged.” While we’re on the subject of cars, and Foster has a superb private collection of innovative or epoch-defining cars, including a fully working replica of Buckminster Fuller’s revolutionary Dymaxion, I ask him what we will make of the kind of cars that tear around Goodwood to warm applause at the Festival of Speed and Revival. “We’ll think of the best as the Picassos of the automotive world. I’m sure people will come in droves to see events like these in the future, just as they do to heritage steam railways or classic aircraft displays. The difference is that, if we drive, we’ll come by a clean and, most probably,
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LEFT: DENNIS STOCK. RIGHT: BRIDGEMAN ART LIBRARY
NORMAN FOSTER
robotic electric car. People will thrill to machines of the analogue age because of their rarity, but we won’t have oily cars on our roads and certainly not in city streets.” New forms of transport and the cleaning up of cities, says Foster, go together with rethinking ways in which we supply them. “Agriculture generates about a quarter of carbon emissions. In urban terms, it seems a bit crazy that we grow much of our food a very long way from where we live, shop and eat. Today, we can produce fruit, vegetables and other foods hydroponically [without soil] in skyscrapers if we want to. And this could all be a part of the greening of cities. At the same time, we can move towards ultra-modern forms of composting toilets that turn waste into fertiliser. We can make buildings breathe, as we have, for example, with the Commerzbank skyscraper in Frankfurt and the new Bloomberg building in the City of London, cutting down their reliance on energy in the process. “And we can green areas of cities that have been far more about Tarmac than grass and wildlife. Take the new Apple headquarters we’ve built at Cupertino on the western edge of the Santa Clara Valley in California. The site was 50 per cent Tarmac before we started. It’s down to eight per cent. And where the ratio of buildings to landscape was 80:20, it’s now 20:80. We’ve more than doubled the number of trees there. The circular Apple Park has been described repeatedly in the media as a “spaceship”. For Foster this is inevitable,
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because of the building’s shape and ethereal presence on the Californian landscape, and yet there is more to the spaceship analogy than newspaper headlines suggest. “Did you know,” he asks, “that St Joseph of Cupertino is the patron saint of aviators?” Of astronauts, too. The 17th-century priest, born in Cupertino in southern Italy, is said to have levitated while in religious ecstasies. Whether he did or not, dreams and visions of flight intensified between Joseph of Cupertino’s canonisation in 1767 and the first successful powered flight by the Wright Brothers in 1903. Inventors worked intensely and ingeniously on configurations of aerodynamic forms designed to improve those of early powered aircraft. Inevitably, Foster is fascinated by the research conducted by Alexander Graham Bell, of telephone fame, whose experiments with kites included one employing a futuristic tetrahedral structure that resembles the Apple headquarters at Cupertino in flight. “This reminds me,” Foster continues, “of how ideas of flying cities – from Jonathan Swift’s Laputa to the Russian architect Georgy Krutikov’s proposals of the late 1920s – merged with NASA’s ideas for giant space stations, complete with homes and farms, in which humans could travel through space for generations in search of planets to settle beyond Earth. They look like the Apple headquarters, too.” Space travel has long been on Foster’s mind. His global practice, Foster + Partners, has already devised plans and
Above: Lord Foster at work in his Thameside studio. Right: sketches for Buckminster Fuller’s Dymaxion car
FASHION FEATURE
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NORMAN FOSTER
structures for buildings that can be built on the Moon, Mars and perhaps further out into space. Foster + Partners has entered NASA’s 3D Printed Habitat competition with designs for living and working accommodation for four astronauts on Mars. Semi-autonomous robots parachuted to the surface of the Red Planet would dig craters before erecting radiation and storm-proof shelters from regolith, or dusty Martian rock. The rocks would be fused by microwaves. Inside, the shelters would feature smooth modern surfaces in contrast to their rugged interiors. One drawing includes a robot dog. “Even with existing technology, this is all do-able,” says Foster. Models of the project can be seen in the FoS Future Lab at this year’s Goodwood Festival of Speed. In the meantime, advanced design and technology is coming to the rescue of human settlements that are very much more down to earth. “By 2050, some three billion people will be living in slums,” Foster continues. “The traditional way of looking at favelas, for example, is to say they should be demolished and replaced by low-rise estates sprawling out from cities – with all the problems this entails in terms of further use of cars and the distribution and dissipation of energy. What we can do
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with drones, however, means that we can service these organic hill towns, bringing them supplies, from food and goods to medicine, and we can have drones acting as ambulances and fire engines. You can link all these homes to the internet and create thriving, intelligent new parts of cities that had previously been seen as out on a limb and a threat. “I gave a lecture on the future earlier this year at the Barbican in London. I ended it by saying that everything the audience had heard from me that evening was totally conservative, because the future is hard to predict and it’s going to be really exciting and not necessarily what we think it could be. I mean, when I started working as an architect, making a long-distance call meant pumping lots of coins into a black enamelled box in a telephone kiosk. Now I can speak to people around the world, and even in orbit around the Earth if I need to, with this tiny machine in my hand. And it can do so many other things that if you told people about them in the early 1960s they’d think you were crazy.” Norman Foster’s optimism is infectious. With luck on its side, human ingenuity can and will continue to rise above future crises and Great Stinks.
