Goodwood Magazine 2010

GOODWOOD Year 2010

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goodwood 2010 The start of a new decade, 2010, a year which finds Goodwood at the forefront of innovative, energetic and exciting sporting and social events. This August, we are excited to bring you the very first Vintage at Goodwood – Five Decades of British Cool. Vintage at Goodwood will be a spectacular mix of music, fashion, film, art and design celebrating all that is, and has been, truly great about British creativity throughout the 1940s, ’50s, ’60s, ’70s and ’80s. A whole new world will transform our part of the glorious Sussex countryside from August 13th to 15th. You can totally immerse yourself in all the sights, sounds and happenings of British cool at its best and relive your favourite decade, not to mention ‘Future Vintage’ and what we think will be considered vintage in 25 years’ time!

The Festival of Speed will be celebrating 100 years of Alfa Romeo, one of the world’s most significant and greatest car marques, 60 years since the beginning of F1, and a special focus, in the Cartier Style et Luxe, on Italian coachbuilding, all together making Goodwood the greatest car collection in the world for three days. The greatest drivers in every discipline will be here too, with both Jensen Button and Lewis Hamilton leading the chase up the hill. One of the greatest champions of them all is John Surtees, whose extraordinary career we will be celebrating at the Revival, it being 50 years since he won the first car race he ever saw in 1960! As ever, the Revival will celebrate the glory days of motor racing in this country and recreate a world of competition, glamour, style and fun.

Racegoers will not fail to miss the latest feature at the racecourse. We’re thrilled to work with internationally renowned sculptor, Nic Fiddian-Green as he installs a fabulous giant horse head on the Members’ Lawn – part of his Monumental Series. I hope you enjoy the story in this magazine all about his extraordinary focus on, and passion for, one particular Greek horse.

Also new this year, Golf at Goodwood will host its first PGA tournament.

This is a very significant step for our golf team and one which will bring the challenging Downs Course into the national competition arena.

Our organic farm goes from strength to strength, with the return of native Downland beef species to our herd. This year also sees the introduction of our own range of cheeses, created by master cheese-maker, Christopher Vowles, using milk from our wonderful herd of organic dairy cows.

Goodwood is not the kind of place to stand still or rest on its laurels.

Despite our respect for the past and close attention to our history, we also thrill at moving forwards and developing new and exciting things. For years we have enjoyed hosting the greatest and most celebrated in human and equine sporting endeavour, but a new decade gives us the perfect opportunity to bring you a whole host of new people and happenings. We very much look forward to seeing you again this year and sharing the experience. See you then, I hope.

Earl of March

2010 Edition Goodwood Magazine is published on behalf of the Goodwood Estate Company Ltd, Chichester, West Sussex PO18 OPX

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GOODWOOD 2010

Editorial Director Ian Bond Creative Director Martin Sharrocks Senior Designer Jamie Malcolm Production Editor Paul Presley Chief Sub-Editor Oliver Norman Advertising Director Oliver Skelding CEO David Sears Goodwood in-house team Ellen Westbrook, Janet Bradley, Rachel Suter, Gary Axon, Paul Melbert, Tracey Greaves, Judith Speller, Louise Harwood, Damon Allard, Lloyd McNeill, James Peill, Bradley Eccleshare, Marion Calver-Smith

Contributors Jonathan Stewart, Andrew Buckingham, Mick Walsh, Ann Somerset Miles, Mike Cable, Rosemary Baird, F1 Colour, Nicola Copping, Dawn Sharpe, Matt Sills, Andrew English, James Peill, Wayne Hemingway, Ian Harrison, Matt Sills, Alvin Stardust, Eddie Bullock, Dougie Lampkin, Adam Wheeler, G2F Media, News International, Chris Whalley, Charlie Newbury, Katherine Higgins, Mark Wagstaff, Carl Hoffman, Ian Bond, Lewis Hamilton, Jeff Bloxham, John Coley, Paul Melbert, Jay Merrick, Nic FiddianGreen, John Surtees, Paul Fearnley, Richard Newton, Tony Harmsworth

© Red Giant Projects Ltd 2010 No part of this magazine may be reproduced without prior permission from the publisher. Goodwood Estate and the publisher cannot accept any responsibility for errors or omissions.

Festival of Speed, Goodwood Revival, Vintage at Goodwood and Horse-racing 01243 755055 The Goodwood Hotel 01243 775537 Goodwood House Corporate entertaining/events: 01243 520158 Goodwood Aero Club 01243 755159 Goodwood Road Racing Club 01243 755057 Golf At Goodwood 01243 755130 The Kennels 01243 755132 Goodwood Merchandise 01243 755098 (shop) Goodwood Farm Shop 01243 755154 www.goodwood.com

Prospective investors should consult the Simplified Prospectus before investing. The past performance of funds as prescribed by the FSA can be found at www.fandc.com. *As at 31 December 2009. Issued and approved by F&C Fund Management Limited. Authorised and regulated by the Financial Services Authority (FSA). Head office: Exchange House, Primrose Street, London EC2A 2NY. Registered in England no. 2170242. A registered company limited by shares. Telephone calls may be recorded.

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Expect excellence

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Contents 2010

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Alfa Romeo reaches 100 The eponymous Italian marque has, with the help of a handful of great designers and engineers, built some of the greatest cars of the last century

24 Cozmo Jenks Goodwood’s very own milliner has a new range of special panama hats

30 Golf at Goodwood There’s a new event at Goodwood, and it’s going to be big news. PGA Captain Elect Eddie Bullock reveals all...

35 Racing Trophies Goodwood’s collection of Glorious winner’s cups under the spotlight

40 Vintage at Goodwood Everything you need to know about the big new summer festival that celebrates five decades of great British creativity

48 Alvin Stardust The rocker with the million-pound guitar

52 Dougie Lampkin

92 John Surtees

What he can’t do on a motorbike can’t be done; he’s a 12-time World Champion

59 Five Decades of British Fashion Going to Vintage? You need to know the look from your decade of choice

70 Virgin Galactic Ever dreamed about going into space?

Stop dreaming! Richard Branson’s making space tourism a genuine reality

76 Home Farm

Eight World Championships testify to the man’s enduring greatness, irrespective of the number of wheels

98 Rolls-Royce Ghost The most powerful Royce ever built is also a fantastic drive

102 The Shell House What would you do with half a million sea shells? Decorate a hillside folly?

106 Aviation at Goodwood

Farming ‘fads’ come and go, but Goodwood just sticks to the old fashioned ways to produce perfect food

80 Lewis Hamilton

For 80 years, aeroplanes have played a big part in the history of Goodwood, and there’s no sign of that changing

112 Estate News

A rare one-on-one with the F1 Champ who likes to put on a bit of a show

86 Nic Fiddian-Green There is sculpture, and then there is sculpture on a grand scale, Fiddian-Green style. This is a horse’s head you simply can not ignore...

Whether you like your sport active or passive, your horsepower equine or automotive, there is a plethora of opportunity awaiting you on Goodwood’s turf

CONTRIBUTORS Jay Merrick Few writers get as close to or delve as deep as their subject as Jay. When you hear of a 14ft horses head, there’s only one man to go looking...

Paul Fearnley The former Editor of Motorsport has a soft spot for the king of two wheels and four. So who better to talk to the great man about his life in the sport?

Jonathan Stewart It’s oft been said that a picture is worth a thousand words. On that basis, portraiture specialist Jonny Stewart would by now have exceeded War & Peace

Carl Hoffman Transferring emotions, sensations and imagination into words takes a special kind of journo. Space travel?

Carl is unquestionably your man.

Katherine Higgins Fashion expert Katherine is the face of vintage clothing on the BBC’s Antiques Roadshow.

Who else is better qualified to talk about... vintage fashion?

Mick Walsh If you were looking for a bigger fan of Alfa Romeo, you wouldn’t find them.

A true enthusiast, Classic & Sportscar’s Editor-inChief has owned and driven Alfas for years

A Daimler Brand

On average, people only look at an advertisement for 2.6 seconds. ( By the way, once you’ve finished admiring it here, you can see the new SLS AMG at the Mercedes-Benz stand.)

Fuel consumption figures for the SLS AMG in MPG ( Litres per 100km ): Urban 14.2 (19.9), Extra Urban 30.4 (9.3), Combined 21.4 (13.2).

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ALFA ROMEO

Celebrating the first 100 years

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years of Italian passion For the past 100 years, Alfa Romeo has crafted cars that have stirred the soul, beaten the world and left an indelible mark on petrolheads everywhere WRITTEN BY MICK WALSH PHOTOGRAPHY FROM ALFA ROMEO ARCHIVES

FEW MARQUES HAVE SURVIVED WITH THE VIVID SUCCESS OF ALFA ROMEO. From the earliest 24hp designed in 1910 by Giuseppe Merosi for the newly formed Anonima Lombarda Fabrica Automobili (ALFA) of Milan to the very latest Giulietta range unveiled at this year’s Geneva Show, the renowned Italian name continues to stir the soul of motoring enthusiasts. Over the last century, its history is rich with racing glory and magnificent form created by Italy’s most renowned engineers and stylists. From city taxis to Grand Prix winners, Alfas have always been great driving machines that have inspired a passionate, loyal following.

Its design philosophy has evolved with motoring eras, from the exclusive exotic sports cars of the privileged pre-war years to feel-good, mass production models of the modern age. Throughout the last 100 years, Alfa Romeo has suffered occasional years of misdirection – and occasional intrigue – but the Milanese great has always returned to form, never more so than with its exciting new range.

Style and performance are synonymous with the peaks of Alfa Romeo’s deep and rich history. Over the decades its cars have been the talking points of concours d’elegance and motor shows the world over, but few were more head-turning than a special-bodied, 40-60hp model built for Count Marco Ricotti in 1914. Looking as if it had driven straight out of a Jules Verne novel, this early streamliner was built by the small Milanese Carrozzeria Castagna, who continued a long association with Alfa right up to 1954. Possibly inspired by Camille Jenatzy’s 1899 land speed record car, this remarkable machine was no doubt the first fully aerodynamic road car. The advanced egg- 컄 Right: the head-turning Alfa ‘Ricotti Streamliner’, built in 1914 and the world’s first fully aerodynamic road car Left: the glorious 8C signified in perfect form that Alfa Romeo is back!

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shaped bodywork featured curved windscreen, oval windows and a

minutes, Nuvolari blasted back to challenge the

fish-scale style body finish – all looking like an alien craft as it burbled around Milan. According to contemporary reports, the Ricotti streamliner attained 87mph, a great improvement on the standard

leader, Manfred von Brauchitsch. With the Mercedes in his sights rounding the Karussell, Nuvolari saw his rival’s rear tyres burst and

tourer at 69mph, but with the engine inside the body, the noise and fumes must have been intolerable. In 1915, the Count removed the

roared home to victory. The German spectators and Wehrmacht officials were stunned at the

roof but kept the curved windscreen. What happened to the Ricotti streamliner is a mystery, but a marvellous replica of the maverick is now centre stage in the Alfa Romeo Museo Storico collection.

all-Italian win on their home turf, and the epic drive became legendary, even inspiring a children’s storybook illustrated by Raymond Briggs.

During the early 1930s, Alfa Romeos were invincible on track and road, particularly with the great Italian ace Tazio Nuvolari at the wheel. The record is awesome, with four consecutive Le Mans victories

The Turin-born Jano was one of Italy’s greatest engineers and his career is synonymous with Alfa’s early history. His beautiful designs

kick started by the dashing British duo of Earl Howe and Bentley Boy Tim Birkin in 1931. Meanwhile, in the Mille Miglia, Alfa won 10 out of 13 events before WWII. The key to this success was the engineering

were kings of the road, and his racers were invincible until the state-sponsored German teams arrived. Like Ettore Bugatti’s distinctive

genius of Vitorrio Jano who joined Alfa from Fiat in 1923 and conceived a glorious range of machines, from the P2 Grand Prix racer to

engineering style, Jano’s designs not only worked brilliantly but were aesthetically fantas-

the fabled 8C sports cars. But Alfa’s greatest moment came in July 1935 in the German Grand Prix, when Jano’s Tipo B racer and the Flying Mantuan were both regarded as ‘over the hill’. With Nuvolari barely fit from a previous accident and the three-year old Italian monoposto now outclassed by the German titans of Mercedes-Benz and Auto Union, no one expected the Enzo Ferrari-managed team to stand a chance. But around the awesome 174-corner, 14.2-mile Nürburgring circuit, in treacherous wet conditions, no one could touch the great Nuvolari. Not even a fumbled fuel stop, when the pump handle broke and mechanics were forced to empty 20-litre cans into the tank manually, could deter the maestro. Delayed by nearly two

tic. Tragically, Jano, fearing his persistent cough might indicate cancer, took his own life in 1965, but his remarkable legacy – from the P2 to the Lancia D50 – will be honoured in the Cathedral Paddock at this year’s Festival of Speed.

Alfa Romeo has a glorious tradition with streamlined form, that reached its zenith in the 1930s with the fabulous 8C 2900 range. These supercharged, pre-war supercars were based on Grand Prix engineering and were dressed

by Italy’s foremost coachbuilders. Today, these

ALFA ROMEO

Celebrating the first 100 years

exotics are amongst the most prized machines and are the stars of premier collections, including American fashion magnate Ralph Lauren.

Whenever they appear at events, including Goodwood’s Cartier Style et Luxe, they invariably dominate – the ‘Two Nine’s majestic, flowing form guaranteed to captivate the judges. Just 40 were built and the most beautiful were the work of Carrozzeria Touring of Milan, who developed the ‘Superleggera’ body principle. Developed from aviation construction, this innovative patent employed an outer skin of aluminium panels resting on, but not rigidly fixed to, a cage-like steel frame. Instigated by Touring founder Bianchi Anderloni, together with Giuseppe Seregni, a forwardlooking designer hired in 1927, the lightweight body style brilliantly fulfilled their manifesto of ‘weight is the enemy, air drag is the obstacle.’

Of all the ‘Two-Nines,’ the most spectacular is a one-off Berlinetta built

by Touring for Alfa’s 1938 Le Mans 24-Hour challenge. The ‘Two-Nine’ had already dominated the legendary Mille Miglia road race, but for the long, flat-out Mulsanne straights the Milanese specialist created a special aerodynamic coupé. With the top Franco/Italian driver team of Raymond Sommer and Clemente Biondetti, this sensational machine was in a class of its own at Le Mans. Early in the race the sleek, blood-red coupé had built up an 11-lap advantage of 100 miles – one of the biggest leads ever in the event’s history – before a tyre blew on the Mulsanne Straight. Even after Sommer nursed the car back to the pits and had the wheel replaced, the Alfa returned to the race still in the lead. But with just an hour to go, the engine broke a valve and forced a retirement.

This remarkable machine never raced again but was acquired in the 1980s by the Alfa museum and will be one of the undoubted stars of this year’s Festival. Today, this 152mph Le Mans Berlinetta is regarded as one of the world’s most valuable cars. 컄

Of all the ‘Two-Nines,’ the most spectacular is a one-off Berlinetta built

by Touring for Alfa’s 1938 Le Mans 24-Hour challenge ALFA’S SPORTING HERITAGE 1923

ENGINEER SETS ALFA ON THE ROAD TO GREATNESS Vitorrio Jano, one of the most accomplished engineers of his day, was responsible for greats such as the P2, 8C and Tipo B, racers of pure beauty.

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EARLY SUCCESS COMES AT FRENCH GRAND PRIX The victorious Alfa team

THE MASTER SHOWS FORM At the wheel of a 6C 1750GS, former motor-cycling

celebrates after Giueseppe Campari wins in the P2 racer around a public-road

champion Tazio Nuvolari storms the Coppa Della Consuma in the first of his

course at Lyon. Car shown here is Antonio Ascari’s.

three years with Alfa Romeo.

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Ongoing extravaganza since 1785

Enjoy Piper-Heidsieck responsibly

ALFA ROMEO

Celebrating the first 100 years

Right: In the Giulietta Sprint from 1954, Alfa produced a car that was achingly beautiful and a delight to drive Below: the 1967 33 Stradale, based on the Autodelta T33, was Alfa’s attempt to transfer some of its racecar engineering knowledge into a road car.

But with a price tag of $17,000 (when the average cost of a car was less than $3,000), only 18 were built

컅 As well as Alfa’s centenary, this year coincidently marks the 60th anniversary of the Formula One Championship, which was appropriately won by Nino Farina in an Alfa. The legendary supercharged 1500cc eightcylinder ‘Alfetta’ was developed in 1938 by Giaocchino Columbo, another gifted young engineer encouraged by Enzo Ferrari, and once Grand Prix racing recommenced after WWII, it won two championships in succession,

THINGS YOU MIGHT NOT KNOW ABOUT ALFA ROMEO

with the great Juan Manuel Fangio leading the team in 1951. After Alfa withdrew from GP racing in 1951 to focus on road cars, the Alfetta engines were used to power racing and record-breaking speed boats.

Alfa Romeo won the first World Motor Racing Championship in 1925 and the first Formula One World Championship in 1950 (then again in 1951).

During the 1925 Belgian Grand Prix, the Alfa Romeo P2s of Ascari and Campari were

Between 1938 and 1951, power from this 1500cc, straight eight jewel grew from 170bhp to a staggering 400bhp with final two-stage supercharging. One of the undoubted highlights of recent Festivals and Revival

so far ahead that the crowd became disgruntled with the apparent walkover. The drivers were therefore brought into the pits for a light snack, whilst the mechanics polished the cars. When the competitors caught up, the Alfa Romeo team went

events has been the rare sight and sound of these Grand Prix greats.

During the 1950s it was Bertone, a struggling Turin coachbuilder that would be closely associated with Alfa Romeo, aided by a brilliant young

back out to record a somewhat closer victory.

In the 1933 Mille Miglia, the first 10 cars across the line were all Alfa Romeos.

Henry Ford once said: “Whenever I see an Alfa Romeo, I raise my hat”.

stylist called Franco Scaglione. A special joint project entitled BAT (which stood for Berlinetta Aerodinamica Tecnica) launched Scaglione into the

The famous four-leaf cloverleaf motif set against a white background was introduced as a means of conveying the Italian national colours (red, white and green).

limelight with a series of three sensational concept cars based on the 1900 chassis. The first, BAT 5, debuted in 1953 and recorded a low drag coefficient of 0.23, while the ever more radical BAT 7 was even more wind-cheating at 0.19. With scrolled body form and wild curling tail fins, these hand-formed wonders were the talk of motor shows in the 1950s.