Below: Foster + Partners’ plan for a settlement on Mars constructed by pre-programmed, semi-autonomous robots prior to the eventual arrival of the astronauts
A DAY AT THE RACES Photographer Andrew Woffinden Stylist Florrie Thomas
Fast track your way to sartorial elegance with bold summer suits
P.76: light blue jacket with gold trim, £820, RACIL, racil.com; Leica Ultravid 8x32 Edition Zagato binoculars, £2,465, LEICA, uk.leica-camera.com P.78-79: Nicole linen-blend blazer, £550, and Dylan linen-blend trousers, £425, both by REJINA PYO, rejinapyo.com; Martha jacket in field green textured linen, £930, and Melissa trousers, £480, both by MULBERRY, mulberry.com P.80-81: white and blue striped linen double breasted Ronnie jacket, £1,960, and white and blue striped linen Kyle trousers, £1,090, both by RALPH LAUREN COLLECTION, ralphlauren.co.uk; red silk bag, £210, STAUD, staud.clothing; gold ring with blue white flat stone, £120, EJING ZHANG, ejingzhang.com; maroon jacket with light blue trimming, £800 and trousers, £415, both by RACIL, racil.com; blue silk bag with red handle, £210, STAUD, staud.clothing; white silk vest, £120, RAEY, matchesfashion.com; Turrell ring, £130, MING YU WANG, mingyuwangnewyork.com P.82-83: man’s jacket in lavender/white bold melange, £1,675, and wide lapel blazer in lilac/white slub melange, £1,460, both by VICTORIA BECKHAM, victoriabeckham.com; jacket, £1,325, CALVIN KLEIN, calvinklein.com; sculpted headpiece in saffron silk taffeta and draped sun hat in saffron silk taffeta, price on request, both by NOEL STEWART FOR MULBERRY, noelstewart.com, mulberry.com P.84-85: brown and cream striped cotton trousers: £395, DAKS, daks.com; Artissima gold heels, £585, CHRISTIAN LOUBOUTIN, christianlouboutin.com; slim trouser in lavender/white bold melange, £745, and wide lapel blazer in lilac/white slub melange, £1,460, both by VICTORIA BECKHAM, victoriabeckham.com; blue polka dot heel with yellow strap, £585, CHRISTIAN LOUBOUTIN, christianlouboutin.com P.85: man’s jacket in lavender/white bold melange, £1,675; slim trouser in lavender/white bold melange, £745; wide lapel blazer in lilac/white slub melange, £1,460, all by VICTORIA BECKHAM, victoriabeckham.com Majusa heels, £895, MANOLO BLAHNIK, manoloblahnik.com
Lighting Assistant TANC NEWBURY, Digital Technician MARIJIA VAINILAVICIUTE, Stylist Assistant CHLOE STEWART, Hair Stylist ADAM GARLAND, Hair Stylist Assistant SUNAO TAKAHASHI, Make-up Artist KENTARO KONDO, Models STEPHANIE OMOROJOR at ELITE MODELS; STEPHANIE HALL at MODELS 1
PORSCHE
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PORSCHE
Porsche turns 70 this year, but as always, it has one eye firmly on the future. Erin Baker reports on how the marque is preparing for an electric revolution 61
PORSCHE
PORSCHE CELEBRATES ITS 70TH ANNIVERSARY this summer, and is in possibly the rudest health of its lifetime. What has made it such a survivor, and how has this German premium brand weathered the various global economic storms of the 20th and 21st centuries? At the heart of Porsche sits a true icon: the 911. “Iconic” is a horribly overused word in the car world. From the latest Japanese sports car to the German executive saloon, every manufacturer believes they have an iconic model in their line-up. Yet Porsche is one of a few brands that can genuinely lay claim to one. The 911 joins possibly just the Volkswagen Golf GTI, Volkswagen Beetle, Fiat 500 and Land Rover Defender in being true icons of the road, cars that people recognise even if they don’t know what they are; cars that still define the entire genre that they spawned decades ago. But what does the future hold for this automotive legend? Porsche has been careful never to change the design of each successive 911 too much, and has instead squeezed the pips of countless iterations of that familiar silhouette, so that nowadays you can choose from – deep breath – eight versions of the 911 Carrera, the 911 Carrera T, 911 Targa 4, or five versions of the 911 Turbo. So instant is the public’s recognition of these cars, the 911 has arguably stronger inherent brand equity than the company that created it. Where, then, should Porsche go from here? Along with the rest of the industry, it faces the most uncertain future of its venerable
Will people still buy noisy, combustion-engined sports cars in 10 years’ time? Can the 911 survive its biggest test yet?
Above: Ferry Porsche in his office with his son, Ferdinand Alexander Porsche, photographed in 1960
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lifespan thus far, with electrification looming large on the horizon, and autonomous driving bringing up the rear. Will people still buy noisy, combustion-engined sports cars in 10 years’ time? Will they want to be involved in an engaging driving experience? Can the 911 survive its biggest test yet? Come to that, can Porsche? For the answer, we must turn the dusty pages back to the beginning. Not to June 8, 1948, when Ferry Porsche registered the first vehicle to bear the Porsche badge: the 356 No 1 Roadster. No, earlier than that, to 1900, the year that Ferry’s father, Professor Ferdinand Porsche, built both an electric car, known as the LohnerPorsche, and a template for an electric-petrol hybrid car – though it wasn’t until 39 years later that he got around to thinking about a sports car bearing the Porsche name. So, in a sense, Porsche’s future is simply Porsche’s past, brought back to life and polished until it shines, with one billion euros of sparkling new money, and 1,200 new jobs, invested in it. Porsche has the experts to build electric powertrains, and will undoubtedly be fine and dandy doing it; the marque’s Mission E Cross Turismo fully electric concept car, which was launched at the Geneva motor show this year, was a sexy start to the rather soulless proposition of a silent electric motor in a throaty sports car. Porsche fans breathed a cautious sigh of relief.
PORSCHE
Previous pages, and left: design sketches for the Porsche Mission E Cross Turismo fully electric concept car
1974 (G Series)
1994 (Type 993)
2011 (Type 991)
Above: the 911’s distinctive silhouette has seen only subtle changes since the car was first introduced in 1963
But while the engineers may have the future covered, is the public appetite for the current thirsty, noisy petrol sports cars still as strong? The answer, baldly, is yes, at least as far as 911s go. Porsche has struck gold lately with its decision to drip-feed lightweight, limited-edition 911 variants into the market now and again. With demand far exceeding the carefully controlled supply, prices only ever shoot northwards of the showroom sales tag, which means a solid investment in times of diminishing returns. One savvy friend cashed in all her ISAs this year and bought a 911 (997 version) GT3 and a 2015 Cayman GT4. She knows her stuff and is confident the two cars will shortly provide her children’s school fees for the next 10 years. She’s probably right: Formula One driver Mark Webber bought a 911 GT2 RS (the names are a baffling jumble if you’re not clued up, and only get worse as you get into limited-edition variants) in 2011 for about £120,000. It’s now worth approximately half a million pounds. Porsche also weather-proofed itself early on against the rising tide of “lifestyle” cars with the Cayenne, one of the first SUVs from a traditional sports car manufacturer. To give you an idea of how ahead of the pack they were, the first Cayenne came out in 2002, and Porsche has sold more than 800,000 of them since. Aston Martin’s competing SUV, the DBX, arrives next year. Even Porsche, however, cannot escape some of the biggest challenges it has yet faced. When asked about Porsche drivers missing the sound of a conventional engine when driving an electric car, Stefan Weckbach, Head of BEV (Battery Electric Vehicles) at Porsche, says enigmatically: “It’s true that our sports exhaust systems have been a huge sales hit in the current market for combustion engines. It’s also true that they’ll be missing in the Porsche e-vehicle.” Hmm. The suggestion, however, that Porsche should pipe an engine sound through the car’s speakers, gets brilliantly short shrift from Weckbach. “Porsche is unlikely to lower itself to gimmicks of this kind, or use sound effects to mimic a bubbling eight-cylinder,” he retorts. He clearly has something up his sleeve, however, adding, “We will give due consideration to sound as an emotional factor in the Mission E.” It’s undeniable that all sports car makers, including Porsche, would rather their cars continued to be electrifying rather than electrified, so any e-programme is essentially about making a good fist of something inherently disappointing. Luckily, Porsche knows how to design and engineer the perfect velvet glove.