Had Bruce Wayne been Italian, he’d definitely have driven a BAT Alfa.

The union between Bertone and Alfa then flourished with the beautiful Giulietta Sprint. Launched at the 1954 Turin show, this exquisitely formed, compact GT marked Alfa’s entrance into a new popular market with its brilliant all-alloy, double-overhead cam’ four cylinder motor at the heart of its future. This new era was masterminded by chief engineer Orazio Satta, who summed up the great marque’s design philosophy in a 1970 interview: “Alfa

Alfa Romeo has not always confined its talents to producing cars. Over the years it has made aeroplanes, marine engines, trucks, buses, tractors, road-rollers, railway engines, cooking stoves and aluminium windows.

After the Second World War, Alfa Romeo’s return to international motor racing was made possible by the existence of five Alfa 158 Alfettas that had been dismantled and hidden in a cheese factory in Melzo, near Lake Orta, Italy.

In the 1950s, ‘Alfetta-powered’ speedboats won 25 European Championships, 26 World Championships and gained no fewer than 62 world records.

In 1958, during a celebrated murder trial, the defence case rested on the claim that it was impossible to drive from Milan to Malpensa in less than an hour in an Alfa Giulietta.

So the prosecution tried it – and succeeded. The defendant got life imprisonment.

President John F. Kennedy owned an Alfa Giulietta Spider.

Romeo is not merely a maker of automobiles, it is truly something more than a conventionally built car. Its elements are those irrational character traits of the human

spirit which cannot be explained in logical terms. They are sensations, passions, things that have much more to do with a man’s heart than his brain.”

Satta’s remarkable achievement from the 1900 to the GTV defined the modern Alfa, but key to his direction was that this quiet, gracious engineer was also an accomplished driver who could out run most of his engineering staff. If Alfa’s long-serving tester Consalvo Sanesi discovered a handling quirk, Satta would get behind the wheel and experience the problem firsthand. Little wonder classic Alfas of the 1960s were so rewarding to drive.

Although Alfa’s range focused on massproduced models in the ’60s, it didn’t stop the creation of the Stradale, one of the most exotic supercars. Like the glorious pre-war 8C, this

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mid-engined Tipo 33 V8 was based on detuned race car engineering, skinned with a seductive, aerodynamic body design. Just 18 of these Scaglione-styled sensations were constructed between 1967 and ’69, but few sold due to the Stradale’s astronomic price of $17,000, the

BENTLEY BOY BIRKIN KICKS OFF LE MANS SUCCESS Henry Birkin and Earl Howe begin Alfa’s impressive run of victories at Le Mans in the supercharged 8C-2300.

Alfa Romeo won again in 1932, 1933 and 1934.

BRIVIO WINS TARGA FLORIO Legendary 8C-2300 Monza with Antonio Brivio at the

THE BEST LE MANS RACER EVER BUILT? Aerodynamic 8C 2900B

ALFA BETS ON FANGIO FOR GRAND PRIX YEAR ONE In Fangio’s first year with

helm takes victory in Palermo after 313 tortuous miles through the Madonie

during the only race it ever ran, which it dominated by a huge margin, before a

Alfa Romeo, it was all or nothing for the ‘little Alfa’ Alfetta 158 – he either won

Mountains in the Targa Florio, averaging 47.5mph.

broken valve ended its heroic charge.

or retired from all six races entered, three apiece.

highest listed of any road car at its launch.

Scaglione wasn’t the only stylist to get a chance at creating a Tipo 33 dream car. At the 1968 Paris show, Bertone wowed the Press with its Marcello Gandini-designed Carabo super wedge, while Pininfarina’s Ferrari-esque coupé for the ’69 Geneva Salon was more conventional.

Giorgetto Giugiaro created the awkward-looking Iguana, while Pininfarina later designed the dramatic Roadster GS. All inspired successful 컄

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ALFA ROMEO

Celebrating the first 100 years

1951

1968

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2003

ALFA ROMEO AT BRITISH GP The Alfa team pose at the ’51 British GP. Fangio,

COMPETITION PETERS OUT With the best years behind it, Alfa still threw plenty into

BACK WITH A VENGEANCE Alfa Romeo dominated the European Touring Car

Bonetto, Sanesi and Farina were all driving Alfetta 159s.

Fangio came 2nd, World

World Sports Cars; here the Tipo 33/2 of Gosselin/Trosch catches air during the

Championship from 20002003, headed by Italian ace Gabriele Tarquini seen here

Champ Farina set fastest lap around Silverstone.

Nürburgring 1000kms.

trouncing the BMWs to victory in a 156 at Spa

Finally, Alfas were turning heads again, none more so than the new 8C Above: The 8C Competizione returns Alfa Romeo to the era when it dominated cars that were both great to look at and great to drive Below: Alfa is pinning its hopes in the mid-sized market on the new Giulietta, launched at Geneva this year. If looks are anything to go by, this one’s going to be an absolute cracker...

컅 toy miniatures including Corgi and Dinky releases and rarely leave the Alfa museum at Arese, but for the first time this group will be reunited at Goodwood for the Cartier Style et Luxe.

From the launch of the pretty Giulietta Spider in 1955, an open roadster has featured in Alfa’s range. Immortalised in the Oscar-nominated movie The Graduate,

a new direction boosted by fresh links with famous names, including Pininfarina and

the Spider, with its lusty DOHC heart and slick hood operation, has defined the

Zagato. Finally, Alfas were turning heads again,

Alfa driving experience, be it powering over an Alpine pass on a sunny day or cruising Paris at night. Amazingly, the Duetto-based Spider remained in production

none more so than the new 8C, shown as a concept in 2004 and put into production in 2007.

from 1966 to 1993.

Since the Festival of Speed was conceived,

The most dramatic change in Alfa Romeo occurred in 1972, when it launched a completely new car to be built in the new Naples factory far from the marque’s Milan roots. The model, called the Alfasud, was designed by an Austrian-born

Alfa Romeos have always been a key element, with passionate British Alfisti demonstrating their glorious machines up the hill. As the

engineer, Rudolf Hruska, and featured a flat-4 engine with compact saloon body styled by Giorgetto Giugiaro of Ital Design. This advanced small car was fun to drive, but Alfa’s reputation suffered due

event’s prestige grew, so the Alfa museum was enticed to Goodwood, the Italians enjoying the event so much they just kept bringing

to poor build and severe corrosion.

Depressingly, this clever car lasted little over a decade as the company slid into decline with an uninspiring, dulllooking range that lost focus of the great marque’s ideology, heritage and style. In 1986 came the shock news that the

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government-backed company had been sold to FIAT; progressively, over the ensuing years, enthusiasm for the marque was revived with

more historic cars each year. From the only working P2 racer to the fabled Alfetta and a fleet of Tipo 33 prototypes, the Festival has staged the finest collection of Alfas.

That Anglo/Italian connection is even stronger for 2010, with a spectacular centenary display complementing the prestigious UK launch of the new Giulietta model. For Alfisti and all Italian car fans, this year’s Viva Veloce event on 2nd to 4th July will be unmissable. 쏔

COZMO JENKS Goodwood’s own milliner

weaving her spell After a brief moment in the wilderness, magical society milliner Cozmo Jenks is back. This time, though, she has a new range of panamas exclusive to Goodwood WRITTEN BY NICOLA COPPING PHOTOGRAPHY BY JONATHAN STEWART

THE MILLINER COZMO JENKS AND HER FANTASTICAL CREATIONS HAVE A LOT IN COMMON: both are inherently fun, both possess an eye-popping exuberance, and both are pivoted on classic sophistication with a whimsical twist. No wonder Cozmo – and her idiosyncratic hats – are a growing part of the Goodwood landscape; and no wonder it is she who has been chosen to update the traditional ‘Glorious’ panama.

“Goodwood likes the idea of me bringing something a bit zany and different, fresh and modern, and to sex it all up a bit,” says a spirited Jenks of the new collaboration, with a twinkle in her eye. “I’m a little bit different, they’re top end and I’m top end – we’re both luxury brands. And I feel honoured to be asked on board the Goodwood ship.” Fate may have cast Jenks a good hand: a year ago, at the start of a burgeoning relationship with all things Goodwoodian, she mused, “I love panamas, they’re great. I think we should push the panama thing for men, and in all different colours.” Famous last words it seems…

Sold in the Goodwood shop, and at satellite venues during Glorious, her new exclusive panama range is sure to inject a frisson into the Goodwood hat of choice, not least because she has also designed a range for women. Ninety one hats will be made; there will be two men’s shapes – differentiated by fineness of weave; and four women’s, to be exact. They will expand on the current range, which includes four designs – the Richmond, Gordon, March, and the popular Lennox trilby, plus a smaller version for women – and Jenks hopes to be able to name each of her new designs after a historical member of the March family (perhaps we could see the Settrington, the Duchess, the Kinrara or even the Aubigny).

Panama, Jenks asserts, is not the shape of the hat, but rather a term relating to the fabric, and the finer the weave, the more expensive it is.

It can therefore be any shape, which has allowed her significant freedom when it comes to the female versions in particular. “The girls’ ones aren’t like men’s trilbies,” she says, “some are adorned with flowers, the rest bows – they’re all simple but colourful and pretty. One comes with a nice soft brim; one in a little cheeky shape that would look good on anyone from the age of 14 to 60; and one that is more like a classic, old fashioned sun hat.” To that end, this is a collection for Goodwood and beyond; indeed Jenks hopes the sun hat version will be worn by her female clients, “while in the garden, or on the beach.”

The pièce de résistance is one very special, limited-edition version destined for Goodwood die-hards.“I’ve done one especially woven in the Goodwood racing colours, yellow and red, for women – it’s wicked,” she says, interspersing a choice expletive to accentuate her glee.

It’s some evolution for Goodwood’s sartorial calling card. According to Jeannie Whitman Perkins, Goodwood Group Buyer and Product Developer, many traditional styles of the panama, from the endangered real Montecristi superfinos (the super-finely woven panamas so compact they are rumoured to hold water) to the traditional March ‘folder’ with its own yellow and red box for travel, have been sold over the years – but nothing quite as ‘fashionable’ as this.

Fashionable and authentic: Jenks has sourced all her fabric from the panama’s birthplace, Ecuador. (It is thought the name panama was first attached to the hat of Ecuadorian origin when workers building the Panama Canal wore the style to protect themselves from the sun).

Jenks’s supplier (she’s keeping the name to herself, by the way, to maintain exclusivity) supplies the fabric from a small Ecuadorian village and it is then blocked (or formed into shapes) in a factory on aluminium blocks. Finally, each panama is hand-finished by Jenks herself in her Dorset studio: bands, bows, hand-sewn trimmings and 컄

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COZMO JENKS Goodwood’s own milliner

WHAT YOU NEED TO KNOW ABOUT PANAMAS Describing a panama hat as a panama is actually a misnomer. Genuine panamas originate from Equador. The hats were shipped first to the Isthmus of Panama before sailing for their destinations in Asia, the rest of the Americas and Europe and hence they were referred to as coming from Panama.

A panama is not a style of hat. Panama refers to the weave, but the style could be a Fedora, Havana, Optimo, Homburg, Plantation, Trilby or Patron.

Only genuine panamas are made from the plaited leaves of the toquilla straw plant.

In the long-running British sci-fi television show, Doctor Who, a panama was worn rarely by the first Doctor (William Hartnell), occasionally by the fifth Doctor (Peter Davison) in a rolled up style, and most frequently by the seventh Doctor (Sylvester McCoy).

Each panama is handfinished by Jenks herself in her Dorset studio: bands, bows, hand-sewn trimmings and labels all have the Cozmo touch Below: flowers feature prominently in Cozmo’s panamas for women

Low-standard Panamas have fewer than 100 weaves per sq in (10 one way by 10 the other); the finest have in excess of 2000 weaves per

컅 labels all have the Cozmo touch to create a personal, bespoke feel.

The panama hat has enjoyed an enduring popularity at Goodwood since the glowing endorsement of a certain royal, Edward VII. “My great grandfather and Edward VII abolished formal dress in about 1904 at the end of the social season and replaced top hats with panama hats,” says the Duke of Richmond himself. “Then I bought the panama back officially in 1972 with Goodwood Racing colours on the band,” he continues. The version boasting the yellow, red and white ribbon reflecting the Duke of Richmond’s racing silks has been de rigueur ever since. And a new and novel take on the panama, from a milliner Goodwood calls its own, surely has ‘big hit’ written all over it,

square inch. They are graded as sub-Fino, Fino, Super-Fino or Fino Fino.

Panamas were popularized in the UK by King Edward VII, particularly at Goodwood during Glorious, when, in the early 1900s, he replaced the then-popular top hat with a panama.

The Oxford English Dictionary cites a use of the term panama as early as 1834.

It is said that a panama of true quality (a ‘super-fino’) can hold water and when folded for storage can pass through a wedding ring.

Panamas have been donned in the movies by the likes of Charlton Heston (Monte Carlo in The Naked Jungle), Paul Henreid (Fedora in Casablanca), Anthony Hopkins (Fedora in Hannibal ), Clark Gable (Monte Carlo in Gone with the Wind ), Paul Newman (Optimo in Mr & Mrs Bridge), Peter O’Toole (Optimo in The Last Emperor ), Gregory Peck (Optimo in To Kill a Mocking Bird ), Sean Connery (Optimo in Just Cause and The Man Who Would Be King ) and Sigourney Weaver (Breton in The Year of Living Dangerously ).

Montecristi and Cuenca are the two cities principally responsible for panama production. Montecristi is on the coast. Cuenca is in the Andes mountains. Better hats come from Montecristi, more from Cuenca.

Simón Espinal is generally considered to be the finest weaver of panama hats in the world. Naturally, he lives in Equador.

particularly given Jenks’s source of inspiration.

“I was very lucky to have a look through some beautiful old photos of Goodwood from the 1900s, courtesy of the curator,” she says, “where all the women have wonderful big hats with huge, big, beautiful flowers.”

Jenks’s love of flowers is perceptible for all to see – many of her couture hats feature delicate floral creations; cast your eye across the Goodwood landscape during the racing season and delicate, flower-laden confections are likely to have come from her design studio. The new panama collection is no exception: a selection of the women’s versions features clusters of pastel-hued silk flowers encircling the crown. She has also incorporated the classic magnolia flower, sourced as inspiration from the magnolia bushes sprinkled around the Goodwood estate, into her feminine designs.

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History has similarly influenced the tone of the men’s hats, not least the shift in attitude spearheaded by Edward VII. “I was looking at photo albums from 1900 to 1932 of the family party going racing,” says Jenks. “In the early years the men wear mourning coats and top hats and then you see the year when Edward VII changes everything and suddenly he’s in a panama and the men are wearing linen lounge suits rather than tailcoats. I’m trying to bring a bit of that wow factor back to the racecourse.” All of Jenks’ panamas will come with colourful or stripy bands, which will combine the natural panama fabric basis with burgundies, corals, pinks, creams, and beiges. She has used burgundy, furthermore, because it is the Goodwood house colour. “It’s so Cozmo Jenks. I’ve got to have colour,” she says, defiantly.

Jenks is also determined to inject an emphasis on classic workmanship into the range, veering away from high-street styles, and particularly the 21st century ‘fascinator’ (“I hate that word – it is ridiculous, hideous”). The range will be about – first and foremost – a hat with a base, not just a comb. “I want people to want something 컄

COZMO JENKS Goodwood’s own milliner

relationship: “I hope I will do two ranges a year – one for summer and a felt one for winter [aimed at Goodwood Revival], for both men and women. I wanted the first collection to be simple and not scare people, for the hats to be inviting,” she says.

So inviting, Jenks hopes this will be the start of her own business expansion. After the death of her parents, Jenks’s life changed dramatically. Decamping from a glamorous life in London to the quiet tranquillity of her family home in Dorset, left to her by her parents, her millinery business was put temporarily on hold. Goodwood, however, has given her the impetus and focus to rev up the millinery engine once again. “I am utterly honoured and flattered that Goodwood has found me at an amazing time. They have pulled me out of a pit of

Above: the pièce de résistance in Cozmo’s new Racing Colours panama range; Below: Cozmo on her ex-polo pony, Babs

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컅 that is more than just a flower. Look back to the 1940s and ’50s – how damn chic were

depression and now I feel happy again – and my dad would be so chuffed. This is what he always wanted me to do.”

Designing from her Dorset dining table – with views of trees, hills

men and women? They were always in hats.

That timeless elegance has gone; I think we

and birds on her bird table – and toiling away with fabrics in her workroom upstairs, Jenks’s mojo is flowing again. As is her business:

need to get it back.”

And so does Goodwood. Not only have they brought Cozmo Jenks on board to inject some effervescent style, they have also collaborated with David Mason of the tailor Nutters to come up with an exclusive range of Goodwood waistcoats. New season – new looks. Although this is Jenks’s first panama collection exclusive to Goodwood, she hopes it is the start of a long and fruitful

“I have a project, I’ve got private clients again. I want to be doing more couture, making beautiful things, and making people feel good and look good.” And if there’s one place they’ll look good – if it’s got anything to do with Jenks’ panamas – it’s Goodwood. “The whole place has an essence of family and style and stylish, comfortable sophistication,” she says. Roll on the panama season. 쏔

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Golf at Goodwood

PGA tournament comes to the Downs

Golf at Goodwood has moved up a notch, with the announcement that the PGA has chosen the scenic yet challenging Downs Course for its new English Tournament, thanks to Captain Elect, Eddie Bullock WRITTEN BY MIKE CABLE PHOTOGRAPHY BY JONATHAN STEWART

There is something ‘quintessentially English’ about Glorious Goodwood – which is one reason why the PGA has decided to stage its inaugural English Championship golf tournament on Goodwood’s magnificent Downs Course.

The historic James Braid-designed course has already earned a coveted ranking in Golf World magazine’s Top 100 since being remodelled and extended four years ago. And its selection as the venue for this prestigious new PGA tournament, the first ever in England, represents another major coup that will put it even more firmly on the golfing map.