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BEARDS
THE ZEITGEIST HAS GROWN A BEARD, and we are going through a hairy moment in the culture – a facially hairy moment. This has been the case for several years where I live – in the East End of London, amid the hipsters – where it often seems that pretty much every adult male has a beard. But what’s long been true for hipster haunts like Hackney now seems universal, as the beard trend reaches what feels like a tipping point – while various style gurus’ suggestions that the fashion for growing a beard might be drawing to a close seem hopelessly premature. Small wonder. Purely from a practical point of view, anyone who has gone from being clean-shaven to wearing a beard knows that shaving is a lot more work – a daily chore that involves scraping a sharp, straight blade across the face’s natural contours. And while more elaborate, precise beard styles such as the goatee or the Van Dyke might require more maintenance, the common-and-garden “full beard” simply requires a quick trim every week or two, and perhaps a few seconds every day or so tidying up on the cheeks above the beard-line and on the neck below. No-one who has become accustomed to the ease of this regime would lightly return to the dismal business of shaving every day. But the other reason beards won’t go away any time soon is because they mean something. They’ve always meant something – though in different times, they mean different things. Perhaps because of this, the trend for sporting beards and moustaches – and the contrary trend for being clean-shaven – comes and goes over the course of decades or even centuries, rather than in a season or two. And just as cultural commentators propose theories about the length of women’s skirt lengths going up and down in line with the economy, what a man does with his facial hair isn’t just about grooming; it’s about the times we live
in. For beards change how men look; therefore they say something about how we see ourselves – and how we want to be seen. The most obvious, age-old meaning of a beard concerns masculinity and maturity. Boys can’t grow beards; men can. So at its most basic level, the emergence at puberty of the “secondary sexual characteristic” that is facial hair signals our coming of age, sexual maturity and adult maleness. Those whiskers on our cheeks and that fluff on our chin say we’re chaps – and we’re up for it. But beards can also signal a kind of gravitas and authority. As a quick stroll round the British Museum makes clear, the ancients oscillated between being clean-shaven and growing facial hair, with countless regional, chronological and cultural variations. Those marble friezes attest to the fact that Assyrian warriors clearly loved a beard – great big wavy things they were – and would probably win the prize for best beards in the ancient world. The Egyptians, meanwhile, tended to be clean-shaven, though pharaohs and even ruling queens sometimes wore a false beard as a sign of their authority and divinity. Could Julius Caesar have kissed a bearded Cleopatra? Who knows, perhaps he did. We do know, however, that Caesar started shaving in 80 BC at the age of 20 (which would strike us today as being a bit on the late side). And we know this because Romans always celebrated their first shave. For much of their history, the Romans mostly stayed clean-shaven, seeing beards as a Greek habit – and much as they admired Greek culture, a good Roman wouldn’t want to be mistaken for a Greek. Back in the 4th century BC, Alexander the Great had rebelled against both Greek and Macedonian tradition by going clean-shaven, arguing that beards gave opponents a grip in hand-to-hand fighting.
Chin chin Words by James Collard Illustrations by Paul Blow
Beards are ubiquitous these days, sported by princes, City boys and baristas alike, but is there more to this trend than mere fashion? We trace the cultural history of facial hair, from Ancient Greek heroes to Hackney hipsters 64
BEARDS
THE VAN DYKE This beard, named after Anthony van Dyck, the 17th century artist who painted Charles I and his courtiers, is suggestive of a debonair, cavalier spirit. The Van Dyke (a mispelling of the painter’s name) combines a goatee with a moustache – which can be twiddly, as in Napoleon III, or not, as in General Custer. But given the way things ended for them, perhaps this isn’t a beard style that inspires confidence.
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THE FRIENDLY MUTTON CHOPS This beard combines bushy “mutton chop” sideburns with a moustache above a shaved chin. Franz Josef I ruled Austro-Hungary from 1848 to 1916 with such a beard – this being an era when almost every great man (and every emperor) had a beard. That would change. Franz Josef’s successor Karl reigned for just two years with a handlebar moustache. And waiting in the wings? An Austrian corporal, also with a handlebar, soon to become that notorious toothbrush ‘tache.
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THE MOUNTAIN MAN One can chart the Beatles’ journey towards the counterculture by observing the facial hair spreading across their faces. By ’67 John Lennon was sporting bushy mutton chops – part of Swinging London’s fascination with all things Victorian and Edwardian. And then came the long hair and “full beard” (sometimes known as a Mountain Man) just before the band broke up, when he shaved the beard off for charity. He spent his solo career clean-shaven, with the occasional foray into designer stubble.
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THE HIPSTER The word hipster itself has origins in the counterculture, but Wikipedia now writes that “the hipster subculture is stereotypically composed of young and middle-aged adults who reside primarily in gentrified neighbourhoods.” The beard’s revival was launched by these early adopters, but beards are now everywhere, and every style. The hipster beard remains the classic though, suggesting a rugged contemporary masculinity – and artisanal skills.
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Fifties man emerged from the rubble clean-cut, squarejawed and clean-shaven – and deeply concerned about acquiring a Five o’clock shadow, let alone a beard
This set a fashion adopted by many rulers in the Hellenistic kingdoms left behind by his vast conquests. But five centuries later, when the emperor Hadrian grew a beard, he was clearly displaying his love of Greek culture and philosophy. Most of Hadrian’s successors were bearded, until emperor Constantine I signalled his interest in Christianity and a break from the pagan past by going clean-shaven. Similarly when Constantine’s descendant Julian (“the Apostate”) set out to restore worship of Rome’s traditional gods, he promptly did one thing… he grew a beard. So beards can announce religious belief, rather than modishness. Sikhs aren’t meant to trim their beards, although many do, while we’re told that early Arab followers of Islam shaved off their hitherto fashionable moustaches and grew beards on their chins to proclaim their conversion to the new faith – a tradition we see some young British Muslims adopting today. Likewise, although during the Middle Ages priests tended to be clean-shaven – to symbolise their celibacy – after the Reformation many churchmen grew very long beards, presumably the better to resemble Old Testament prophets. But this wasn’t just a Protestant fashion, and it would be hard to judge a beard-off between the Presbyterian John Knox and the Catholic Cardinal Reginald Pole. “He that has no beard is less than a man,” wrote Shakespeare. And the Bard seems sometimes to have had a fairly tidy-looking full beard, at others, a goatee. As did Charles I – in its pointiest, most delicate form, commonly called a Van Dyke after Anthony van Dyck, the Flemish portrait painter who depicted this and other fancy beards at Charles’s court. But during the 17th and 18th centuries in the West, beards became unfashionable. The big hair trend for royal and aristocratic men was the wig – a fashion begun by Charles’s contemporary, Louis XIII, who’d gone bald, and introduced to the English court by Charles II at the Restoration. Charles II also wore a ’tache, but his son, Charles Lennox, the first Duke of Richmond (who made Goodwood House his home) was clean-shaven. Then in the 18th century, wigs were increasingly dusted with white powder, in which case beards would produce an unsightly colour clash – rather like today, when a man with brown hair grows a ginger beard. Peter the Great so disapproved of beards that he taxed them – all part of his push to make Russia more Western – while in England in the 1790s the introduction of a war-time tax on powder accelerated the return of natural hair, worn without powder. And then as the 19th century progressed, so facial hair began its march across men’s features. In 1815, when Wellington defeated Napoleon, he was clean-shaven, bar a hint of sideburns. But by the 1840s, these had become mutton chops, spreading right across both cheeks. And by the second half of the century, a great man wasn’t a great man without a beard. At one point the emperors of Russia, Germany and Japan all had full beards, and Napoleon III of France had a luxuriant Van Dyke (complete with twiddly moustache) while Franz Josef I of Austria-Hungary sported “friendly mutton-chops” (the chin is shaved but a moustache joins up two bushy sideburns). And what was true of emperors was equally true of politicians. Abraham Lincoln famously grew his Shenandoah (a full beard minus the moustache) on the advice of a little girl called Grace Bedell, who wrote to tell him it would make him more electable. But Garibaldi, unifier of Italy, Disraeli, Marx and Engels… all had beards, as did proto-hippy thinkers Leo Tolstoy and William Morris, both craving a more authentic, pre-industrial time.
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So for a few decades, the beard projected power, solidity, authority. But when World War I swept away most of those mighty empires, it also snipped away at the beard. Presumably full beards – so patriarchallooking and reminiscent of all those vanished cultural certainties – were just off-message for the new times. So much so that when the next generation of young men marched off to war, there were no beards among the men who led them. Hitler, Franco, Hirohito, Tōjō, Stalin and Chamberlain all had ’taches of various kinds; Mussolini, FDR, George VI and Winston Churchill were clean-shaven. When the fighting was over, Fifties man emerged from the rubble clean-cut, square-jawed and clean-shaven – and deeply concerned about acquiring a Five o’clock shadow, let alone a beard. That phrase, coined by 1930s admen, resonated through the 1950s and into the ’70s and ’80s, when commercial breaks were dominated by ads for Gillette, Wilkinson Sword and the new electric shavers by Braun and Remington (“I liked the shaver so much I bought the company,”) promising ever-closer shaves. Yet between those eras came the Sixties – which became positively beard-tastic as the counterculture blossomed on men’s faces – when beards meant rebellion, even revolution. Beatniks such as Allen Ginsberg were bearded, as were Che Guevara and Fidel Castro. And a quick survey of the Beatles’ facial hair shows a transformation that’s both personal and cultural. They begin as wholesome-looking, clean-shaven boys with moptop hairdos singing Love Me Do. Then come groovy-looking moustaches for psychedelic Sgt. Pepper’s in 1967, followed by full beards at their most full-on around the Let It Be era. Or another comparison would be early or late-era Elvis – when he sported those louche sideburns. For as a recent Huffington Post piece on “decoding men’s facial hair” suggested, “Why is it that sideburns suggest a man who likes to have fun?” Perhaps there’s something innately nostalgic about the beard. A Van Dyke beard suggests a cavalier spirit, while Prince Michael of Kent’s beard knowingly recalls his Windsor and Romanov ancestors. But a hipster with “friendly mutton chops”... is he referencing the 1870s or 1970s? The latter, most likely. But it’s complicated, because the 1970s hippy was also, perhaps ironically, evoking the spirit of an earlier era. And what beards mean definitely changes. If Fifties man was terrified of the Five o’clock shadow, Eighties man craved that very thing, only more so – in the form of what Campaign dubbed “designer stubble” back in 1986. Think Wham-era George Michael, Don Johnson in Miami Vice. This stubble suggested a carefree existence in which the wearer wasn’t likely to be sacked for being unshaven, whereas in the Fifties, going unshaven would have been a sign of going off the rails. So what are today’s hipsters trying to evoke with their beards? Perhaps it’s no accident that where you find makers, you’ll find great beards. There’s something that harks back to a more craft-based, artisanal past in the hipster beard – an expression of a contemporary, urban masculinity which seeks to project authenticity. And perhaps a dash of masculine reassurance in these turbulent, disturbing times. Perhaps it’s a way of saying that just like our forefathers, we’re handy with our hands, and while right now we’re whipping up the perfect flat white with them or kneading sourdough bread, these hands could equally well put up a barn – or a decent fight – should the times and the circumstance require us to. But let’s hope it doesn’t come to that.
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MORVARID SAHAFI
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Commissioned to create the riders’ silks for this year’s Magnolia Cup, fashion designer Morvarid Sahafi has drawn inspiration from the Suffragettes, women boxers and a host of other powerful female role models Words by Charlotte Hogarth-Jones
Photography by Philip Sinden
“DOES POLITICS RUN IN MY BLOOD? Unfortunately, yes,” laughs 37-year-old fashion designer Morvarid Sahafi. A refugee since she was just a few years old, Sahafi and her family fled from Iran to Afghanistan in 1980, because her father was opposed to the new Islamist government. From there they travelled to Czechoslovakia, before eventually settling in Sweden. It was a disruptive life, with constant upheaval, and filled with stories that seem worthy of a Hollywood movie script. “I grew up in a house with a mother who was an activist,” she says. “She worked as a doctor in Afghanistan, but every morning she would get up and practise using a Kalashnikov, along with 12 other doctors and midwives. They had to learn to shoot because they were working in very hazardous areas, so they needed to be able to defend themselves.” After that, they would travel up into the mountains to help women who were badly injured, explains Sahafi, and yet her mother “never complained. She was always laughing and happy.” Sahafi (who is known to her friends as Morv) and her father, meanwhile, often differed when it came to his political views, which were considerably less liberal than her own. Nevertheless, it was his insistence that she should “do something that makes a difference” that ultimately led her to her current career. “My mother, aunts and uncles and my older brother and sister all worked in medicine,” she explains, “but I knew I could never do that, because I didn’t have a brain for numbers. I wanted to be part of a voice.” Following a Masters degree in Philosophy from Goldsmiths University, and an eight-year stint working as a photorealist painter and a fine art consultant, Sahafi’s career at a gallery came to an abrupt end when her boss made her redundant. “She said, ‘Why don’t you just go and do something on your own – you’re too creative for this. I’m firing you!’ and then handed me a cheque for £7,000.” And so MORV London was born – a fashion house unlike any other. Described by Sahafi as “one of the billboards of our time”, the feminine patterns that adorn the brand’s dresses, jumpsuits and shirts contain images and text pertaining to the key political issues of the day. It should come as no surprise, then, given the recent discussions around women’s issues, gender equality and the #MeToo movement, that her latest collection pays tribute to some of the most influential and extraordinary women in history – the Suffragettes.