The 54-hole event is to be held in July in the week between The Open at St Andrews and the start of the ‘Glorious Goodwood’ race meeting – a prime time slot in the busy summer sporting calendar.

Sponsored by Business Fort, it is open to English professionals only; a field of 144 players – one of the strongest for any PGA event – will be competing for a share of the £30,000 prize money.

The hope is that it might become a regular annual event, highlighting the quality of the superb 7,104-yard championship Downs course and the unique clubhouse facilities provided at The Kennels, and helping, of course, to establish golf as yet another jewel in Goodwood’s sporting crown, along with horse-racing and motorsport.

That Goodwood has been able to attract such an important national tournament so soon after upgrading its classic and scenically beautiful old downland course to modern championship standard is largely down to the initiative of recently-appointed non-executive director Eddie Bullock.

A Chichester-based former tour professional, experienced golf

ears and when it then emerged that they were looking around for a suitable course I wasn’t slow in coming forward.

“I told them: ‘Look no further, because I’ve got the ideal course for you. What’s more, the setting and everything else about the place is so quintessentially English that it will chime perfectly with the title of the event’. At that stage most of the officials involved in making the decision were still not really aware of Goodwood’s full potential as a major golf

management consultant and now PGA Captain Elect – a position held five times by James Braid – Eddie was brought in by Lord March to help him realise his long-term vision of putting Goodwood on a

venue. But they agreed to come down and have a look round. And after walking just six or seven holes they said: ‘This is it. We

par with Wentworth and Sunningdale among the country’s top golfing venues.

But even Eddie himself was surprised at how quickly and easily he

definitely want to come here’.

“By the time we’d given them the full Goodwood experience, showing them around

was able to convince his colleagues at the PGA that Goodwood was the only place at which to stage the big new flagship event it was planning.

“It was shortly after Lord March brought me on board that I first

The Kennels, taking them up to the hotel and the Park course and giving them a guided tour of the Estate, including the

heard that they were thinking of introducing a new PGA English Championship,” he recalls. “At that point I immediately pricked up my

racecourse and the motor-racing circuit, they were completely bowled over.” 컄

drivingforce 30

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Golf at Goodwood

PGA tournament comes to the Downs

컅 Eddie himself had been equally impressed

Manager there before moving to Woburn Golf

Wyatt in 1787 to accommodate the 3rd Duke of Richmond’s hounds

when got his first glimpse of the golfing set-up at Goodwood.

“The course itself is absolutely fantastic,

Club as Managing Director in 1997.

After 10 very successful years at Woburn, he decided in 2007 to set up on his own as

and some of the Goodwood Hunt servants. But although faithfully restored to its classic original 18th century Regency splendour during its recent multi-million-pound renovation, it nevertheless has a

rated the best downland course in the country

by Peter Alliss,” he says. “Part of the beauty of

an independent consultant, advising on all aspects of golf club management. And having

distinctly contemporary feel to it. This is partly down to the stylishly elegant and carefully chosen décor, furnishings and artwork but also

it is that it presents significant challenges for players of all standards. The setting and some of the views are breathtaking, especially when

based himself in Chichester, it was then that he happened to meet up socially with Lord March, who asked him for his views on how

has to do with the quality of the facilities on offer and the deliberately easy-going, relaxed ambience. Rules and regulations have been kept to a minimum. For instance, there is no strict dress code and no blanket

you get to the top of the course. Standing here on the 6th tee, looking down the valley with Chichester Cathedral clearly visible in

to develop and promote Golf at Goodwood.

The two of them soon found that they were in total agreement about the way forward,

ban on mobile phones.

“Everybody uses mobile phones these days, especially the sort of successful young businessmen and businesswomen that we want to

the distance, you can’t help but go ‘Wow!’ “My own favourite hole is actually the 7th, mainly because of the design, which is true

Eddie wholeheartedly in favour of Lord March’s innovative ideas about blending the modern and the traditional to create a

attract and who have to stay in touch with their offices and clients even when they’re enjoying a day out playing golf,” says Eddie.“So why force them to go outside and sit in their cars to make their calls? It’s easy

James Braid. Of course, he was greatly helped by the nature of the terrain, which is perfect

uniquely special golf club environment.

“While obviously wanting to make the

enough to provide specific areas where they can make their calls. It’s another small way of helping people to relax and have a good time.”

for a golf course. I can imagine that he would have stood here a hundred years ago and thought: ‘My God! What a wonderful piece of topography you’ve given me to work with’. He must have literally been in seventh heaven!”

Eddie comes to Goodwood after a lifetime in golf. He started his career as an apprentice and assistant professional at Roundhay Golf Club in his home town of Leeds and competed on the European Tour for seven years before opting for a more secure, nonplaying future.

Already by then the resident club professional at Bedford and County Golf Club, he went on to become Golf Club

most of Goodwood’s long history and centuries-old sporting tradition, Lord March has always been equally determined to get right away from the sort of stuffy, oldfashioned atmosphere that still prevails in some of the top golf clubs,” explains Eddie.

“I found his whole approach in this respect tremendously refreshing, and in terms of developing his ideas and raising the profile of Golf at Goodwood I felt that I could help to deliver something that would match his vision and build upon the message.”

Part of that vision is perfectly encapsulated in The Kennels. The building itself is a Grade 1-listed architectural gem, designed by James

With a nod to the building’s original purpose, even members’ dogs can have a special membership that allows them to be brought into the clubhouse while their owners are out on the course or in the restaurant! There is a kennel section where they can drink from their own personal water bowl with their name inscribed on it.

All this, together with the family pictures, Lord March’s grandfather’s model aeroplanes and various items of Goodwood memorabilia that are on display in some of the lounge areas, is aimed at creating a comfortable, country house feel to the place.

Lord March has also changed the whole concept of golf club membership, with a credit system that allows members to pay-as-theyplay, while the relatively modest annual subscription entitles them to enjoy all the facilities of the superb clubhouse as well as giving them access to Goodwood’s other sporting events and leisure activities.

“We want to encourage people to enjoy the whole Goodwood

“Lord March has always been determined to get right away from the sort of stuffy, old-fashioned atmosphere that still prevails in some of the top golf clubs”

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experience,” says Eddie Bullock. “To maybe stay overnight in the Goodwood hotel – which used to be run by Marriott but which has now been taken over by the estate – and play a round on the Park course as well as the Downs. Or visit the health spa.

Perhaps even pay to take a car out on the race track. As a member of The Kennels, all these possibilities are open to you.”

Working in close collaboration with Damon Allard, Eddie is looking at ways of encouraging family participation

Working in close collaboration with Golf Operations Manager Damon Allard, teaching pro Christian Fogden and assistant pro Nick Smith, Eddie is looking at ways of encouraging family participation in Golf at Goodwood. There are plans for a golf academy aimed specifically at bringing on younger players and other ideas include the introduction of regular 6-hole ladies’ competitions for lady members who perhaps haven’t got the time or inclination to play a full 18 but would welcome the opportunity to pop in for a shorter round and a bit of fun golf with their friends. It’s all part of a more relaxed attitude to golf club membership.

Still a very useful player himself, Eddie continues to make appearances in pro-ams and is considering the possibility of playing in some senior tour events. Apart from that, he enjoys playing social golf with his wife Kathryn. “Delivering golf to the public is my passion and I want to open the doors to everyone to come and enjoy what Golf at Goodwood has to offer,” he says.

The PGA English Championship and the press coverage it attracts will provide national exposure and there are hopes that if it is a success other tournaments may follow in the future – perhaps, one day, even a European Tour event.

“It’s early days yet – but there is already a real buzz about the place,” says Eddie.

“At the moment it’s still something of a hidden gem – but not for much longer, I suspect.” 쏔

THE HISTORY OF GOLF AT GOODWOOD On the evening of 15th July, 1892, six Sussex gentlemen came together to propose that a golf club should be formed for Chichester and the surrounding area. Despite the meeting’s low turnout, by the end of the evening, the new club had acquired 22 members – including three vicars and two unattached ladies! The nine-hole course was formed at Peckham’s Copse, North Mundham and the entrance fee and annual subscription came to one guinea apiece.

Around 1895, the 6th Duke of Richmond’s family, especially his daughter Lady Helen, began to take an interest in golf so, when financial problems struck the infant course, probably due to its shortage of members, the Duke’s offer for the club to relocate to its present home in the former kennels on the Goodwood Estate, must have come as a welcome relief.

These kennels had been built in 1787 for the hounds belonging to the 3rd Duke of Richmond. Designed by the architect, James Wyatt, the building is described as the finest example of Sussex flintwork throughout the country. The interior today has seen modifications to accommodate the growing club, but the building’s exterior remains intact.

Over the years, the club has seen many famous golfers and society faces including the Prince of Wales (later King Edward VIII), the Duke of York (later King George VI), and, particularly during Goodwood’s famous summer horse-racing Festival, Glorious Goodwood, many well-known jockeys and racehorse owners.

The historic James Braid-designed downland course was brought up to date to meet the challenges of the 21st century golfer with a major renovation in 2004, overseen by Howard Swan, which saw the creation of eight completely new holes, the remodelling of the remaining 10 to increase the course length from about 6000 yards to nearly 7000 yards and the addition of many new trees to give the course a natural feel.

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RACING TROPHIES

Silver gilt masterpieces from Glorious races

Enduring Glory Beautifully designed and lovingly crafted, the trophies presented to Glorious Goodwood winners in the nineteenth century were genuine works of art in themselves WRITTEN BY JAMES PEILL PHOTOGRAPHY BY ANDREW BUCKINGHAM

AMONG THE TREASURE OF THE GOODWOOD COLLECTION ARE FOUR NINETEENTH-CENTURY GOODWOOD RACING CUPS, all executed in silver-gilt and proudly displayed on the dining-table of the Egyptian diningroom during Glorious Goodwood raceweek.

Unlike present-day protocol where the cup is held for a year and then returned, lucky nineteenth-century winning owners kept their trophies in perpetuity.

The earliest cup is the Halnaker Cup which was won by Pantomime, a five-year-old grey gelding belonging to the 5th Duke of Richmond. The race for 60 sovereigns was over two miles and took place on Wednesday, 10th August 1825, the first of a three-day meeting. It was open to non-thoroughbreds ridden by members of the Goodwood Racing Club, in this case Captain Frederick Berkeley whose name is elegantly engraved on the body of the cup along with those of the three stewards. There was only one other horse in the race. The cup itself was made by the London silversmith William Bateman and is hallmarked London, 1818. William was the grandson of the famous lady silversmith, Hester Bateman and had taken over the family firm in 1815. It is designed in the ‘campana’ form, based on classical vases of the Greek and Roman period, such as the famous Borghese and Medici Vases. The underside of the body is ornamented with up-springing acanthus leaves flanked by two satyr masks which form the bases of the handles. Satyrs were the lecherous attendants of Bacchus, the Roman god of wine and fertility, so they frequently appear on objects associated with drinking and feasting. Even 컄

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RACING TROPHIES

Silver gilt masterpieces from Glorious races

컅 the little tiny urn-shaped finial is decorated with a pair of satyrs bedecked with bunches of grapes and rams horns which are appropriately draped with laurel swags (laurel being the symbol of victory). This cup, which had been sold at Christie’s in 1938 by the 9th Duke of Richmond & Gordon following the sale of Gordon Castle in Scotland, came back to Goodwood in 2006 when it appeared at auction near Newmarket.

The 5th Duke of Richmond won the Goodwood Gold Cup in 1827 with his four-year-old bay colt, Link Boy, beating his neighbour the 3rd Earl of Egremont of Petworth’s horse into second place. Again, it was a three-day meeting, the Gold Cup taking place on the first day

Satyrs were the lecherous attendants of Bacchus, the Roman god of wine and fertility

(Wednesday, 15th August) with four runners. The horse was ridden by F. Boyce, as recorded on the engraving around the border of the top.

The Goodwood Gold Cup was first run in 1812 and is today known as the Goodwood Cup and celebrated as the second leg of the season’s three championship races for stayers, following the Gold Cup at Ascot

actually made the cup, it was probably designed by the sculptor, John Flaxman (1775-

in the first part of the summer and before the Doncaster Cup in early autumn. This cup has hallmarks for London, 1824 and the silversmith Edward Barton. It is embellished with two racehorses galloping at full stretch, their jockeys urging them on, while the reverse and the cover is engraved with details of the race, horse and jockey. The base of the body and the cover are beautifully adorned with scrolling acanthus interspersed with flowers. Acanthus was a favourite decorative device of Greek and Roman architects and artists, while flowers are the symbol of Venus, Roman goddess of love. At the top of the body is a naturalistic vine trail issuing from the handles, symbolic of wine and feasting.

1826) who was head of the Rundell design team from 1817 until his death. The charming low-relief group of three horses on the front can be seen on other cups by Storr, including that won by the 6th Earl of Scarbrough’s horse, Catton, at Doncaster in 1816. Below the horses, there is a trailing band of scrolling vines, while the finial on top is shaped as a naturalistic group of grapes and vine leaves.

Vines recall Bacchus, the Roman god of wine and feasting. This cup had been dispersed from the Goodwood Collection and was happily bought back in 2002 when it turned up at auction at Christie’s in New York.

In 1828, the 5th Duke of Richmond won the Goodwood Gold Cup again, this time with his four-year-old roan filly, Miss Craven (who had won the Goodwood Stakes the previous year) ridden by the same jockey, F. Boyce. The cup was made in 1817 by the celebrated silversmith, Paul Storr when he was still working for the Royal Goldsmiths, Rundell, Bridge and Rundell of Ludgate Hill, London as a partner in the firm. For this reason, as well as Storr’s hallmark, the cup is stamped in Latin – ‘Rundell Bridge et Rundell Aurifices Regis

The Stewards’ Cup in 1884 was won by the five-year-old Sweetbread, owned by the Hon. William Gerard, later 2nd Baron Gerard and ridden by T. Cannon. There were 23 runners,

et Principis Walliae Regentis Britannias Fecerunt’ (Made by Rundell, Bridge and Rundell, goldsmiths to the King and the Prince Regent, the Prince of Wales). Rundells had been unable to cope with the quantity

which reflected the fact that it was a valuable handicap (the weights carried by the horses were adjusted so that all the runners had an

of work that followed in the wake of their Royal appointment, so they employed the services of Paul Storr and Benjamin Smith, two of the leading manufacturers of the day. Storr and Smith’s combined

equal chance) worth 300 sovereigns added to a sweepstake of 10 sovereigns each. The Dukes of Westminster, Beaufort and Hamilton

workforce numbered around 1,000 hands in 1807. Although Storr

all had runners in the race as well as the great statesman, the 5th Earl of Rosebery.

Amusingly, the Duke of Westminster’s horse (which came second) was named Duke of Richmond. The race, over three-quarters of a mile, took place on the Wednesday of what

Previous page: the Goodwood Gold Cup from 1828 Left: the 1825 Halnaker Cup and the 1884 Stewards’ Cup Next page: the 1827 Goodwood Gold Cup, won by the 5th Duke of Richmond

was by now a four-day race meeting starting on 29th July. The first official staging of the Stewards’ Cup dates back to 1840 but the name itself originated in 1834 when the senior of the two stewards officiating at Goodwood awarded a cup worth about £100 to any race of his choosing. The 5th Duke of Richmond and Lord George Bentinck were the instigators of the first official race, which immediately attracted a large number of runners (22) with its prize money of £300 over 컄

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RACING TROPHIES

Silver gilt masterpieces from Glorious races

컅 six furlongs. The Duke of Richmond was runner-up twice in the early years of the race’s existence: with Mus in 1840 and with Balaena in 1843. This magnificent cup, standing over 20 inches in height, is a worthy addition to the Goodwood Collection. It was made in London by Hunt & Roskell who were one of the firms that filled the void left when Rundells packed up in 1842. The firm started in the 1840s as Storr & Co. which evolved during the next few decades into Storr & Mortimer, Mortimer & Hunt and finally Hunt & Roskell, hence the cup is stamped ‘HUNT & ROSKELL, LATE STORR & MORTIMER’.

Beatrix Potter described her visit to their workshop in 1881: ‘…there was one more thing to see, the designing. In we all went, a little sized studio with skylights, surrounded by curtains, one of which the Frenchman unceremoniously pulled aside to let us in. The work on hand was a large centrepiece, a drawing of which stood on an easel, while the artist was busy at a plaster model.’

Like the centrepiece Beatrix Potter saw, this cup was probably designed by G. A. Carter who, after his training at the Lambeth School of Art, 1862-1868, was employed in the art and design department at Hunt & Roskell during the late 1870s and 1880s. He designed a trophy for Goodwood in 1871 which showed a scene from The Passing of Arthur

by Lord Tennyson and a Steward’s Cup on the theme of Don Quixote and Sancho Panza, no doubt inspired by the 3rd Duke of Richmond’s Gobelins tapestries at Goodwood. The campana-shaped body is adorned with a bas relief scene of satyrs making wine below a border of vines with birds eating grapes. It is supported by three lion monopodia headed by fauns and a central triumphal palm column. This tripod form, complete with stepped plinth, evokes Roman sacrificial altars where offerings of incense would have been burnt. After William Gerard had taken his trophy home, the subsequent history of the cup remains unknown, but like the Paul Storr cup, it ended up in an auction at Sotheby’s in New York and was bought for the Goodwood Collection in 1998, a fitting resting place after its international travels. 쏔

The base of the body and the cover are beautifully adorned with scrolling acanthus interspersed with flowers 38

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VINTAGE AT GOODWOOD The ultimate summer festival

f o s r a e y British Cool Fifty years on from the de sign-led 1951 ‘Festival of Britain’, Goodwood is to host in 2010 the first of what will become an amazing ne w annual event. Vintage at Goodwood is fives decade s of British cool. It’s all ab ou bringing together music, fashion, design, dance, ar t t humour. It’s a celebratio n of all that is best about and British popular culture and crea tivity from the ’40s to th e ’80s WRITTEN BY ANN SOM ERSET MILES ‘Vintage at Goodwood ’ is the brainchild of des igners Gerardine Hemingway MBE and Wayne Hemingway MB E, who started their business selling and cus tomising second-hand clot hes and who now co-own Britain’s premie r collection of cultural arti facts at their ‘Land of Lost Content Museum’.