Look closer at one of her prints, for example, and you might see Emily Wilding Davison, who famously fell underneath King George V’s racehorse at the Epsom Derby, or the face of Sophia Duleep Singh, the Indian princess and treasured goddaughter to Queen Victoria who pioneered the movement for women’s rights while working with the Women's Social and Political Union, and who, after refusing to pay any taxes whatsoever, prompted the frustrated King to ask, “Have we no hold on her?” There are lesser-known Suffragettes with equally impressive tales to tell depicted too, accompanied by the words: “I can’t believe I still have to protest this sh*t” – inspired by a placard seen on a march against the Trump administration earlier this year. The collection couldn’t have come at a more appropriate time, as 2018 marks a century of voting rights for women. And where better to commemorate the Suffragettes than at Goodwood’s ladies-only charity race, the Magnolia Cup, which takes place on August 2nd as part of the Qatar Goodwood Festival. Sahafi’s patterns will adorn the riders’ custom-made silks. “When I was approached to pitch to do the designs I felt so honoured, I jumped at the opportunity,” says Sahafi, who, following her initial meeting with the Duke of Richmond, worked through the night on sketches for each silk in order to secure the job. In addition to Suffragettes, trailblazing female scientists, physicists and some of the first female boxers can be seen on each design. Despite being from different fields and backgrounds, there is one factor that unites them, as Sahafi explains: “They’re all females who really had to go out of their way to achieve something.” These are designs that extend beyond the racecourse, however, and on to the red carpet. “We’ve had a couple of celebrities asking specifically for the Nobel Prize print or the Suffragette print to wear to events,” says Sahafi, “and they’ve all come back saying that they loved wearing it because it was something they could talk about. Instead of standing in front of interviewers and saying, ‘I’m wearing such and such designer,’
Previous pages: fashion designer Morvarid Sahafi wears her “I can’t believe I’m still protesting this sh*t” print. Left: “The Boxers” in blue
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MORVARID SAHAFI
Above: MORV London’s “The Boxers” print is a celebration of women and rebellion, in sports and in the arts
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they’re actually saying, ‘I’m wearing this print because it stands for something I have an opinion on.’” And yet it’s not a feminist agenda that drives MORV London – but rather, an ethical one. “I want the prints to encapsulate our times. So in two years the patterns might have something completely different on them,” Sahafi declares. “The real priority for me is to maintain a brand that’s both ethical and sustainable.” Describing the fashion business as “one of the most toxic, wasteful industries out there”, Sahafi is quick to point out that MORV London is a brand that shuns fast fashion, with pieces designed to last for years and be handed down to future generations. “I think I care about this so passionately because we moved so much
from place to place as a family,” she says. “I don’t have a single coat or scarf of my mother’s – but I’d love my daughter, who is only two years old right now, to own something and to know that it was from her mum’s era.” Classic cuts and high-quality fabrics should ensure that the garments stand the test of time. The label isn’t cheap, but, explains Sahafi, this is the future of fashion. “There’s a whole new generation of designers and consumers wising up to the fact that you can have sexy, beautiful, high-fashion pieces that are made from ethically sourced fabrics. You don’t have to wear dresses that look like sacks! I think in the future the stigma around buying a £20 coat will be so huge that high street brands will die out, because you just know that these prices aren’t realistic – it’s obvious that the person spending hours of their life making these so-called ‘machine made’ pieces isn’t getting paid enough.” At the MORV London factory in Delhi, workers are paid a higher-than-average wage, and local women are trained in hand-stitching and embroidery so that they gain a trade for life. Sahafi has plans for designs in the future that incorporate patches on which women from both the UK and India will embroider pictures of their homes. “It’s about bringing awareness of the fact that these clothes are made by human beings,” she explains. “When you put emotion into a garment, hopefully that makes it much harder to throw away.” At times, championing ethical practices and minimal waste while striving to make a profit can be a challenge. “The business has almost become too big for me,” says Sahafi, “and there’s so much to learn as you go along. I studied fashion 15 years ago when online simply wasn’t that important. Now I’m trying to focus on all these different things, and keep the business moving forwards at the same time. It is difficult.” But, she emphasises, failure isn’t an option. “I don’t know what, exactly, we’ll be doing in the next couple of years, but I know I have to make it work,” she says. “I cannot stand failing, so I decided from a very young age that whatever I went on to do, I’d make sure the journey was the important part. For me, the journey has already been worth it. What I really wanted to achieve with the brand is for people to say: ‘I wore MORV London because it stood for something.’ And that’s already happening.”