“It’s going to celebrate not just the past and wh ere we’ve come from, but going to look to the future and where we’re going to,” says Wayne. “There hasn’t bee n an exhibition of this nature anywhere in the world, and it’s one of those obvious ideas wh ose time has come.

Vintage will be a new Fes tival of Britain and will cele brate everything that that did, and add mu sic to it. I’ve lived near Goodwood for quite a long time. I’ve visited the Revival; I’ve visited the Festival of Speed – and the fact that people leave with a smile on the ir face is something that will set us in very good stead. But what will really make this work is Goodwood.”

The idea for ‘Vintage’ orig inally really came from the Revival. Lord March explains: “We had such a great experience – the fashion, the vintage fashion element ; the way people really engaged with that and 컄

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GOODWOOD 2010

VINTAGE AT GOODWOOD The ultimate summer festival

컅 became the show. We felt really strongly that there was a whole area here that was being untapped. People were not getting what they really wanted, which was to really revel in all that’s best that has taken place in this country over the last 50 years.”

So ‘Vintage at Goodwood’ will bring together lovers of the music, film, fashions, food and the culture and lifestyles of the decades that gave Britain its recent creative heritage, and celebrate it all together at one fantastic event.

LOCATION, LOCATION, LOCATION ‘Vintage at Goodwood’ is creating its own festival village, on a fabulous site overlooking the South Downs and the sea. Wayne Hemingway explains: “We’re actually building an amazing mini-city, with streets you can walk down, where you can get your hair done, buy vintage clothes, see catwalk shows and sit in beautifully recreated cafés from the ’50s or ’60s, ’70s or ’80s.”

Vintage is the equivalent of a big family dressing-up box (with on-site tailor to make immediate alterations if needed), a collector’s dream and a joyous creative feast for all ages. Lord March: “We’re going to create the biggest vintage fashion event in the world and it’s the Hemingways that are going to drive that. We feel our partnership with Wayne is a brilliant one; we’re thrilled to be working together.” They are very, very excited about the site; they feel that something as important as Vintage at Goodwood – all the things, the Englishness that they are trying to celebrate – demands a great piece of English countryside. And it certainly is.

PUTTING IT ALL TOGETHER Vintage is so large that Wayne admits they cannot personally hope to know everything there is to know about the history of cinema, rock and roll, of soul music, glam rock and punk. And so for every single angle they have brought in people who are experts in their respective fields. “Look at the Vintage website and you’ll see the credentials of the team that we’ve put together.” These ‘Curators’ will look at every aspect of Vintage and give it authenticity and attention to detail; they have the experience.

Look around the festival village and you’ll see that there’s a whole series of arenas and stages: from a 1940s Torch Club with a 30piece orchestra playing in it (like a supper club, burlesque and torch singing), to a

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re-creation of a 1950s rock and roll venue called ‘Let it Rock’. “But whilst it is set up in period like a 1950s club, this is where we celebrate rock and roll; this is not just a nostalgia fest,” explains Wayne.

THE FIVE DECADES – WHAT’S IN STORE? 1940s: 70 years on, the 1940s are still so, so relevant. They showed us how to have fun and be glamorous and sexy in tough times. They showed us how to be thrifty (today we call it being sustainable).

They had a great DIY ethic. And boy, did they know how to dance...

getting there

1950s: Every decade since the ’50s, music and fashion has embraced the style and the music of a decade that really was the start of youth culture.

Goodwood is situated just 60 miles from London, 30 miles from Southampton and 30 miles

Rock and Roll and Rockabilly sounded great, sounds great, looked great and looks great, and in 100 years designers, artists and musicians will still be plundering elements of ’50s fashions ‘New Look’, with those full

from Brighton. Please bear in mind that road traffic into and out of Goodwood can become quite congested during an event, especially in the morning and late afternoon. Please allow plenty of time accordingly.

circle printed cotton skirts, flat top haircuts, jeans and crisp white Ts. Mid Century Modern furniture, those brilliant Lucienne Day fabrics

Arrive in style: You could come on that fantastic train journey through Arundel and through the West Sussex countryside; you’ll arrive at Chichester Station and be picked up by a beautiful,

look as fresh as they did 60 years ago and influence so much of today’s designers. ‘Vintage at Goodwood’ will be celebrating all this and much, much more: the classic cars, the Beat Generation, and sitting down to watch The Cruel Sea, The Lavender Hill Mob and The Lady Killers.

old vintage bus which will drive you up the hill to Goodwood and through the amazing Estate.

Then you’ll walk through the lovely woods where people will be camping and there will even be mini discos and film shows. Enticing.

1960s: Its half a century, yes 50 years, since the start of a decade that brought the first mass commercialisation of youth culture and fashion. The decade is fêted for cultural icons, from The Beatles, The Rolling Stones, Twiggy, Mary Quant, Carnaby Street and the Kings Road, the Mini (car and skirt) and hippies. Vintage will delve even deeper, and celebrate the great soul music, dances and sharp dressing that the mod movement brought to the UK. It will pay homage to the rockers that ensured that rock and roll stayed alive, Britain falling in love with Motown and the rude boys that brought colourful Ska and Bluebeat to our cities. The Vintage team is already looking forward to finding some time to sit on the grass and watch some of Hitchcock’s great ’60s films, Kubrick’s 2001: A Space Odyssey, and all that mind-blowing moon landing stuff.

Alternative ways to travel are: By road: from M25, leave at junction 10. Take A3 to Milford and then follow traffic signs to event. From Petworth, take the A285 towards Chichester then follow signs to the event; from Southampton, Portsmouth, Worthing, Brighton and Bognor Regis take the A27 towards Chichester and follow signs to the event; from Pulborough and Horsham take A29 to meet A27, then as from Brighton; from Petersfield follow A3 to meet A27 then as from Portsmouth; from Haslemere take A286 via Midhurst to Singleton and then follow signs to the event.

By rail: the nearest railway station is Chichester (from London Victoria). Taxis and buses are available at the station. There are also fast trains from London Waterloo to Petersfield and Havant, each of which is 20 minutes by taxi from Goodwood.

By bus: a bus service will run from Chichester Bus Station (situated close to the railway station) to the event.

1970s: Wayne Hemingway reminisces: “I was lucky enough to be a

By taxi: visitors can arrange for taxis to drop off and collect from the event. The following

teenager in the ’70s. In ’72, when I was 11, my mum took me to see The Sweet at King Georges Hall in Blackburn. I was hooked and I went a few weeks later to see Slade (this time without mum). In the

local companies may be able to assist you: Dunnaways Taxis: +44 (0)1243 782403; Starline (Freephone): +44 (0)500 771077; Central Taxis: +44 (0)1243 789432; Handicabs: +44 (0)1243 779132; Crown Taxis: +44 (0)1243 829829

same year Marc Bolan’s film Born to Boogie was a cinema experience that lives strong in my memory. In ‘73 David Bowie brought Ziggy Stardust to Blackburn and caused outrage by wearing nothing but a pair of white undies. Then in ’74 I put on some platforms under my oxford bags (to give me some height), coaxed my bum fluff into a half hearted ’tache and blagged my way into Wigan Casino, and a year later into the soul, disco and jazz funk heaven that was Blackpool Mecca’s Highland Room. In ’76 The Buzzcocks Spiral Scratch EP crystallised a DIY punk ethic that was ‘our way’ in t’north. Pip’s in Manchester – with its eight separate rooms, all with individual music policies – was the first club to acknowledge that the coolest kids liked to ‘Do the Strand’, Pogo and get down to some Teddy Pendergrass, all on the same Saturday night. ’70s music was all this and more with Joy Division, A Certain Ratio, Two Tone, Dexys, The Human League and Heaven 17, giving the decade a right old industrial electro send off.”

1980s: Can you believe it? We are now 30 years on since the start of the ’80s. For the past few years, the fashion industry has been trawling its archives to reinterpret shoulder pads, batwings and ‘all in ones’. For 컄

a holiday member to re ‘Vintage at Goodwood’ is a gateway into Britain’s newest national park, the beautiful, unspoilt South Downs. Your campsite will be within striding or biking distance of The South Downs Way, of ancient woodland, Goodwood Sculpture Park, the magnificent Arundel Castle and historic town of Arundel and the many quaint villages that nestle into the Downs. Vintage is a short classic omnibus ride, 30-minute walk or 15-minute cycle from the small, lovely city of Chichester with its independent shops, and acclaimed Festival Theatre and Pallant House Galleries. And then there are the wonderful beaches and harbours of coastal West Sussex. You know it makes sense: save the British economy, cut back on your carbon footprint, holiday at home and while you’re at it, use the Green Cross Code, Protect and Survive, Stay Calm and Don’t Panic, Keep Britain Tidy.

GOODWOOD 2010

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VINTAGE AT GOODWOOD The ultimate summer festival

컅 many of us the decade started off with the flamboyance, experimentation and great electronic dance of the New Romantic movement. Club culture (and Culture Club) was at its best. If you were lucky enough, you’d have been dancing to Coati Mundi and Was (not Was) at Le Beat Route, or some Rare Groove at The Wag Club, maybe some early electro at The Mud Club. The Warehouse Party movement which spawned house music and led to 1989’s Summer of Love was unforgettable. Oh yes, and there was Indie, from The Smiths to The Stone Roses. And was there ever a better decade for Indie film? David Lynch’s Blue Velvet.

We rest our case. If your memory fails you, or you weren’t there, then Vintage at Goodwood will help you out and remind us all why so many of today’s artists and designers are still ‘inspired by the ’80s’.

A CELEBRATION NOT TO BE MISSED “There are pockets of this sort of thing going on all over the world, but they’re very small communities. They play their own music, they lead their own lifestyles, they wear the clothes, drive the cars … do all that stuff. We want all those people who really live the life to be here,” says Lord March.

There’s already an inspirational line-up confirmed of world-renowned DJs, bands, collectors, purveyors of vintage clothing and vintage vinyl from each decade, as well as contemporary bands and brands inspired

by Britain’s rich cultural history; the list is growing daily, but at the time of going to print includes (deep breath): Alvin Stardust, Aswad, Buzzcocks, Gaggle, Heaven 17, Kid Creole & The Coconuts, Roy Wood, The Noisettes, Sandie Shaw, The Damned and Norman Jay among a list of well over 80 performers. Not to mention a look at how the past five decades is inspiring current design. The concept of ‘Inspired By’ is going to be one of the most exciting things going on at Vintage. The idea is to bring together music and fashion and show how current bands and fashion designers have been inspired by the past. And even Brit winner Lily Allen will use the event for her world launch of new fashion brand, Lucy in disguise.

You can keep up to date with all that is on offer for August 13th, 14th and 15th on the ‘Vintage’ website – though Lord March explains that in one sense, it begins the day before when there is an evening horse-race meeting – bringing Vintage to the races. “Goodwood’s perhaps unique in that it brings together all these different sports: horse-racing, motor racing, golf, flying, shooting and cricket, so we’ll be having all sorts of exciting things going on around those sports – we’re well experienced in delivering this kind of experience.”

CHECK IT OUT AND JOIN IN ‘Vintage at Goodwood’ is also on Facebook, MySpace and Twitter; it even has its own blog! But Goodwood is actively seeking your input; curate your own vintage festival: go online and take the survey, create your dream line-up of bands, DJs and performers; your favourite songs and tracks from the ’40s to ’80s (maybe you have a vinyl collection and could be a DJ ?); and what about your favourite films that you would like to be shown at the Vintage Film Festival?

Lord March feels the timing is really important. “People are changing the way they go on holiday, holidaying at home much more. People are interested, I think, in a different type of lifestyle; they’re much more thrifty. It’s make do and mend, learning things which have been forgotten; it’s more of a family lifestyle. I think that what we are trying to do at Vintage and what it represents will perfectly fit with all that.”

In fact, why not become a member of Vintage – a ‘vintage vulture’ – and receive updates, special offers and freebies galore? Vintage is all about you: you hold the memories of the music, style and culture that 컄

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VINTAGE AT GOODWOOD The ultimate summer festival

tay s I n a c e wher down there?

‘Vintage at Goodwood’ will give you a unique holiday opportunity.

There are great plans for the way Goodwood handles camping.

The Estate is blessed with hidden glades, hollows, copses and hillocks with views to the beaches and across the South Downs; locations that for the other 362 days a year are used to produce magical Goodwood Estate organic food! For ‘Vintage at Goodwood’, the design team is currently surveying the lie of the land, seeking out those ‘perfect’ spots to pitch a tent. “So it’s going to be all about coming here on holiday with the family, spending some days at Vintage at Goodwood and then maybe staying in the area and enjoying the seaside and all the other things that go on in West Sussex,” explains Lord March.

The Estate is on chalk downland which drains a treat; it would take storms of biblical proportions for the campsites to become those ‘seas of mud’ that puts anyone but school leavers off camping at British summer events. And as the team are fussy designers, they are loathe to just have a hotchpotch of tents bought from a high-street chain filling a field. So they’re in talks with the Forces to have an Army Field Tent City, complete with a tough Sergeant Personal Trainer if you so wish, or maybe it will be a Field Hospital with nurses tending to your every need.

There’s Glamping for those of you lucky enough to have some decent disposable income (or lucky enough to avail yourself of a corporate sponsorship package): there will be some proper posh camping (think of those glamorous set ups in the Serengeti, except you are unlikely to see any elephants or zebras on the South Downs) complete with chefs cooking your breakfast with organic produce from The Goodwood Estate. 컅 shaped contemporary life. Tell us how you want to celebrate ‘Vintage at Goodwood’ and

be very similar, a great way to feel you are caught up in all these different genres, and

help the team develop something special this

you’ll be a part of it all.” Come and join in all

coming August. Go online and take the Vintage Vultures Survey, feel free to talk about

the fun and see why the world marvels at Britain’s contribution to 20th century popular

the fashion, the music, the dances, the films,

culture. More than that, help to create this

the TV programmes, the food, the cars. What are your favourite bands, your favourite album, hairstyle, artist or designer?

truly unique interactive event – take the online ‘Vintage Questionnaire’. But above all join us in August and help to establish a trend

TIME TO BOOK YOUR TICKETS

for future Vintage events at Goodwood.

As the ‘Festival of Britain’ brochure proclaimed in 1951, ‘The story begins with

There has never been anything like ‘Vintage at Goodwood’. Lord March explains: “With the Revival, everyone feels they’re in it, feels they’re part of it and are actually contributing something. Vintage at Goodwood is going to

the past, continues with the present, and ends with a preview of the continuing future.” So come and take a peek through a window to tomorrow, via our creative past. 쏔

Goodwood is looking to design some bespoke structures and even have some bespoke tents manufactured. But if you don’t fancy camping then there is always the Vintage Caravan park or the onsite, luxury, Goodwood Hotel. Or turn up with your classic car, scooter, or motorbike, or if you are truly sustainable on your classic push bike or dray horse, and you can pitch your tent close to your vehicle in lovely camping spots. Turn up with a classic camper or caravan and get the best spots, complete with communal barbeques, badminton and the full Carry on Camping treatment. Come in your vintage caravan or vintage camper and your trusty holiday companion can become part of ‘Vintage at Goodwood’. Aside from your accommodation making us all jealous, you get preferential treatment, special rates and on-site facilities that would make Sid James, Hattie Jacques, Kenneth Williams and Barbara Windsor feel right at home...

Dates, Contacts and Tickets: August 13th, 14th & 15th, 2010. Tickets available online (www.vintageatgoodwood.com); or phone the Ticket Office on 01243 755055; Goodwood Estate Co. Ltd, Goodwood House, Goodwood, Chichester, West Sussex PO18 0PX.

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GOODWOOD 2010

1963: Built by pioneers 2010: Still driven with passion One Credit Suisse sharing your enthusiasm Appreciating traditions and building on our heritage are timeless values that Credit Suisse shares with the classic car scene. Since 2004 – inspired by these values and driven by passion and pride – we have been organising classic car rallies and supporting select national and international events such as Grand Prix de Monaco Historique. credit-suisse.com/classiccar

ALVIN STARDUST Vintage rocker remembers the greats

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GOODWOOD 2010

guitar heroes When you’re a kid and you meet a hero, you usually ask for an autograph. Young Bernard Jewry did just that when he met Buddy Holly. And Gene Vincent. And Eddie Cochran. And the rest. Bernard, aka Alvin Stardust, still has the signatures of all the greats on a very special guitar WRITTEN BY IAN HARRISON PHOTOGRAPHY BY JONATHAN STEWART

“WHEN DID YOU LAST HOLD A MILLION POUNDS?” SMILES VETERAN ROCKER ALVIN STARDUST WITH A GLINT IN HIS EYE, AS HE HANDS OVER A TIMEWORN GUITAR WORTH JUST THAT AMOUNT. This vintage instrument, which cost a mere £1 and 10 shillings in 1954, requires more careful handling than bundles of banknotes, however, bearing as it does the signatures of many of the most important figures of early rock and roll and the 1960s’ beat boom. As light pours through high windows it catches, signed into the guitar’s varnished sides, the autographs of Buddy Holly, Chuck Berry, Bill Haley, Eddie Cochran, Gene Vincent, Billy Fury, all members of The Beatles, The Rolling Stones, and more.

Alvin, still lean and clad all in black, was a peer of those illustrious names. Born Bernard Jewry in London in 1942, he spent the early ’60s as Shane Fenton, and in the early ’70s would reincarnate as Alvin Stardust to begin a run of chart and stage success that continues to this day. It was in 1958, though, that his world would first collide with that of rock and roll.

“Buddy Holly was touring, and I got on a bus to Doncaster, to the Gaumont cinema,” recalls Alvin, who left the capital to live in Mansfield in the early ’40s, and was by the late ‘50s a music- and Roy Rogers-loving boarder at Southwell Minster Collegiate Grammar School.“When I was 12 my mum had bought me a reasonable kid’s learning guitar, and I took it with me. Not many kids had guitars in those days, so the doorman assumed I was with the band and ushered me in. I got in backstage and met Buddy Holly and The Crickets! Oh, it was amazing. He was such a genuine, nice guy – so were The Crickets.

He asked me how long I’d been playing, and jokingly said ‘you know most of my songs then?’ So we sang Peggy Sue, with the guys tapping on the dressing room table. Eventually one of the tour managers came in and said, ‘we have to get moving now, would you like Buddy’s autograph?’ But no-one could find any paper, so out of desperation, I said, ‘will you sign the guitar?’”

By 1960 his own career as an entertainer was developing as the lead singer with Shane Fenton and The Fentones; the group had appeared on the BBC’s Saturday Club and Easy Beat, two radio programmes whose audiences regularly topped 20 million listeners. That year he found

The signatures of many great musicians, including John Lennon, Chuck Berry, Bill Haley and Buddy Holly, now grace Alvin Stardust’s guitar – a whole history of Rock ‘n’ Roll written on just one instrument

himself onstage at the Manchester Palace theatre, sound-checking with US rockabilly demigods Gene Vincent and Eddie Cochran. Also present was his first guitar, now christened Peggy Sue for obvious reasons.

“Gene called me over, ‘come on Shane!’” remembers Alvin, glowing at the memory. “ So I sang Be-Bop-A-Lula with Gene Vincent, with Eddie Cochran playing guitar… I asked them to sign it, and they were so down to earth, I nearly died.”

The stories, and signatures, mounted up; Chuck Berry at East Ham Granada, Bill Haley at the Nottingham Odeon, fellow British rockers 컄

GOODWOOD 2010

49

ALVIN STARDUST Vintage rocker remembers the greats

Below: when he was a kid, Alvin covered his guitar in sequins, many of which have since departed, but the signatures are still there including Paul McCartney, Mick Jagger and Eddie Cochran

컅 Marty Wilde, Joe Brown and Billy Fury when Alvin played alongside them on the package tours that were a staple of the ’60s music scene.

belongings, he found that she hadn’t forgotten those early days. “I found a couple of old suitcases with some of my first ever 78 records in

Having signed to the Parlophone label in 1961, he was also able to invite his labelmates The Beatles to add their signatures when they played the BBC’s Pop Proms concert at the Albert Hall in September 1963. “We

them, and then an old guitar case that was blue with mould,” he says.

“I thought, ‘that’s for the tip’, but I thought I’d have a look first. So I opened it up and I saw it was a guitar with sequins stuck all over it,

knew each other anyway,” says Alvin. “I just said, ‘it’s my guitar, I’m trying to get it signed.’ I remember John Lennon picked it up and

sequins I’d stuck on all those years ago when I was just a kid…

I picked it up, and the first thing I saw was Buddy Holly’s name! I

strummed it, saying ‘hey, yeah man!’ and larking about, singing a bit of Elvis’ Teddy Bear. It’s still got the same strings on it as when he did that.

Later that year we did another BBC Pop Proms with The Rolling Stones, so they all signed it as well. We’d all worked together at the California Ballroom in Dunstable and places like that – we knew ’em all.”

Though Shane Fenton and The Fentones’ last British chart appearance would be Cindy’s Birthday in July 1962, he would be back and revitalised as leather-clad hitmaker Alvin Stardust in 1973. “The guitar kind of drifted away then,” reflects Alvin. “I left it at my mum’s, and I didn’t see it for years.”

When his mother Margaret died in 2003, and he took charge of her

actually broke down – because I remembered my birthday, and I remember my mum and dad bringing it out. The guitar brought the memories flooding back. I could never sell it – it’s my mum and my family and my life. It’s my history in music.”

Now this arguably peerless relic of rock’s earliest years is insured for £1 million, and though it is mainly kept under lock and key, Alvin has shown it at various regional rock and roll clubs where fellow flamekeepers gather. In similar spirit, it’s suitable that its owner is to appear at the first Vintage At Goodwood festival of British music, style and design, to be held in August. Alvin will play alongside musical titans including Sandie Shaw, The Buzzcocks and – suitably for an unrepentant rocker such as he – Wanda Jackson, the 72-years-young First Lady of Rockabilly. It’s company he’s happy to be in. “Around 2006 I decided not to do anything in the business that I didn’t enjoy,” he says as he returns his guitar to its case and throws it over his shoulder. “ I love what I’m doing now.” 쏔

The stories, and signatures, mounted up; Chuck Berry at East Ham Granada, Bill Haley at the Nottingham Odeon

Ghost

The power of simplicity

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Discreet technology and a new V12 engine make for effortless, rewarding driving; while the uncluttered interior cossets every occupant. Simplicity may be hard to achieve, but it’s always worth the effort.

www.rolls-roycemotorcars.com Š Copyright Rolls-Royce Motor Cars Limited 2010. The Rolls-Royce name and logo are registered trademarks.

DOUGIE LAMPKIN Two-wheeled wonder

His antics on two wheels, and sometimes just one, seem to defy the very laws of science itself. The affable Dougie Lampkin has achieved a staggering 12 World Trial Championships but he has no intention of hanging up his boots just yet...

WRITTEN BY ADAM WHEELER PHOTOGRAPHY BY G2FMEDIA.COM AND MATT SILLS

kick starter

THERE ARE EXTREMELY FEW MOTORSPORTS ON THE

PLANET IN WHICH THE SYMBIOSIS BETWEEN MAN AND MACHINE COULD BE DESCRIBED AS TRULY BALLETIC;

a graceful blend of physics, so fine and delicate, poised yet forceful.

Trials epitomises the cutting edge of motorcycle control and balance.

To be a prolific master, multi champion and natural exponent of this discipline signifies ‘greatness’ the likes of which only names like Ali, Federer, Schumacher, Rossi and Woods can be associated. Oh, and Lampkin, of course.

Only a little of the vast awe attached with a peerless achiever in the field of competition emanates from Dougie Lampkin MBE. To be in his presence can be unsettling, but isn’t this normal for a 12-time World Champion, one of Britain’s very best motorcyclists and undisputed maestro of his sport? As often told, it takes a special breed to succeed and keep on succeeding. Lampkin, despite his honesty, modesty and amiability, is not ordinary and certainly not mortal in the Trials world that he dominated across the Outdoor rocks and terrain of Grand Prix and the Indoor arenas of gravity-postponing obstacles from 1997 until the early part of the last decade, winning three and sometimes four Championships per year.

Through relentless promotion of himself and Trials in the last 13 years, Lampkin has become an entertaining interviewee and charts a star-crossed path from his birth into a motorcycling family to recent success in Extreme Enduro – a new venture in which the 33 year old’s capacity for competition and glory still resonate.

Your father, Martin, was the first ever FIM Trial World Champion in 1975. You were born into a motorcycling fraternity a year later...

I first went to the Scottish Six Days Trial when I was six weeks old. I grew up around the sport and of course started riding bikes. I fell in love with it. Most kids want to ride bikes or bicycles and I was lucky

that my family were involved in a motorcycling sport and I had the opportunity to travel around and watch it. Trials was there for me to fall into but I was never pushed. We were also lucky in that my grandma had some land on which my cousins and I could ride around and we also had some near our house, so we lived on our bikes and used to pretend we were competing.

When did you know you could become professional and would be better than your father?

I think I knew it could be something for the future when I won the

European Championship at 17 in 1993. The series came down to the last round and I had to win for the title. I then thought Trials could be something more than a hobby. Dad had been World Champion and I was striving to be one. When that moment arrived in 1997 it was 컄

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DOUGIE LAMPKIN Two-wheeled wonder

컅 amazing; one of the best moments in my career. To then achieve it over and over again was incredible. As for beating my father, I am not sure when I was aware of that or if it has even happened yet as I am still learning from him now!

You starred on BBC TV series Junior Kick Start that ran for 13 series from 1980 to 1992 and brought Trials to national consciousness...

It was massive when we were kids. You were on the TV and you actually got paid £200 to ride your bike. It is a shame it is not still around but there are so many other sports vying for TV space now. It was a good symbol of the sport for the general public, sometimes you don’t have to explain what Trials is; you just need to say ‘Kick Start’ and people even start humming the theme tune. There were no real accidents when we were doing it but ‘Health and Safety’ would probably forbid it now. I never won Kick Start, though. I was always behind Graham Jarvis, so it is the one prize that eluded me! I think the appeal lay in watching people ride these bikes over see-saws, balance beams and Beetle cars. It was also the time of the BMX craze, so it helped that kids could relate.

“I never won Kick Start.

I was always behind Graham Jarvis, so it is the one prize that eluded me!”

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Previous Page: Lampkin takes his Beta to victory at Hell’s Gate in Italy in February 2010, his first attempt at a full-on outdoor Enduro event

How did you turn one world championship into 12?

My motivation lay in the fact that I could see

on the attack and that is when dangerous stuff can happen. There is too much going on at the exact moment to realise just how high

I was still improving even though I was winning. I had a couple of years when people

up you are. You are listening to the minder, looking at the bike’s positioning, feeling all

would talk about ‘how many I would win’ rather than ‘if I would win’, and that put a little bit of pressure on me, but I already had my own expectations so it did not interfere. I was driven by a need to keep at the top; when you are there then there’s only one way to go.

I think certain people like a loser but my main goal was to stay at the top for as long as possible. Obviously Trial is not such a massive sport like road racing or other motorsports.

So the possibility to be World Champion and keep a relatively normal life is fantastic. I was kept down to earth by my family and success wasn’t new to us. I just happened to be very good at my hobby and pushed myself as hard as I could to achieve as much as I could.

the controls. When you are watching someone else or walking around the obstacle then you do think things like ‘wow, that’s high’ but once on the bike then you are focussed. I think when it feels as if you are up there for a long time then this is the moment to stop.

I wasn’t enjoying the Indoor events so I decided to leave that direction.

How do you manage to balance and make leaps of more than two metres onto

What was your reaction to being awarded the MBE, the only Trial rider to date?

I found out a few weeks beforehand and I was a bit shocked. I was coming from a sport that is not part of the mainstream so it was a surprise. It is up there with a World Championship for me and I think for my parents it was more important. It is a fantastic honour and showed that even in a small sport people do look at what you are doing.

boulders and objects?

You have to be very confident. Some of those sections are about full commitment. If you are

How are you perceived by the fans?

Trials has quite a religious following. I don’t

not willing then you can come off the worse.

In the Indoor championship you are basically

Far left: taking the bike near vertical out of water in Andorra, just another regular day at the office for Dougie Lampkin

Left: Lampkin has won 12 World Championships, both indoors and outdoors, sometimes making the seemingly impossible possible

have any groupies and if there were any knickers thrown then I must have missed them! When you are a kid, you always look to who is the best and at the moment that is current World Champion, Toni Bou, who is riding incredibly well. Times change and now people want to be Toni. Some do look at my Championships though and it is nice to be held up among the other greats and even alongside some other successful sportsmen. I don’t think I am revered in the sport but I am really proud of what I have done.

What’s the strangest thing you have crested with a motorcycle?

It was quite a few years ago now because the rules have changed and you cannot have moving sections but they used to have a mock-up of a train at an Indoor event in Germany and you had to ride up this carriage, 컄

Dougie visits Goodwood House...

Right: promotion for the Festival of Speed had Dougie Lampkin riding the length and breadth of Goodwood House, including the ‘private side’ – riding of the very highest calibre – and (below right) up on the Racecourse grandstand roof in March 2010

MIND THE CHINA...

In one of the more unusual events to help publicise the Festival of Speed, Dougie was invited to initiate his own tour around the 300-year old premises in the build-up to the 2008 edition. Running up and down stairs, through rooms adorned with English portraits, French furniture, antiques and even onto the roof, the onboard helmet cam perspective and ‘alternative art’ aspect to the subsequent video marked the occurrence as an inspired piece of promotion and entertainment. The clip currently has more than 220,000 views on YouTube. “When Lord March asked me about riding in and around his house I was a bit unsure and I was then extra surprised when he said I could go anywhere I wanted,” recalls Lampkin. “Riding down that staircase in the house with paintings on the wall was very surreal.

“The first time I did it there was a dinner for the Press launch and Sir Stirling Moss was there. I am not sure who was more surprised, the group or me, at rolling down the stairs on a Trials bike.

“The first ‘episode’ was so well received, Lord March suggested we film a sequel. Naturally, I jumped at the chance, and they had me riding around other parts of the Estate, including up on the Racecourse grandstand roof – a very tricky sequence of manoeuvres, I have to say...”

‘Episode 2’ of Dougie’s Goodwood adventure is now online at www.goodwood.com, or click below

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“I still enjoy riding as much as I always have done and until that changes then I’ll continue to compete”

DOUGIE LAMPKIN Two-wheeled wonder

컅 the front wheel pressed a lever and a train came shooting down to the bottom and if you weren’t careful it threw you off the side. For promotion we have tried a little bit of everything together with Red Bull. We attempted to ride across some of Tower Bridge but we couldn’t get the necessary permission. I’ve ridden around Goodwood House, of course, and that’s not something you’ll get to do all the time.

You’ve faced pressure many times but home Grands Prix must be the toughest?

I knew we had three or four sections to go at Hawkstone Park for the British Grand Prix in 2005. It was the first time we had been back there and it was a great home event. I knew I had to clean the last three sections to win and managed it to do it by one point.

You left Indoor Trials to try your hand at some Extreme Enduro races, and toasted your first win at the high-profile Hell’s Gate event in Italy in February this year...

I decided I wanted to concentrate on the Outdoors. Red Bull was keen to try different things and was supporting athletes having a go at crossovers in other sports. I competed in a big beach race in Holland and really enjoyed myself.

Beta has an Enduro bike and didn’t really have any riders who were keen to do the Extreme events. I went to do a couple of the Indoor Enduro races and took a 3rd and a 4th and it snowballed from there. I can’t say I have serious goals in Enduro though. I am still committed to the Outdoor World Championship which means I cannot prepare anything like I want to for the Enduro. I find it difficult to ride both bikes during the week. It is one extreme to the other in terms of speed and to be honest I am better at the more technical and extreme stuff on the Enduro bike, for obvious reasons. Hell’s Gate was a surprise and the event was hard. There were only two of us left in it by the final lap and I grabbed the win right at the end. It was emotional, to be honest, and great to do it for Beta after they had been working for five years on the Enduro project. I have not forgotten how to win and how it feels.

What does the future hold for a rider who has done it all?

I still enjoy riding a bike now as much as I always have done and until that changes then I’ll continue to compete and represent a factory.

The results now are not the same as I was accustomed to for many years but that was inevitable. The enjoyment needs to be there, but I suppose if the results drop then this will disappear anyway. Then it will be time to hang up the boots... 쏔

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What Lampkin can’t do with a motorbike simply can’t be done – the 12-time champion gets airborne in Spain, combining balletic precision with delicate poise

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In lavish style, Goodwood prepares to celebrate the spirit of Vintage this August in an exciting new threeday event aptly titled ‘Vintage at Goodwood’.

All eyes will be on the unique blend of music, fashion, art, dance and food that serve as a hallmark of British creativity from the 1940s to the 1980s. Here, we take a peek at what’s to come in the fashion

PERIODRAMA arena, as we glimpse a little of the history behind the outfits that will inspire the catwalk stage.

Katherine Higgins, the Vintage at Goodwood fashion curator, and TV expert on the BBC Antiques Roadshow, unravels the threads of five decades of British style. Revealed is the fusion between music and fashion, which was a powerful combination then, just as it is now.

WRITTEN BY KATHERINE HIGGINS PHOTOGRAPHY FROM SUNDAY TIMES ARCHIVE

Virgin Galactic Taking tourists into space

high flyers Just over 40 years ago, man walked on the moon, and space travel became the norm for a tiny handful of bona fide astronauts, but not for ‘normal humans’. Virgin Galactic is about to change all that by taking tourists into space WRITTEN BY CARL HOFFMAN PHOTOGRAPHY BY MARK GREENBERG AND JACK BROCKWAY

IT’S EASY TO GET LOST IN SIR RICHARD BRANSON’S HYPE: THE BALLOONING AND SPEED BOATING ACROSS OCEANS, THE ISLAND PARADISE, THE HOT TUBS AND MASSAGES FOR FIRST CLASS PASSENGERS ON VIRGIN TRANSATLANTIC FLIGHTS. But tucked away in a squat, unremarkable hangar in the Mojave Desert 100 miles east of Los Angeles stand two pieces of ambitious and radical hardware: a white carbon fibre winged rocket and a 140-foot wingspan futuristic dragon fly – two parts of the world’s first commercial spaceship. The launch vehicle has been flying for a year and the spaceship has just begun unpowered glide tests. Both carry a thoroughbred pedigree: designed and built by aerospace pioneer, Burt Rutan, and his company, Scaled Composites, the vehicles are the direct descendants of SpaceShipOne, which Rutan used to win the X Prize in 2004, a $10 million award to the first person to privately blast a vehicle capable of carrying three people 100 kilometers into space twice within two weeks. More than 300 passengers have already bought tickets and if all goes according to plan, everyday folks will be rocketing into weightlessness by 2012, and the only right stuff required is a spare $200,000.

Virgin’s system is deceptively simple: the lightweight carbon fibre spaceship will be carried to an altitude of 50,000 feet beneath the belly of a four-engine mother ship, named Eve, after Branson’s mother. Once released, the rocket engine will ignite for just over a minute and the spaceship will shoot skyward. In the ever-thinning atmosphere, the vehicle will climb to its apogee of 110,000 kilometers and then begin to fall back toward earth, landing on the same runway from which it took off. No launch pad, no parachutes, and you won’t even need a full pressure suit.

Pilot Pete Siebold shows me what it’ll look like. In a room off the main hangar, the simulator is a cockpit facing a bowl-like screen and Siebold and I strap in. He flicks a switch, and suddenly we’re flying at 50,000 feet, the desert brown and dusty below, the sky blue. Siebold sets the craft’s trim to 18 degrees, pushes the stick forward, and counts down: “Three. Two. One. Release.”

The mother ship rises above us as we drift downward for a few seconds. Siebold pulls the yoke back and flips a toggle on the center console. Then: Bang! The rocket motor ignites and we’re a missile shooting toward the stars at more than three times the speed of sound. The sky becomes black. Then it gets weirder: Siebold twists the yoke and the vehicle spins 180 degrees. We’re still heading straight up, but the ship is flying backward. It’s like looking out the windshield of a car 컄

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SHELL HOUSE Eighteenth century fragile beauty

The flight sequence: 1) Release from mother ship at 50,000ft and launch to mach 4 2) The Kármán line, 328,000ft, where passengers become astronauts 3) 361,000ft, VG’s maximum planned altitude. SpaceShipTwo feathers after rocket burn 4) Care-free re-entry in the feathered position 5) SpaceShipTwo de-feathers for glide at 70,000ft 6) Glide home to collect astronaut wings Below: Burt Rutan in under-construction SpaceShipTwo

컅 that’s floored in reverse, except my view is 1,500 miles in each direction, from the Sea of Cortez to San Francisco Bay. The craft won’t get you to the moon or even orbital space. But as Branson says, “this will enable thousands of people to get into space; we think we can make it pay its way and if it can, it’s just the beginning.”