HAIR & MAKEUP: LAUREN GRIFFIN AT THE LONDON STYLE AGENCY
“I want the prints to encapsulate our times. So in two years the patterns might have something completely different on them”
SUFFRAGETTES AND SPORT
Battle fields
ON A WARM SUMMER’S DAY, the Epsom Downs are full of dog-walkers, joggers, and families going for a stroll. But wander along the rails of the racecourse towards Tattenham Corner and something catches your eye: a commemorative plaque with bunches of purple flowers, which are replaced regularly. The plaque is a reminder of a grim chapter in Epsom’s long racing history; for this is the spot from which Suffragette Emily Wilding Davison ran out in front of the King’s horse, Anmer, during the Epsom Derby on June 8, 1913. Despite the fact that three separate cameras caught the incident on film, to this day no one knows what Davison’s real aim was. Did she set out to throw herself in front of the horse? Did she want to display a flag, mistakenly thinking, because her view was blocked, that all the horses had passed? Or was she, as some believe, trying to pin a Suffragette flag onto Anmer, having misjudged the speed at which the horses were travelling? The fact that she had bought a return train ticket, and also had a ticket for a suffragette dance that evening, indicates that she was fully expecting to return home at the end of the day. Indeed, in 2013, forensic experts working on a documentary presented by Clare Balding examined the footage from the 1913 Derby and concluded that Davison would have had a clear view of the oncoming field, and that she was in fact reaching up to the horse’s bridle. Of course, the Suffragettes were out to promote their cause, and any form of publicity was seen as good publicity. It wasn’t just racing events they chose to target. Any sport favoured
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GETTY IMAGES
As the Suffragettes are honoured at Goodwood this year with MORV London’s exclusive riders’ silks for the Magnolia Cup, Camilla Swift looks back to 1913, when the protesters began to target sporting events
Clockwise from top left: Suffragettes march through London in 1912; the front page of The Suffragette newspaper depicting Emily Wilding Davison as an angel; Davison falls in front of King George V’s horse during the 1913 Derby
by the gentlemen and politicians whose attention they wanted to attract was seen as fair game. Golf and cricket were also singled out, with pavilions burnt down and courses dug up, and there was a plot to destroy the football stands at Crystal Palace and Blackburn Rovers. Grass was a favourite target; the more hallowed the turf, the better. Writing “Votes for Women” in acid on golf greens used by MPs was a frequent tactic, while one Suffragette was caught climbing into the Wimbledon grounds armed with paraffin and wood shavings. But horse-racing was arguably the Suffragettes’ most targeted sport, and 1913 was the year they really took aim. Ayr, Cardiff and Kelso racecourses were all attacked that year, with Kelso’s grandstand burnt to the ground by a firebomb. At Hurst Park racecourse, the Suffragettes’ arson attack left the grandstand
“a fantastic medley of charred wood, twisted iron, broken and melted glass”. And just after Davison’s Epsom protest, a similar incident happened at the Gold Cup at Ascot, when a young man carrying a Suffragette flag ran onto the course and caused a collision. If the Suffragettes were aiming to win people over with their increasingly militant actions, it’s debatable whether they achieved their goal – though women did, of course, get the vote eventually. In 1918, women over the age of 30 who met certain property criteria were granted the right to vote, which added 8.4 million women to the electorate. In 1928, suffrage was extended to include all women over the age of 21, finally giving them the same voting rights as men. The battle was won. The Magnolia Cup takes place on August 2, 2018
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As the Goodwood Festival of Speed celebrates its Silver Jubilee, the Duke of Richmond looks back on his top ten FoS moments
Fast times
TOP 10 FOS MOMENTS
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TOP 10 FOS MOMENTS
“To see Stirling Moss and Denis ‘Jenks’ Jenkinson reunited with the car for the first time in 40 years was highly emotional” – Duke of Richmond
1995
MOSS & JENKS
PREVIOUS PAGES: JAMES BARHAM; LEFT: ANDY LEYSHON; RIGHT: PETER BURN
It was important for me that we should celebrate the 40th anniversary of one of the most famous victories in the history of motor racing. On May 1st 1955 Stirling Moss and Denis “Jenks” Jenkinson won the legendary Mille Miglia in their Mercedes-Benz 300 SLR number 722, crushing the opposition in an incredible display of skill and bravery – averaging just short of 100mph for 1,000 miles on public roads. The victory was a combination of Stirling’s supreme talent at the wheel and the navigation skills of Jenks, who had painstakingly written all his notes on a roll of paper attached to the dashboard of the Mercedes, spooling through them as they raced around Italy. To see the two men reunited with the car, and the “loo roll holder”, for the first time in 40 years was highly emotional. There wasn’t a dry eye in the paddock. Not in the best of health, the diminutive Jenks was overcome when they got back after their historic run. We had to lift him from the Mercedes and, as we carried him like a child to the house, he was cheered by the fans. Everyone knew they had witnessed something extraordinary; something that would never happen again.
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1995
DAN GURNEY
Bringing Dan to the Festival was always a priority for me. To see him reunited with the Eagle-Weslake in which he won the Belgian Grand Prix – to become the first American to win a Grand Prix in a car of his own construction – was just so special. The car was misfiring on his first run but Dan, a great engineer as well as driver, went to work on the engine and soon had it running perfectly. I remember well seeing him in the middle of the paddock, leaning over the car, spanners in hand, listening carefully like a doctor to a patient. The All American Racers Eagle is perhaps the most beautiful Grand Prix car ever and Dan was a boyhood hero, so this was a memorable moment. He and his wife Evi came back to Goodwood many times and we became good friends. Dan was a very special man, a true legend of the sport.
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TOP 10 FOS MOMENTS
SCUDERIA FERRARI
Formula One is an important part of the Festival, and no line-up is complete without Ferrari, the red cars from Maranello having been part of the World Championship since it began in 1950. I decided to go straight to the top and arranged to see Luca di Montezemolo, who was then the man in charge of the race team. He seemed enthusiastic about the idea and on a snowy morning he drove me, in his Ferrari, from his house in Bologna to the factory – in itself a great experience. Luca summoned the F1 team management, via the telephone in his car, to his office and told them, “We are taking the car to Goodwood.” And that was that. There was some very senior muttering about winning races and impending Grands Prix, which were swiftly dealt with by the Presidente. I couldn’t believe it was actually going to happen, but in the summer of 1996 the Ferrari transporter rolled in through the Goodwood gates and Eddie Irvine drove the car. Fantastic.
MICHAEL BAILIE
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1996
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1997
CHAPARRAL 2A AND 2E
This was a dream come true for me, seeing those ghostly white Chaparrals with their space-age high wings at Goodwood. On the first morning of the event a man literally ran into me outside the house, and said, “So sorry, man, I’ve come all the way from Chicago and I just gotta see those great Chaparrals!” The cars had not been seen in public since they raced back in the 1960s and caused such a sensation with their revolutionary aerodynamics. I was thrilled when owner and designer Jim Hall agreed to take them out of storage at his Rattlesnake Raceway base in Texas and bring them to the Festival. To top it all, he invited me to drive them, first the original Chaparral 2A in 1997, and later the 2E with its rear wing operated by a foot pedal. Jim gave me the gold pin of the famous Roadrunner cartoon character, the Chaparral mascot that he gave to all his drivers. I felt very honoured.