To understand how one of the greatest human flights of fancy is so close to reality, you’ve got to know Burt Rutan. He’s 67 years old, has fuzzy, mutton-chop sideburns, lives in a house shaped like a pyramid and has more experience in designing and building composite aircraft than anyone. Beginning with the VariViggen and Varieze, small canardwing kit airplanes he designed and sold as kit planes in the early 1970s, his company, Scaled Composites, went on to design and build the Voyager, the first airplane to circumnavigate the globe on a single tank of gas; the Global Flyer, in which Steve Fossett became the first person to do it solo; the DCX, a prototype space capsule that landed like a helicopter, and Proteus, an airplane capable of flying to 60,000 feet and loitering overhead for as long as 14 hours.

Always fascinated by space, it was while working on Proteus that Rutan remembers wondering, “What else could you use it for?” It occurred to Rutan that Proteus might be able to carry a smaller craft under its fuselage and “do a little point-and-shoot” toward the stars.

That would eliminate one of the trickiest parts of rocket launching: the massive engines and fuel needed to lift a spacecraft through the lowest, thickest part of the atmosphere. By the time Scaled Composites flew Proteus in 1998, Rutan knew that he could design and produce a mother ship capable of launching a 7,000lb payload at 50,000 feet.

When the X Prize was announced in 1996, Rutan teamed up with Microsoft co-founder, Paul Allen; it was the perfect marriage – Rutan had the experience and the team of engineers; Allen deep pockets. And as he designed the spacecraft, Rutan made a series of decisions that proved nothing short of genius and on which Virgin’s plans ride today.

For one, he made the systems, components, and cockpits of the

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VIRGIN GALACTIC AT A GLANCE The Ansari X Prize Objective: to provide the catalyst for private-sector innovation in the field of manned space exploration. Rules: private funding, design and manufacture of a vehicle capable of delivering the weight of three people including one actual person to sub-orbital space, defined as an altitude of at least 100kms. The vehicle had to be 80% reusable and fly twice within a two-week period. Winner: Burt Rutan with SpaceShipOne on October 4th 2004. Pilot Brian Binnie.

The Technology A completely new approach to space access for people, science and payload. Air (horizontal) launch from the ‘WhiteKnightTwo’ purpose-built aircraft, mother ship and spaceship identical, save for the rocket engine controls on the space ship.

to touch the stick. Once the ship gets closer to the ground, the wings flatten out again for

not ground (vertical) launch – intrinsically safer and more environmentally friendly. All-composite construction (light, strong, resilient and fuel efficient), not metal.

For example, SpaceShipOne’s feathering actuator – the device that moves the wings into an upright position – is also used to

a gentle glide to the runway.

Although there were a couple of dozen competitors for the X Prize, in reality it was

Hybrid rocket motor uses benign fuel and oxidiser and is controllable. Re-entry controlled aerodynamically by unique wing feathering design – heat free and carefree

operate the mother ship’s landing gear; every test of the mother ship would test parts of the

no contest – Rutan was solar systems ahead of everyone else. And though he made it look

un-powered (glide) runway landing.

Virgin’s Involvement Seeking investment opportunities

spaceship as well. As pilots learned to glide the mother ship to a landing from high altitude, they would be learning to land the spaceship, too, racking up copious flight hours long before they ever flew the spaceship for real.

Rutan’s solution for the single most dangerous and technically challenging part of any spaceflight – re-entry into the atmosphere – was equally creative. His socalled shuttlecock design pivots the wings of the spacecraft up for reentry. “The key is a low ballistic coefficient,” Rutan says, referring to the ratio between weight and drag. “Think of the difference between a bullet and a feather.”

A streamlined bullet screams heavy and fast through the atmosphere – it has so little drag that it generates huge amounts of heat. A feather, on the other hand, has a lot of surface area, and it’s so light that it floats slowly, lazily

easy, even his own designers doubted that a small, private company could blast a manned rocket to suborbital space. “I didn’t think we’d see it through,” admits Doug Shane, Scaled’s CEO. “It was just so far out of the realm of what any of us had done. It was radical.”

Virgin licensed the technology from Scaled in 2006. While the vehicles for the X-Prize were one off experiments, the Virgin Galactic system has been made more robust, safer, and much easier to fly. As Rutan says, “We couldn’t have quirky controls with normal pilots flying it.” And while the machines for the X Prize were cramped, hardly bigger than a telephone box, the fuselage of SpaceShipTwo is spacious – 7.5 feet in diameter – so there will be room for its six passengers to take off their seat belts and float around in zero g. There will likely be no

since late ’90s when Galactic name was registered. Knew of Burt Rutan’s credentials through sponsorship of the Virgin Atlantic Global Flyer – world’s most fuel-efficient powered aircraft. Agreed with Burt Rutan and Paul Allen to invest in development and construction of second generation vehicle for commercial venture – the world’s first spaceline. Ordered five SpaceShipTwos and three WhiteKnightTwo carrier aircraft to be manufactured by The SpaceShip Company (TSC) (a Joint Venture between Scaled Composites and Virgin) and operated by Virgin Galactic.

SpaceShipTwo Uses all the same basic technology, construction and design as SpaceShipOne prototype. Is

through the air. By building the wings of the lightweight carbon-fibre capsule so that they pivot into a 65-degree angle of attack, Rutan

barrier between pilots and passengers, and big round windows dot the ceiling and sides – more windows, it’s fair to say, than have ever

created a very light craft with a lot of drag and low aerodynamic loads – just like a feather.

His spaceship drifts back into the atmosphere

been on any spacecraft. The whole thing feels light and airy in a way that small aircraft never do – a considerable achievement that

safely, routinely, without the pilot ever having

has not come cheap. “Winning the X Prize 컄

around twice as large as SS1 and will carry six passengers and two pilots. Cabin approx the size of a Falcon 900 exec jet. Whole fuselage used for passenger cabin – no ‘floor’.

Large windows positioned right round the cabin. Wing span: 42ft. Length: 60 ft. Tail height: 18 ft (Feather down) Cabin 90in diameter x 12 ft long.

Mothership (WhiteKnightTwo) The largest 100% carbon composite plane in service. Four x Pratt & Whitney PW308 Above left: the Virgin SpacePort in the Mojave Dessert, New Mexico Below left: Richard Branson with the X Prize-winning SpaceShipOne

engines. Wing span: 140ft. Length: 78 ft. Tail height: 25ft.

Performance: 50,000 ft, high-altitude launch capability.

Expectations Virgin Galactic aims to fly 500 people in the first year and 50,000 in the first 10 years. First commercial flights planned to operate from the purpose-built Spaceport America in New Mexico.

Six seconds after the rocket motor ignites, you’ll be travelling at three times the speed of sound, perched on a highenergy Roman candle

Virgin Galactic Taking tourists into space

컅 cost about $30 million,” says Will Whitehorn, president of Virgin Galactic. “We’re going to be spending about $400 million.”

With typical Branson gusto for raw physical experience, Virgin is selling a whole mini astronaut experience. Here’s what the company wants you to imagine: The sun is high, the sky clear as only desert sky can be, the sleek and curving bubble of Spaceport America rising from the scrub, 45 miles from Las Cruces, New Mexico. On the flight line perches a crazy-looking twin-fuselaged aircraft cradling a spaceship – the three sharp noses call to mind its nickname: Triceratops.

You’re going to space, and you know it. You’ll get a full mission profile briefing, a medical check, and a session in the simulator. Then you’ll be strapped into a seat at the end of a long arm and spun in a centrifuge, subject to the three gs you’ll experience sitting upright for take-off and six gs you’ll feel while lying

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Above: SpaceShipTwo under construction at Scaled Composites’ HQ in the Mojave Desert, and the rocket motor being tested prior to installation Below: mother ship WhiteKnightTwo, named Eve, with SpaceShipTwo slung underneath, is revealed to the world’s Press in December 09

down for re-entry. You’ll climb into the mother ship Eve and fly to nearly 50,000 feet, learn to unbuckle and refasten your seat belts, and even make a few zero-g parabolic flights, all with your designated SpaceShipTwo pilots (who will suss out their passengers’ physical and mental capacity to handle the experience).

Finally, the day of your flight arrives. Earth’s curvature will just begin to be visible after a long, spiral climb attached to Eve; above will be a crown of blackness. When the pilot releases the spacecraft, the mother ship will appear to rise above as you drop away. Six seconds after the rocket motor ignites, you’ll be travelling at three times the speed of sound, perched on a highenergy Roman candle, hurtling into space, up there in the black void, subject to forces few humans have ever experienced.

As you approach the apogee of the flight, and for a few minutes after, you will simply be freed from gravity, falling through space. A touch of the thrusters orients the ship in whatever direction the pilot chooses – you’ll be flying backward or sideways. You might notice the intense silence, since there’s no noise in space and the craft won’t be running any whirring, clanking mechanical parts. On re-entry, you’ll be able to hear the distinct pings of single molecules of helium and hydrogen hitting the carbon-fibre vessel as it begins to encounter the atmosphere.

After two hours or so, you’ll be standing on terra firma, with a rare set of astronaut wings.

Before the world’s most expensive and thrilling amusement park ride starts flying passengers, though, comes a year of rigorous flight testing of the space ship itself. Rutan expects to be one of the guinea pigs. “I’m not going to let people go up there for real,” he says, “until I’ve done a bunch of flights myself!” As it should be for the man who invented his own rocket ship. 쏔

HOME FARM

Farming the old fashioned way

“Eco-Friendly Farming?

It’s the way we’ve always Whilst the vogue in modern-day farming may be seeing a return to traditional methods and values, Goodwood can legitimately claim to be well ahead of the herd WRITTEN BY ANN SOMERSET MILES

PHOTOGRAPHY BY ANDREW BUCKINGHAM AND RAYMOND QUINTON

GOODWOOD HOME FARM FLOURISHES AND GOES FROM STRENGTH TO STRENGTH, REMARKABLE IN THE CURRENT ECONOMIC CLIMATE. It is the largest lowland organic farm in the UK and has been supplying food to the Dukes of Richmond for the last 300 years. It achieved full organic status in 2004, although the concept that the Estate could be farmed organically originated in the 1950s, very much as a result of input from the present Duchess of Richmond who ran her kitchen garden on organic principles and was one of the first members of The Soil Association.

Now encompassing more than 3,300 acres, Home Farm ranges from typical chalk Downland to light, gravelly fields on the Chichester plain – sea-level up to 206 metres (676 feet). Of the current acreage, 550 acres from a previously tenanted farm have been taken back in hand in the last year, on the death of the tenant farmer. These extra acres comprise land beyond the racecourse, stretching down the valley to Charlton and Singleton, which the tenant had developed as a shoot, and which is to continue. Of all the fields devoted to farm use, not all are prime land, so it is a matter of some considerable skill and nonstop hard work to keep them in good heart. It is clear that careful management plays an important role; everything on the Goodwood Estate must mesh together, with the farm a part of the whole picture, to maximise productivity without compromising the quality of Goodwood food or Goodwood’s name.

The Estate Management role across all of the Estate departments (including the property management, forestry, repairs and maintenance departments) is provided by land agent Smiths Gore, with partner Simon Blandford liaising on the farm with farmer, Tim Hassell. “I

professional focus that has allowed the farm to develop ideas, reinvest for the future and expand its food offering to its principal customers; the visitors that enjoy the Estate at the numerous events, whether that be the Festival of Speed for 150,000+ or a private party for 20 people.

Paramount to Goodwood’s farming success is the rotation of animals, cereals (for animal feed and malting barley), and grassland – long-term over a four year period, and, as far as the animals are concerned, shortterm on a daily basis. Rotation requires considerable strategic planning, for not only is land-management vital to making the most profitable use of available land (without compromising the quality of the end product – food), but farming activities to a certain extent have to dovetail with all the various events for which Goodwood is so renowned. As the principle dates for Goodwood Events are known well in advance, these can be taken into consideration within the farm management strategy; nevertheless a four-year crop rotation has to be carefully thought through, field by field.

Whatever land is used, it is essential to maximise its potential by looking after it. A newly introduced concept (more common in Europe) is the application of slurry – the only fertiliser the farm uses. Instead of the common practice of ‘muck-spreading’, liquid slurry is now injected into the free-draining soil, two to three inches below the surface. This system means the cows can be ‘turned out’ earlier in the year, as grass growth begins, and left out later, because the injection of slurry extends and prolongs the season of grass growth. The grass is richer, and far more palatable and would indeed allow for more cattle. Tim explains: “Goodwood is one of the UK farms at the forefront of this system. It improves productivity, embraces modern technology whilst still

became involved at Goodwood some 18 months ago, providing a consultancy management role,” says Simon. “I am on the Farm about once every 2-3 weeks on average. This is a slightly unusual structure

following organic principles. The Estate has 2,000 acres down to grass, with 200 acres of that in use for dairy cows. It’s the smart use of land and animals whilst accommodating Goodwood events that share some

but has allowed the farm management team to develop an excellent working relationship and provide a focussed, disciplined approach to

of the same land that is critical, and at times challenging.”

Prime grassland is used for the dairy herd, whilst the higher sloping fields cater for beef cattle, sheep and pigs. The beauty of the slurry

farm and financial management across the business.”

To summarise: Simon manages strategies and budgetary control; Tim farms, undertaking the day-to-day implementation of what is decided 12 months and sometimes 24 months in advance, but additionally with his own input on strategy and suitable machinery. As part of the multifaceted Estate that is Goodwood, this structure has provided the

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injection system is that the nutrients are fed straight to the grass roots, and the cows are always eating fresh grass, uncontaminated by dirty water. Surface-applied slurry cakes in dry weather, inhibiting rather than assisting growth. Paddocks change every 12-24 hours depending on the time of year and grass growth, thus allowing the cows to always 컄

Above: Tim Hassle, farmer in charge of Goodwood’s Home Farm, is returning the animals to the indiginous breeds best suited to the land on the Estate Far right: Shepherd Nick Page, one of Goodwood’s longest-serving employees, with one of his charges in front of his ‘temporary home’ during this year’s lambing season

done it”

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HOME FARM

Farming the old fashioned way

컅 feed on the sweetest, freshest grass. Liquid slurry is collected in a huge outdoor holding tank, but straw-based muck from the indoor winter animal housing has to be composted for six months before it can be spread on the land. Directives from the EEC determine the conditions and timing when slurry and composted manure may be applied, by whatever method – a constant juggling act; “farming is being spoiled by rules and regulations,” says Tim. Despite the rules, there is an increasing demand running through the farming community for farmers to farm in an eco-friendly fashion, to be more environmentally friendly, and for the public to think seriously about the way we eat, the source of our food, and the way it is produced. Goodwood has been farming this way for years; they haven’t re-invented the wheel as many have, just continued good old-fashioned farming, without the chemicals.

And as farming journalist Graham Harvey wrote recently: “In the austere years of the 1950s, beef, butter and cheese were seen as the mainstay of a healthy diet. Though no-one had much money, the idea that you’d cut back on such essentials would have seemed tantamount to self-harming. Today their reputation has lost its shine. For years nutritionists have warned of the dangers of saturated fats. Now environmentalists have joined the attack on livestock with dire predictions about climate change and the damaging effects of the methane emitted by cows.

But the attack has been overdone. New findings on traditionally reared beef and dairy foods could lead to their reinstatement as ‘protective foods’, as they were once known. Far from causing illness, they may play a key role in defending the body against modern diseases.

Even more remarkably, their production is now being seen as part of a land management system that benefits the planet.”

At Goodwood, wheat, barley and oats are

HERBS GALORE FROM THE KITCHEN GARDEN

grown as feed for the animals, with the surplus being sold. To maximise potential, the old 1960s grain store is being replaced this year with a new

Even in Winter, the magic of the Goodwood Herb Garden is still there; bare earth, mulched and cosseted, plants sleeping in geometric beds: just a hint of the culinary pleasures to come, once Summer arrives. And then imagine the plucking and

fuel-efficient grain dryer and cleaner; an investment that will repay all the effort that goes into producing both crops and income. There’s no

snipping, the chefs taking only a few short steps from The Kennels, across the road and into a sun-kissed walled garden, returning with handfuls of fresh leaves to chop and garnish, releasing their savour and fragrance in delectable dishes.

It’s four years since the plot of land at the old whelping kennels was brought into use, arising from an idea put forward by Estate

point storing animal feed in less than optimum conditions; but even so, animals that are to reach their maximum potential also require a small

Executive Chef, Tim Powell (above) , who needed herbs ‘on demand’ for use in the kitchens. Four years on, and now the closeclipped box-edgings have grown into green ribbons around the many borders; eight stately sentinel bay trees stand guard whilst innumerable herbs tempt and tantalise. Their names alone are reminiscent of culinary joys to come: borage and

proportion of organic protein in their diet; so in addition to all the feed grown on the Estate, the

bergamot, hyssop, sorrel, lovage, parsley flat and curled, English lamb mint and winter savory, fennel, dill, chives and chervil, lemon verbena and lemon balm, sage, thyme and stripy pineapple mint, and rosemary in profusion.

These supply 90 per cent of the chefs’ needs, from May to September, bar basil that detests the English climate. The chefs also have access to fruits for garnishing: currants, gooseberries and alpine strawberries, and last year for the first time since it was planted in 2006, a crop of asparagus – three succulent bunches a week for over a month.

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farm buys in meal ground from sunflowers and oil-seed rape. And in tune with the times, wildlife is still just as important at Goodwood; new hedgerows and shelter belts are being planted, introducing warmth, cover and growth-inducing sunlight for young animals as well as

encouraging beneficial insects and birds – though wood pigeons are a

meat, milk, cream and honey, jams, chutneys and pickles produced ‘in

problem, eating growing shoots of whole fields of feed clover.

The right stock is as important as healthy, fertile land, but primarily, animals succeed best if they are indigenous to the locality. The farm is

house’ along with an eclectic mix of other complementary products sourced locally – the very best available. Shop Manager, Lizzie Vinnicombe, when asked about links with the farm, instantly says “It’s

therefore gradually restocking with traditional breeds that will make the most of what they’ve got. Great care is being taken to avoid

all about seasonability and I like the idea that the shop is a showcase for the fantastic Goodwood organic products. Our challenge is to make

inbreeding and to cross and re-cross to build strong animals.

Pigs are no longer kept in the woods – they have served their turn at clearing the dense, heavy undergrowth and were too labour-intensive

ourselves better known to a wider public.” Lizzie is passionate about the role the shop has to play in a niche market, so very different from the swarming supermarket experience. In the last year the treasure-

under such a system. They have been moved to a radial arrangement in the least productive fields, and used very much as ‘a tool’; their dung adds nutrients to the soil and they root up weeds; in fact they root up

trove of farm produce has expanded with new flavours of homeproduced sausage – pork and leek, pork and chilli, lamb and mint, as well as traditional pork. Goodwood’s organic ale and lager made from

everything, so are moved regularly, but again serve a purpose, bringing increased fertility. The enriched soil is then sown with cereals for two years, and then those fields go back to grass. A Large White boar has joined the herd of Saddlebacks and Gloucester Old Spot pigs with the intention that the farm will eventually be curing its own hams.

Far left: Lizzie Vinnicombe, Farm Shop Manager will welcome you to Goodwood’s ‘hidden secret’, but you will be tempted with its myriad of tasty, home-grown produce. Eat at Goodwood, on the other hand, and it may well be Executive Head Chef Tim Powell preparing your fare

“By far the largest quantity of the farm’s produce goes to Goodwood’s hidden secret: the splendid Farm Shop, set right in the heart of the farm”

Beef production has seen a return to a breed that thrives on the chalk downland: the beautiful deep-red Sussex which has been farmed on these hills for centuries. So now, the best of the Dairy Shorthorn heifers are being served in rotation by two Sussex bulls, and the female progeny subsequently cross-bred with the unrelated bull, giving animals with long straight backs and high-quality cuts of meat.

Predominantly Dairy Shorthorn cows are used for the deliciously rich Goodwood milk and cream which are processed at the farm and sold locally. The milk is non-homogenised and tastes just the way it used to. Some of the milk is to be used to make a range of traditional hand-made cheeses, in Goodwood’s very own Cheese Room, under the guidance of an expert artisan cheese maker.

Sheep have increased in numbers: the pedigree Southdown flock are grazed all year round in the Park or on the Downs, and additionally in winter on a diet of stubble turnips and fodder radish. No wonder the meat is tender and juicy. Shepherd, Nick Page, has been showing his sheep at local agricultural shows and is achieving great success, whilst helping to spread the Goodwood name; he hopes to show at the prestigious South of England Agricultural Show this coming summer.

the farm’s own malting barley now sells by the caseful. The first batch of trial geese proved extremely popular – as did the home-reared turkeys, some of which will be available for Easter.

Lizzie has introduced a seasonal newsletter in which she gives suggestions to customers about preparing and cooking some of the produce they sell, news of new and intriguing products – lavender jelly to accompany new season’s spring lamb for instance, and news of the people who produce Goodwood food the Goodwood way.

She also enthuses about forthcoming introductions; artisan cheese and butter to be made on the farm in the new Creamery; a proper seating area with bistro tables outside the farm shop to offer customers a cup of tea or coffee with a cake or pastry; and last but not least, supplying campers at the inaugural ‘Vintage at Goodwood’ event with fresh produce from the shop. Goodwood Farm Shop is people-friendly and Lizzie and her staff are never too busy to chat to customers and offer tips on cooking and serving food. In Lizzie’s words – take a piece

An introduction last year was poultry: a few free-range trial geese and 200 rare-breed Norfolk Black Turkeys which Tim bought in as young goslings and poults which he grew on outdoors, free-ranging them on

of Goodwood home with you and eat it!

In 1624, the poet John Donne wrote “No man is an island, entire of itself; every man is a piece of the continent, a part of the main.”

grass but housing them inside overnight to guard against foxes. The birds did extremely well, but the turkeys had the irritating habit of flying onto the top of the polybarn when it came time to roost each evening;

Nowhere is this more true than at Goodwood; it is significant that no single entity on the Estate is an island; each is crucial to the success of the others. And at its heart, the Home Farm, capably and skilfully

their claws were somewhat detrimental to the roofing! In future years, Tim is already visualising the birds feeding in a small orchard planted with native Sussex apple trees (and he’s been researching suitable

managing the land, a true marriage of individual enterprises each supporting the others’ endeavours come rain, come shine, just the way farming has always been on this great, sporting Estate. 쏔

varieties). More poultry – game actually – is on the cards: Goodwood pheasant and partridge will become available from the shoots, introduced into part of the formerly tenanted and now replanted land.

And so with diligent planning, and equally careful nurturing, the land brings forth its quality harvest: most of the meat produced on the farm is consumed by the various enterprises – The Kennels, Goodwood Park Hotel, Events and Goodwood House itself: 100% of the Beef is used, approximately 90% of the pork and around 40% of the lamb.

But by far the largest quantity of the farm’s produce goes to Goodwood’s hidden secret: the splendid Farm Shop, set right in the heart of the farm, and but a stone’s throw from the Hotel. Since its opening in late 2006, the shop has become a special place to buy fresh food in a relaxed atmosphere, with knowledgeable and helpful staff who welcome each customer personally. It offers superb produce – the

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LEWIS HAMILTON F1 hero talks Festival of Speed

Lewis Hamilton, Britain’s 2008 F1 Champion, loves to set the Festival of Speed hillclimb alight with his tyre-smoking burnouts WRITTEN BY IAN BOND

PHOTOGRAPHY BY JOHN COLLEY, JEFF BLOXHAM AND PAUL MELBERT

So, Lewis, when did you first ‘discover’ the Festival of Speed, and what did it mean to you then..?

“I first came to the Festival of Speed back in 2007 – it was my first season as a Formula 1 driver. I still remember the event really clearly – I’d just come home to the UK after winning my first two grands prix in Canada and the United States: it was the first time I’d really seen the reception of the British public to those two races, and it was a very crazy and intense weekend for me. More than I’d ever imagined.

“The response from the fans was incredible: I remember standing up on the balcony to wave to the crowds, and there were literally thousands of them – as far as the eye could see. It was an incredible weekend.” 컄

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GOODWOOD 2010

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LEWIS HAMILTON F1 hero talks Festival of Speed

컅 How long have you been coming to Goodwood as a driver?

“Ever since that first time in 2007. I’ve been here for the last three years and I’m really looking forward to coming back in 2010.”

Last year you were here as the reigning F1 Champion – how special did that feel in front of the motorsport-mad crowd?

“It was just unbelievable. I was really proud to be able to give something back to the people. Despite it having become such a big event, there’s always been something about Goodwood that makes it feel very personal: you do get to meet a lot of fans, to sign

You’re not racing, but you’re also not used to the car – the set-up is different from what you’re used to and the tyres are cold – so you’ve just got to be mindful of the conditions. I think every driver wants to

autographs and to talk to whole families of motor racing enthusiasts. That’s what makes

put on a good show, but the last thing you want to do is to put it in the wall! So it’s usually time for some burnouts along the straight bits

it special for me. And to go there as World Champion, and to meet people who have supported you for years, felt great.”

before watching the nose around the corners!”

What allowances do you need to make with an F1 car, in terms of setup, gearing, ride height and so on? Do you get involved in that process or is it entirely up to the mechanics?

“In terms of setting the car up, I don’t actually do anything to make it more driveable. The team just makes a number of small adjustments so that the car runs safely without the risk of any damage. For example, we’ll usually raise the ride-height a little more than we would at a race, and the engine isn’t run as aggressively as it is during a race weekend.

But, apart from that, it’s pretty similar to what you’d expect to see at a Grand Prix.”

F1 is very much a precision business, and so is threading an F1 car up the sinewy hill

The crowd at the British Grand Prix was once said to give a British driver an extra second per lap. Can the same be said for the Goodwood hillclimb?

“I think you have a different mindset when you’re racing than when you’re demonstrating the car. In a race, you’re absolutely dialed into the car and you’re absolutely on the limit. When you’re at Goodwood, you want to put on the best show you can – you want to give people an idea of the power, the sensation and the incredible noise of a Formula 1 car. That’s why we do all those burnouts and donuts!”

Ah, yes, the donuts. You don’t really get a chance to do that at Grands Prix, so it must be special to be able to at Goodwood?

“For me, it’s all about the show. It’s a great event for spectators, and I really want to give them the best show I possibly can. They get this unbelievable opportunity to see some of the greatest racing cars up close, and the best reward you can give everyone is to just floor it, get the rear wheels spinning and the tyres smoking. I think if you were going for a fast time, you’d lose some of those theatrics – so I’m quite happy to go a bit slower and to put on a bit more of a show.”

at Goodwood. What challenges does an F1 driver face in the first ‘flat’ section before you pass the house?

It must be nice to let your hair down a bit, but has that showboating ever gone wrong for you at the Festival?

“Actually, I have a confession to make; at my first Goodwood Festival in

“The first section isn’t a particular challenge – which is why you normally see so many drivers performing burn-outs or donuts at

2007, I was driving the MP4-21 and I did a donut in the assembly area.

I was told pretty sternly afterwards that that was completely off-limits.

I guess I learned the hard way! I think we all like doing donuts and

the bottom of the hill!”

showing off the noise and power of our cars. I save the quick stuff for the racetracks but at Goodwood I still have to be mindful of the rules...”

...and what about the second section, through the corner and up the hill past the flint wall?

“You’ve just got to use your common sense.

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The Festival of Speed is world-renowned for attracting the cream of world driving talent. Sadly, your hero, the late Ayrton Senna died before he could attend, but what other ‘heroic’ drivers have 컄

FESTIVAL OF SPEED: A MUST FOR ALL PETROLHEADS The Festival of Speed is unrivalled throughout the world; more than ‘just a hillclimb’, it can justifiably claim to be the world’s biggest and most diverse celebration of the history of motor sport and car culture. It is the only occasion where you will see the greatest competition cars and star drivers from all eras in action: everything from 19th century steam carriages to current Formula One; fabulous racing motorcycles and classic rally cars to 3000bhp dragsters; plus motor sport legends like Moss, Surtees, Fittipaldi and Andretti rubbing shoulders with today’s hottest properties such as Lewis Hamilton, Jenson Button, Fernando Alonso and Petter Solberg.

Motor racing first came to Goodwood in 1936 when the 9th Duke of Richmond held a private hillclimb through the park. Five years earlier he had won the Brooklands Double 12, and then in 1948 he went on to open the famous Goodwood Motor Circuit. These early events inspired his grandson, the present Earl of March, to bring motor sport back to Goodwood. The inaugural event was the first Festival of Speed, held in 1993 in the picturesque parkland surrounding Goodwood House.

Since that first meeting, the Festival has become established as a key event in the motor sport social calendar. But it is not all about action on the tarmac. A 2.5-kilometre loose-surface rally stage – cut into the wooded area close to the hillclimb finish line – has around 30 cars from the history of rallying providing a thrilling demonstration of sideways driving throughout all three days of the event. Unrestricted access to the paddocks means that spectators and autograph hunters can get closer to the cars and drivers than at almost any other meeting.

The Festival of Speed offers Lewis an opportunity to give something back to the fans, to relax in the company of friends, and to burn rubber with donut after donut...

Away from the bustle of competition, you can relax with a picnic on the lawns of the House among some of the most beautiful and innovative automotive creations, which are judged in the Cartier Style et Luxe design competition. You can explore the exciting displays of the many exhibitors, or visit the Goodwood Technology Pavilion (FOSTech), that showcases a variety of exciting new technologies from the motor manufacturers, design specialists and other motor industry suppliers with a strong emphasis on future environmentally-considerate motoring and personal mobility.

And if you want to get involved yourself, you can seek an adrenaline rush from the Festival’s interactive entertainment, including driving simulators and 4x4 driving; children will delight in the special amusements to be found at the Junior Festival of Speed and the Supercar Paddock will delight visitors of all ages with a mouth-watering display of the very latest exotica for the road.

The Festival of Speed is motor racing’s equivalent of Ascot or Wimbledon: an extravaganza of sound and colour that has been described as ‘the garden party of the Gods’. In combination with the rich, period theatre of the Goodwood Revival, the Festival of Speed ensures that Goodwood is unrivalled throughout the world.

Dates for 2010: Festival of Speed; 2nd-4th July Goodwood Revival; 17th-19th September Book tickets at www.goodwood.com

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LEWIS HAMILTON F1 hero talks Festival of Speed

I was really looking forward to my run in the car, but we found out only the day before that these cars can be a bit fragile. The gearbox broke and there was no way we could get it fixed in time for a run up the hill.

“I don’t think I’ll be driving MP4/4 this year, but I really hope the team can come up with another surprise for me and all the spectators on the day!”

Have you ever driven any of the pre-War Mercedes ‘Silver Arrows’?

“I have. I drove a 1934 W25 at the Nordschleife last year. Well, I say I drove it on the old ’Ring, but, really, I drove it up and down the straight.

It was an incredible piece of machinery – it

컅 you met at Goodwood, and did they have any great stories?

“Oh, crikey, the list is too long. You meet everyone at Goodwood – that’s one of the reasons it’s such a great event. One of the nicest moments for me was when my brother Nic met Rowan Atkinson at the Festival last year. Nic’s a massive fan, and he was just blown away by meeting him. Watching Dougie Lampkin last year was really incredible, too. But you get to meet everyone – last year I met Peter Fonda, who was in Easy Rider. That was pretty cool.”

In terms of spectator numbers, the Festival of Speed is about as big as the British Grand Prix – how does the atmosphere differ at each event for a driver of your standing?

“I think there’s more of a family atmosphere at Goodwood. Silverstone is a place for the real die-hard enthusiasts – and those guys live and breathe Formula 1, which is brilliant – but Goodwood is seen, I think, as a family day out. I can remember signing autographs for entire

“No matter how old you are, I think the cars from your childhood are always the best, aren’t they?”

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had just been lovingly restored by MercedesBenz back in Stuttgart, and those guys had done an absolutely fantastic job of the restoration, because the car looked as if it was almost brand new.

“Behind the wheel, it felt strange because the pedals aren’t laid out in the usual way, and it was tough to find a gear using this big old ’box. But it felt like a racing car – you pushed it and it went for it – and, most importantly, it sounded like one. It had a really throaty roar and then, just beneath that, this high-pitched whine from the supercharger. It was fantastic – and it really made me appreciate the talent and sheer bravery that those drivers had back in the 1930s to drive those things!”

You travel all over the world to some of

families and, from a personal point of view, it’s an event that we like to attend as a family. My whole extended family will come down for the weekend – it’s a nice, relaxed way to catch up with people you’ve not

the greatest motor racing circuits and take part in all sorts of sponsor and PR engagements. Can you see the Festival of

seen for a while and to show them what a fantastic job I have!”

The Festival covers every angle of motorsport since it’s earliest

Speed working anyway else in the world, and is your attendance at the Festival business or pleasure – ie, if you weren’t

days; if you could have lived through another Grand Prix era as a driver, which one would it be and why?

“I’ve thought about this before; I think I’d have loved to have driven

‘told’ to go by your bosses, would you come anyway?

Firstly, I’m not ‘told’ to go! There are a number

some of the cars from the 1980s. I was only a child at the time, but I still think those cars are really cool. No matter how old you are, I think the cars from your childhood are always the best, aren’t they? They’re

of things that I try to make sure are on my calendar each year, and the Goodwood Festival of Speed is definitely one of my

classic cars. I can imagine that they’d be hard work to race, because they’d probably be quite heavy and have quite a bit of [turbo] lag. I guess what I’m really saying is that I’d love to drive the McLaren-

priorities. I’ve been here every year since I became an F1 driver, and I can’t see that changing any time in the future.

Honda MP4/4!”

“As for seeing it working abroad, it’s hard to say because, even though it attracts drivers

Ah, yes, you were due to drive one of Ayrton’s former Grand Prix winners up the hill last year, which sadly never happened as the

and cars from around the world, it just feels so uniquely British. Having said that, I’d love

car was broken the day before. This would naturally have been quite an honour for you?

“It was a disappointment, yes. I’d had my seat fitting for MP4/4 – and it

to see a Goodwood-style festival in the United States. The Americans really love their classic racing machines, so it would no doubt

felt awesome to be sitting in a chassis identical to one raced by Ayrton.

be a pretty good fit over there.” 쏔

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NIC FIDDIAN-GREEN Sculpting on a monumental scale

a greek colossus Inspired by the Parthenon’s Selene Horse, one of the famed Elgin Marbles, Nic Fiddian-Green has created his latest in a line of monumental horse head sculptures to stand proud at Goodwood’s racecourse WRITTEN BY JAY MERRICK PHOTOGRAPHY BY JONATHAN STEWART

NIC FIDDIAN-GREEN HAS BEEN OBSESSED BY A SINGLE PIECE OF ANCIENT SCULPTURE SINCE HE WAS A STUDENT AT THE CHELSEA SCHOOL OF ART IN THE 1980S. And now, inside a bitterly cold, open-sided barn on a hilltop a few miles east of Godalming, Surrey, the power of that obsession materialises in an almost hallucinatory way.

Before me stands the plaster-coated form of a giant horse’s head more than 14ft high and 18ft from mane to nostril. It radiates an unearthly sense of stark otherness. The head is seamless in places, crudely fissured in others, as if it were still in the process of coming together. A mist of plaster dust smudges the air around its looming form, turning the weathered wood of the barn, the tweedy sweep of the fields, and the artist’s paraphernalia – moulds, detritus, Christ on a crucifix pinned to a back wall – into a surreal dreamscape.

And out of the dream steps Nic Fiddian-Green, bulked up in winter clothing, his face and eyebrows ashen with plaster. One notices certain things about the 47-year-old immediately: hands and feet that don’t like to be still, and pale blue eyes that are not so much piercing as searching.

And when he speaks, every other word seems to be italicised for emphasis. He is, as Zen-inclined hippies used to say, like totally in the now.