“The Chaparrals had not been seen in public since they raced back in the 1960s and caused such a sensation with their revolutionary aerodynamics”
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1997
AUTO UNION
Hans Stuck understands what we do at the Festival of Speed. Invited to drive his late father’s Auto Union Type C/D V16 Bergwagen, he brought a cloth helmet and period overalls, just as Grand Prix winner Hans Senior would have worn in the 1930s. We had been scouring the world for a real Auto Union ever since the beginning. In those days these legendary machines were still enshrined in mythical tales of being hidden or lost behind the Iron Curtain. So to actually have one in the paddock was a huge moment. Like Mercedes-Benz with its Silver Arrows, Audi now generously brings its heritage collection to the Festival and these titans of pre-war motor racing attract huge crowds of fans who never saw them race. With its rear engine in full song, and Stuck crouched over the steering wheel, the car was a wonderful sight, and sound.
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“Hans Stuck brought a cloth helmet and period overalls, just as Grand Prix winner Hans Senior would have worn in the 1930s”
OPPOSITE: JEFF BLOXHAM; THIS PAGE, FROM TOP: GLYNN WILLIAMS, PAUL MELBERT
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TOP 10 FOS MOMENTS
2001
BOB RIGGLE
American Bob Riggle does seemingly impossible things with a car and he knows how to entertain the fans in style. His Plymouth Barracuda Hemi Under Glass has its engine in the back, allowing Bob to give it full revs, drop the clutch, and stand the car on its rear wheels before setting off in a shower of sparks. We decided to bring the car over for a test before the Festival and I didn’t think much of it until Bob fired it up. It was just me and the children watching and it was a completely mind-blowing moment. I had no idea it was going to be quite so spectacular and we ran for cover as the car reared up and roared away. This was his first ever visit to England and the crowd absolutely loved this amazing sight. Bob steers by looking through a window in the floor, which is fine in a straight line but not so good in a corner. Always the great showman, he had the fans begging for more – like a rock ’n’ roll encore rather than a run up the hill.
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2011
LOTUS 56
The wedge-shaped Lotus 56 certainly demanded all my attention. Powered by a Pratt & Whitney gas turbine, and built for the Indy 500, where it very nearly won in 1968, it has fourwheel-drive and enormous power from what is essentially an aircraft engine, but no clutch or gearbox. As soon as you take your foot off the brake it surges forward and gathers speed extremely quickly as the jet spools up. I was given a briefing before setting off up the hill: “Don’t touch the button on the left or the car will shut down. And don’t hit the red button on the right. That’s the power boost for when you need to overtake at over 200mph!” From the startline, the car launched me towards the first corner where, steering to the right, my left hand knocked the button on the left and the car rolled to a halt. Not my finest moment, but a unique experience of a revolutionary car.
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2011
FIAT MEPHISTOPHELES
My first experience of this extraordinary red monster, which set a new Land Speed Record of 146mph in 1924, was at Alfa Romeo’s test track at Balocco, where it was unleashed for a test run prior to its first appearance at the Festival of Speed. I was flattered to be the first to take the slot of the riding mechanic in the car following its five-year rebuild. This was an awe-inspiring experience as the Fiat test driver wrestled the furiously steaming machine around the circuit in the heat of an Italian afternoon. It was more like a locomotive than a car, the rattling 28.5-litre engine requiring vast amounts of water and fuel as it staggered around, spitting flames and smoke. Just starting it was a major performance of operatic proportions.
LEFT AND ABOVE: JOHN COLLEY
Valentino had been high on my wish list of people to bring to the Festival. He’s an absolute hero for motorcycle racing fans across the world. And he did not disappoint. Having won the Moto GP race at Assen on the Saturday, he arrived quite late, but he’d brought his dinner jacket and insisted on coming to the party we host in Goodwood House on Saturday night. On a high after the race, he got stuck into the party but was ready to ride his Yamaha bright and early on Sunday. He loved the idea of riding into the front hall of the House before appearing on the balcony to be saluted by a huge crowd waving those familiar yellow flags. Keen to drive some cars, he changed his flight plans and stayed until the end of the day.
2008 and 2013
PORSCHE 908/3
What a privilege this was. I have always loved Porsches and have driven this one at the Festival more than once. It’s the famous 908/3 Targa Florio car in Gulf livery and it’s just perfect for the Goodwood hill. It looks sensational and the 3-litre flat-eight engine makes a wonderful and massive amount of noise right behind your head. This compact yet super-quick little car is simply exhilarating to drive. You sit very far forward, your feet on top of the front axle, so it’s pretty important not to hit anything! The Porsche came into its own on twisty tracks like the Targa Florio road race through the mountains of Sicily and felt immediately at home on the Goodwood hill – it was just so precise and predictable.
VALENTINO ROSSI
DOMINIC JONES
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2015
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Wa l dor fA s tor ia . com © 20 1 8 H ilton
TRUE WALDORF SERVICE A SUNDAE SURPRISE
LIVE UNFORGETTABLE
CALENDAR
May 6 – November 4 2018
Goodwood Breakfast Club
The Breakfast Club: a motoring show where the visitors and their machines are the stars
A hearty breakfast and a large display of incredible cars on the Goodwood Motor Circuit - what more could you ask for on a Sunday morning? The Breakfast Club is a motoring show where the visitors and their machines are the stars. There’s no driving – apart from what we hope will be a delightful early-morning run to the Circuit on some of Sussex’s finest roads - and no cost, as the Breakfast Club is free to attend. From supercars to hot-hatches, there are plenty of new and returning themes for 2018. Classic Car Sunday keeps its traditional pre-Revival position of early August, while Japanese Sunday retakes its place on the planner after a postponement in 2017. This will again feature all the best JDM cars and bikes from your favourite Japanese marques.
AUGUST 5
CLASSIC CAR SUNDAY Celebrating the heyday of motoring, Classic Car Sunday will welcome cars of all types, shapes and speeds – as long as they were built before 1978. We aim to fill the Motor Circuit with tax-exempt cars and bikes of all types, shapes and speeds, just a few weeks before the Revival gets underway. OCTOBER 7
JAPANESE SUNDAY A feast of JDM goodness, for all those whose automotive love come with a Rising Sun flavour. Expect some of the greats of Far Eastern motoring on both two wheels and four, from Honda to Lexus, Mazda to Subaru and beyond! Following the hugely successful start to the year, we will now be ticketing the event to manage the capacity of the Motor Circuit to ensure that all visitors have an enjoyable and safe day. Everyone is welcome but all visitors to the event will need to either pre-register a vehicle or sign up for a free ticket. Visit goodwood.com/breakfastclub for more details
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CALENDAR
The Goodwood Revival is a three-day festival of vintage cars and bikes, fashion, music and food
September 7 – 9 2018
The end of the summer means only one thing, the Goodwood Revival – a three-day festival of vintage cars and bikes, fashion, music and food. Thousands of fans come in period dress 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 motorsport. Everything within the perimeter of the Motor Circuit is transported back in time to the ’40s, ’50s and ’60s, including the spectators, who have become part of the show. This year, which marks Revival’s 20th anniversary, we are thrilled to welcome Jenson Button, who will be racing on Sunday for JD Classics in the RAC TT Celebration. The Freddie March Spirit of Aviation exhibition will be celebrating 100 years of the Royal Air Force and there will be over 30 aircraft from the RAF on display, the earliest of which is from 1918, offering guests an opportunity to get up close to these historic machines. Away from the circuit, Revival Fashion will move to the High Street this year, with even more inspirational looks from the 1940s, ’50s and ’60s.
To buy tickets, visit goodwood.com/revival
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TOM SHAXSON; RICHARD PARDON; STEPHANIE O'CALLAGHAN
Goodwood Revival 20th anniversary
In a nutshell JULY 5 & 6 9.30AM – 12PM AND 9.30AM – 5PM
REVIVAL DRESS WORKSHOP From fitting and fabric-buying to cutting patterns, learn how to make your perfect Revival dress SATURDAY 18TH AUGUST HOSTS THE FOLLOWING: 10AM – 5PM
VINTAGE MARKET Browse our stalls and choose from a fabulous array of vintage clothing and accessories 10AM – 12PM AND 1PM – 3PM
VINTAGE HAIR, MAKE-UP & FASHION MASTERCLASS Vintage-inspired masterclass to give valuable insight into creating the perfect looks 10AM – 5PM
GET READY TO JIVE WITH BETTY’S SALON Get ready for the party with treatments from Betty’s Salon 7.30PM – LATE
‘50S JIVE PARTY Relive the good times with the rock ‘n‘ roll sounds of the 1950s
If you would like to know more, get in touch or pre-book any of the above events, call The Kennels on 01243 755132
July 5 – 6 and August 18 2018
Get Ready for Revival at The Kennels The joy of Revival is as much about revelling in the fabulous style of the period as it is about vintage cars and bikes. It’s a rare chance to celebrate a significant and glamorous era of fashion. From the revolutionary new look of the 1940s to the femininity of the Fifties and the colour explosion of the Swinging Sixties, there are so many iconic styles to provide fashion inspiration. Prepare by coming along to a number of events and parties taking place at The Kennels, to ensure you not only look amazing on the day (and perhaps even scoop the “Best Dressed” award) but also have fun learning about the rituals of hair and make-up at that time. If you’ve ever dreamed about creating your very own vintage dress you can meet with our expert seamstress to be fitted and learn about measuring and how to cut your fabric – then return the following day for a full workshop where you will make your chosen dress. Or if you prefer to buy a vintage dress, hat, handbag, shoes or any of those all-important details, our stalls will be offering a wide choice of clothing and accessories from the era. Learn authentic hair and make-up tricks with our masterclasses and even begin the festivities early by coming along to our ’50s Jive Party on the night of 18th August. A live six-piece band with sets of rhythm and blues music, swing and rock ‘n‘ roll favourites will have you dancing the night away.
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finish More than 400 cars and bikes cross the finish line of the Goodwood Hillclimb each year. For those who don’t bag one of the best times, there’s still a sense of victory in completing the course. The Hillclimb is deceptively tricky: it might appear straight and simple to spectators but it contains numerous challenging bends, including Molecomb, a sweeping left followed by a flint wall that can catch out drivers who fail to get the line right. Not that this prevents the many competitors – and over 60,000 spectators each day – from enjoying the action. “The Goodwood Festival of Speed Hillclimb was the narrowest, bumpiest, least grippy course I’ve ever driven,” said F1 legend Juan Pablo Montoya. “But I loved it.”
LAP OF HONOUR
Marcus Wareing is a judge on BBC series MasterChef: The Professionals, the chef-patron of his eponymous two Michelin-starred restaurant at The Berkeley, and the restaurateur behind The Gilbert Scott and Tredwells. A Goodwood fan and passionate car and bike enthusiast, he gained his first Michelin star aged just 25, and has written seven cookery books
Marcus Wareing YOU CAN HAVE WHATEVER YOU WANT IN LIFE. But you have to be open-minded and organised. I STRUGGLE WITH THE WORD “CELEBRITY”. I’m a cook who’s been lucky enough to write books and appear on some TV shows. How that happened, I don’t know. YOU SHOULDN'T HAVE CHILDREN JUST FOR THE SAKE OF IT. Having a family has given me another level of focus, but that responsibility stays with you from the moment they’re born until the day you die. I’VE NEVER HAD A BEST MATE. I’ve always walked alone and done my own thing. I’VE JUST BOUGHT MY FIRST MOTORBIKE, a BMW F 800 GS Trophy. I wanted a touring bike for riding around London and travelling out to East Sussex, where my new farm is, without getting caught in traffic – and I absolutely love it.
I LOVE BEING A PART OF MY KIDS' EDUCATION. The biggest misconception about me is that I'm unsocial, but you'll often find me standing on the sidelines of the football pitch with all the mothers and fathers and dogs... I can’t tell you how much I enjoy it. LIFE IS HARD WORK. Don’t give me that “I deserve a life outside of work” bollocks. I hear a lot of young chefs talking about what they want from life, but without applying enough effort, you’re never going to get to where your dreams are. THE BEST CAR I'VE EVER HAD IS THE ONE I'VE GOT NOW. It’s a Mercedes-AGM GT C. I love the interior, the sat nav, the road handling, and when you put it into sports mode... what a car. CATERING IS OFTEN LOOKED DOWN ON. People say, “If you can’t do this, go and be a chef, go and be a waiter…” I find that quite demoralising. Just because someone doesn’t have a degree, that doesn’t make them inferior. SOCIAL MEDIA HAS GIVEN CHEFS A VOICE. In the old days it was only the big food critics from The Times or The Telegraph who could put you on the map.
I REMEMBER WALKING DOWN THE HALLS AT COLLEGE and there were people training as bricklayers, ironmongers, welders. These trades are what this country was built on, and they’re disappearing. I think that’s a shame. IF YOU COME TO WORK AND EVERY DAY IS A DREAM, MOVE ON. You’re not pushing yourself hard enough. I’M HAPPY WHEN I CLOSE THE DOOR TO MY HOUSE and all my family are in there. If they’re well and happy, then I’m happy.
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