A visionary now. There is a chance that this extraordinary bronze horse’s head will be temporarily mounted on a 14ft high plinth on The Trundle above Goodwood racecourse in June. The prospect of this 28ft high artwork has not only intrigued Lord March, but inspired international fund managers Artemis to help fund the monumental work that is Fiddian-Green’s masterpiece – and uncanny proof that, sometimes, the power of obsession can overcome the shadow of mortality.

The obsession is the Selene Horse, one of the controversial Elgin Marbles, which Fiddian-Green encountered at the British Museum in 1983.“I have absolutely no idea why,” he says.“But that was it.” This particular time-machine of mythic form and craft – infused with Fiddian-Green’s love of imagery from 15th century icon-paintings by artists such as Rogier van den Weyden and Andrei Rublev – have 컄

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C o w d r a y Pa r k P o l o C l u b e x t e n d s a wa r m w e l c o m e t o a l l

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NIC FIDDIAN-GREEN Sculpting on a monumental scale

Left: Nic Fiddian-Green, wrapped in layers of dustcaked clothing to protect him from the biting winter chill, enthuses infectiously about his latest monumental work of art. In the background sits the maquette of the head Below left: working on the maquette with heat and copper sulphate solution to give the bronze some age Below: a study in concentration; with angle grinder in action, Nic ensures the left nostril is perfect

컅 dominated his work, which has been shown in London, New York, Dublin, Paris, Sydney, and Dubai. “I’ve always been fascinated by fragments,” he says. “Something from the past that’s still present; something put back together.”

Sometimes, these Greek fragments – re-energised by life-studies of horses – generate beautifully flowing sculptures: the Horse At Water at Glyndebourne, for example, whose

Fiddian-Green reaches up to run his fingers over the plaster. “It’s not working, is it? It’s wrong.”

The remark underlines something he’d said earlier: “I don’t design, I make.” In this case, the making began with Fiddian-Green and an

HORSE AT WATER IN MARBLE ARCH

head seems to pour onto its gleaming jet-black plinth. The small works shown at London’s

assistant glueing together blocks of polystyrene to form a solid hulk of substrate that could be

The creation of the 30ft-high bronze called Marwari Horse at Water is an

Sladmore Gallery last summer ignite a very

scraped, cut and re-built up into the required

artistic triumph over the most extreme adversity. Nic Fiddian-Green was

different range of resonances. Bronzes such as Touch, or Greek Head, have auras of perfect

equine form. Then wet plaster was brushed or trowelled directly onto the polystyrene. In

commissioned to create the piece by JCB founder Sir Anthony Bamford, and Lady Bamford, in January 2006 – just after Nic had been diagnosed

stillness, whereas Study for Fire and The Return

some places, it’s not much more than a quarter

as suffering from a rare form of leukaemia. Crucially, doctors allowed him

radiate a tense, flexing power. The creative genetics of the giant horse’s head I’m standing under originate in a pair of even more engross-

of an inch thick; in others, where the eventual bronze surface will seem heavily ruptured, it stands proud by an inch or so. It is the varying

to make models for the bronze because the creative process increased his heart rate – though not enough to give him the strength to sculpt the huge plaster-cast original of the head himself. Instead, with his supervi-

ing pieces shown at the Sladmore. FiddianGreen’s Trojan Fragment horses heads capture the compelling mystery of a Greek archetype,

thickness and textures of this plaster skin that the bronze will copy – for this will be a hollow sculpture, a horse’s head that will appear solid

sion, the form was ‘transcribed’ by a skilled assistant, Richard Clark.

Before taking its place on the Bamford’s Gloucestershire estate, the sculpture is standing at Marble Arch, London. Very few who walk or

and a fugitive, almost spiritual sense of formal truth and time leak out of the seam-lines in the bronze.

only from a distance.

As Fiddian-Green attacks the problematic cheek with a brass-wired brush, the tension

drive past it will know that the Marwari breed was famous in India for centuries as the mount of the redoubtable Rajput cavalry. Nor will they know that the Marwari’s

But on this particular morning in late February, it’s not the spiritual that prevails, but tension about the right cheek of his new creation, which

and sheer physicality of this man’s art becomes obvious. He has three more days to get the head absolutely right. After that, to a strictly pre-deter-

legendary reputation for bravery in battle, and for carrying their

seems heavy and inert, despite two deliberate fracture-lines in the plaster. “I completed the other side of the head in three days,” says Nic.

mined schedule, a complex production process kicks in. The head, demarcated into some 30 sections of plaster, is coated with shellac, and

wounded masters to safety, had an extraordinary resonance

“It was a piece of cake. But look at this . . .”

then by a releasing agent. After that, a two- or 컄

for Nic Fiddian-Green.

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standing on one of the worktables – it’s the maquette, or model, on which the giant head is based. “This was the first thing that Nic made that

NIC FIDDIAN-GREEN Sculpting on a monumental scale

proved he was well again. It’s iconic.”

And this is quite a moment because Henrietta Fiddian-Green is referring, with barely concealed emotion, to her husband’s touch-and-go

rather edgy, kind of original in this case:

recovery from serious illness, which made it impossible for him to sculpt until 2008, after more than two years of hospital treatment. “Yes, Henry’s right,” he grins, touching the maquette. And then he flings his arms

of the sections of the head.

This process creates the moulds to be cast by the Castle Foundry near Shrewsbury, using the

Fiddian-Green’s never worked, virtually solo, to this scale before.

But no matter, he’s on a roll now. “Every line

wide: “That’s me, back from the dead! I’m just a guy doing his thing, moving through time.” Though obscured, no doubt, by the plaster dust in the barn, the ghost of St Hubert, the patron saint of metalworkers

‘lost wax’ method. Here, the inner faces of the plaster casts are thinly, but very evenly coated

and shape is the original mark, not a copy. I’ve just come back from Egypt – the pyramids.

(and a very keen horseman) must have nodded knowingly.

Henrietta kindly offers to drive me to the station, and Nic sees us off.

in melted wax; once dry, the wax casts are carefully removed. These casts – almost exactly the shape and thickness of the plaster sections on

Their figurative work is so right. Why? Because they believed in a folly that was the afterlife.

And the execution of the hieroglyphics! They

He notices me glancing at a Doors CD on the dashboard. “Great album!” he enthuses.“Go ahead, whack the sound right up!” I resist the temptation, as if I were suddenly John Betjeman, determined to protect the chaste Joan

Fiddian-Green’s original in the barn – are thickly coated in a slurry of grit and silica known as grog. Then they’re fired in a kiln, the

so understood the importance of the line and proportion. And I just stood there and thought: how beautiful.

Hunter Dunns of Godalming. Instead, I silently recall four lines from one of Jim Morrison’s poems, Awake: Choose the day and choose the sign of your day

grog hardening into a tough ceramic shell, from which the heated wax drains through tubes. The final step is to pour molten bronze,

“We should be proud of what we do. We should work to create good things. It’s a short life, but we have the capacity to take stuff out

at 1200degC, into the grog shells. Once the metal has cooled, the shells are smashed off –

of the ground and create great objects. I could ship the moulds off to China and have this

and bronze copies of the sculptor’s original forms emerge.

“When you go to the foundry, it’s almost medieval,” says Fiddian-Green.“The guys are working in a way that hasn’t really changed for 4,000 years. And this is going to be a one-off.

One thing. This is it. There’s an extra quality about the one, a gravitas. You throw the mould away! It’s the original, the master.” A new, and

head cast in bronze at half the price. But it’s paramount that this sculpture is beautifully made. I know these guys in Wales, and I trust them. This is not just heavy metal. It has to have a fragility to it.”

His wife, Henrietta, sporting a chic burnt sienna tweed jacket, arrives with mugs of coffee. “This is what I really love,” she says quietly, touching a small, bronze horse’s head

컅 three-inch layer of fresh plaster is laid onto each

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GOODWOOD 2010

The day’s divinity First thing you see . . .

Everything is broken up and dances.

Picture it: a huge, bronze horse’s head rising high above the turf on Trundle Hill at daybreak in June, close to the remains of the neolithic hill fort and causeway, and not far from the spot where 19th century locals believed Aaron’s Golden Calf was buried. Now that really would make the sculpture a kind of divinity, wouldn’t it? 쏔 Jay Merrick is architecture critic of The Independent, and has written on art and architecture for Blueprint, ArtReview, New Statesman, and Art+Auction.

This monumental sculpture is for sale and further work can be seen at the Sladmore Gallery, London W1; 0207 499 0365; www.nicfiddiangreen.com

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GOODWOOD 2010

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JOHN SURTEES Master of the racetrack

Nothing to Prove Eight World Championships, seven on two wheels and one with four, left the remarkable John Surtees with a legacy unlikely to be beaten. The master recalls his life in the sport WRITTEN BY PAUL FEARNLEY PHOTOGRAPHY BY SUTTON MOTORSPORT IMAGES AND JARROTTS.COM

BALANCE: SPEED VERSUS SAFETY; TALENT WITH TENACITY; COMPLIANCE OR PUGNACITY. JOHN SURTEES SOUGHT IT ON TWO WHEELS AND FOUR. There were occasions when he should have bitten his tongue, acted less hastily: yes, he should have made his peace with Colin Chapman of Lotus; no, he shouldn’t have stormed from Ferrari with another world title beckoning. In the main, however, he achieved

thought our ambitions had been realised – more money, new factory, fresh engines – suddenly it was blown apart.” Honest John had failed to schmooze a needy but needed headline sponsor.

John’s 11-year career on two wheels was impressively free from serious injury: broken wrist, broken arm. His time in cars was remarkably safe, too. It was, however, punctuated by a 1965 crash at Mosport that broke and displaced his pelvis, caused spinal injuries and ruptured a

“I didn’t have the same relaxed feeling I got the first time I sat on a bike,” admits John.“With cars, I had to concentrate much more because, frankly, I had never done it before. The first car race I ever saw… I was in!

“Yet I made more mistakes out of the cockpit.

I had been dropped in the deep end. Plus I was a bit sensitive at that stage. Some of the establishment were upset that I’d come in and been quick from the start. I hadn’t served a car

it. Spectacularly. Hundreds of victories and eight world championships – seven on bikes, one in

kidney. He was back racing the following April.

Broken bones he could overcome. The

apprenticeship, yet here I was in F1. That didn’t go down too well.”

cars – sparkle in a dazzling 23-year career.

sticks-and-stones stress caused by elements and

Of course there were disappointments: Norton’s conservatism; MV Agusta’s dogmatism;

factors beyond saddle and cockpit he found harder to deal with. (He made the decision to

grass-roots grass track: “One day [in 1948] Dad’s passenger didn’t turn up and I got the

Ferrari’s jingoism. All, however, were met by the

close his team at the end of 1978 from a hospi-

chance.” They won, too, at Trent Park in North

steely streak that forged teenaged biker tyro to the younger-than-he-looked 38-year-old who was still winning international single-seater

tal bed.) During his early bike years he had been sheltered by his unknowing youth and tight-knit family unit: dad Jack was a burly

London, but John, just 14, was underage and they were disqualified.

“I wasn’t pushed into bike racing,” he insists.

races in his final season as a driver.

John’s decision to retire at the end of 1972 was a wobble. He’d had no plans to become a

South London motorcycle dealer who excelled at sidecar racing; mum Dorothy, an expert motorcyclist, was a constant supportive

“Dad told me, ‘If you want to do it, go on and do it. I’ll do my best to support you.’ We weren’t rich. Dad had lost everything during the war.”

constructor, it just happened. That was 1969.

By 1970 he was driving an eponymous F1 car.

Surtees the team ultimately proved a disap-

presence for her shy but determined elder son.

Car racing, bar its speed and competition, was foreign to them, a much colder place.

John bought an Excelsior B14, prepped it and took it to a grass-track meet near Luton: “It was a very wet day, very muddy. I fell off most ways, 컄

pointment to its creator, not in terms of endeavour but in F1 results. That game-changing GP win, perhaps a sheared suspension bolt or snapped airbox clip away, never came.

“Considering the compromises we had to make, we built some good cars,” says John now.

“It just wasn’t meant to be. Right when we

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His start on bikes had been very different:

Main: seventeen-year old John Surtees leans his Vincent around Cadwell Park in 1951 Left, from far left: full chat on his trusty MV Agusta at Mallory Park during the 1958 Race of the Year, having made an excellent getaway off the line; 1960 Junior TT on the Isle of Man, and ‘fearless John’ passes through Parliament Square; victor Surtees chats to Jim Clark, who he beat into second at the Nürburgring, 1963

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JOHN SURTEES Master of the racetrack

컅 at just about every corner. Afterwards Dad said, ‘Lad, I think it’s a bit big for you.’”

A handier Triumph Tiger 70 was purchased, and with it John made his road-racing debut on Easter Sunday, 1950 – the inaugural event on Brands Hatch’s sealed surface: “The man to beat was Harry Pearce. I actually took the lead from him at the bottom of the hill. There was only one problem – I wasn’t on my bike. It had started to rain and I overdid it. I slid down one side of him, my bike slid down the other.”

By August, however, John was winning aboard a Vincent Grey Flash his father had spotted in boxes and bits at the firm’s Stevenage base. Twelve months later, on his international debut, the 17-year-old used this bike to give new world champion Geoff Duke a fright at Thruxton: “He was on a works Norton.

The AJS team was there, too. It was a good entry. Nobody expected me to run at the front, but it rained and I always went well in the wet, on two or four wheels. The other thing I was noted for was good [push-]starts. I really made Geoff hurry. It would have been nice to beat him, but those second places got me noticed.”

Norton noticed. John was allowed to purchase one of its ‘Featherbed’ frames on the understanding that he would contest a world championship round with it: he finished sixth in the 1952 Ulster GP. An on-the-spot offer of a works Norton at the 1953 TT came to naught when he was injured in practice on an EMC 125, but having dominated the British shorttrack scene – more than 50 wins in 1954 – he signed with Norton for 1955.

He won 70 races that year, but works status was not all he had hoped. Norton’s decisions to contest selected world title rounds, to do so with over-the-counter models, and to not fit them with streamlined fairings held him back.

With more of the same looming for 1956, John made a big decision: he signed with MV Agusta of Milan. He preferred the lighter, slimmer bikes of its rival Gilera (his path there was blocked by an interested party) but, with a recently completed five-year engineering apprenticeship under his belt (and braces), he felt MV was worth a punt.

He made an immediate impact there, scoring the first (of four) Senior TT wins. His subsequent hat trick of 500cc victories, completed before a crash in Germany sidelined him for the rest of the season, secured his first world title.

MV rested on its laurels and its 1957 was disastrous: John recorded eight DNFs and only one win. He signed a further three-year contract, but only after convincing Count Domenico Agusta, bike racing’s Enzo Ferrari, of the need for a new 500 frame and a more nimble 350.

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The improved MVs still had their quirks, but

turned more sharply across the tramlines [F1

YOU MIGHT NOT KNOW...

with John astride them they were unbeatable.

The level of competition had taken a knock with the withdrawal of Gilera and Moto Guzzi,

has changed!] because that would have given me more grip; and I should have dived up the escape road when I realised my mistake. But I

During the Blitz of 1940 a bomb fell in the front garden of the Surtees home in Shirley, Surrey. The front of the house was blown off, but mum Dorothy and

but so commanding was he that it’s hard to imagine how anyone could have beaten him.

tried to take the corner. The road narrowed and I clipped the outside kerb and that pulled a

her three children emerged unscathed from their Morrison Shelter.

John’s first road-race win was registered in August 1950 – in Wales. He

John won all 12 ‘classic’ races he contested in 1958. He won all 13 in 1959! Unreliability reared its head in 1960, but seven wins clinched

hose off the radiator.”

Imagine Valentino Rossi leading only his third GP with Ferrari, while still winning Moto GP for

achieved it at Aberdare Park, a 0.9-mile counter-clockwise track within a public park 24 miles northwest of Cardiff. It is still used for bike racing.

In 1955 John won 70 races – and learned how to plough straight lines using a

his third successive 350/500 title double.

“It was a wrench to leave bikes, but I had nothing more to prove,” says John.“Count

Yamaha. That’s how sensationally good John, runner-up in his second car GP, was. Yet he spent the next two years in a relative wilderness.

tractor. The latter skill was part of his engineering apprenticeship. Financial difficulties at Vincent had forced him to complete it with Ferguson.

John was voted BBC Sports Personality of the Year in 1959. He is the only

Agusta wouldn’t let me ride his 250 and he didn’t want to do a development programme.

Cars, in contrast, had opened new opportunities.

“Colin Chapman was very enthusiastic and gave me the option: ‘John, you’re going to be our team leader [in 1961]. Who do you want with

motorcyclist to have been awarded the honour. Who finished second in the voting? Bobby Charlton. Scottish swimmer Ian Black was third.

John still owns the BMW 507 sports car he used to commute to MV Agusta’s

I also felt I had unfinished business there because of what had happened in Portugal.”

you?’”He chose fellow F1 sophomore Jim Clark.

All of this was news to incumbent Innes

Gallarate base in the late-1950s. “Set off in the morning. Over the Simplon Pass. Arrive at Le Touquet. Air Ferry to Lydd. Home. 70mph average; 23 mpg.”

Just six months after his car-racing debut – a second place in a Formula Junior race at Goodwood – John was comfortably leading the 1960 Portuguese GP for Team Lotus when he came up to lap the privateer Lotus of Stirling Moss, who had been delayed by a misfire.

“It was my fault. I had it in the bloody bag,” grimaces John.“There was some fluid on my pedals, but I made a mistake, two in fact. I was in a good rhythm and didn’t want to get stuck behind him. At the end of the long straight I pulled out of his slipstream… I should have

Ireland, who argued that he had been assured of number one status. It was a mess, handled badly by Chapman, and John, a sensitive soul beneath that impassive race face, wanted no part. He walked away: “If I’d had a Senna approach I would have told Innes to get lost.

But I didn’t. That was a mistake in terms of my career. Although I won the world title with Ferrari in 1964, I never again got in an F1 car as competitive as that Lotus.”

Ferrari approached John for 1961. Its V6 virtually guaranteed him a season of success 컄

John’s last contemporary bike race was the 500cc Italian Grand Prix at Monza in September 1960. He dropped his MV Agusta on a patch of oil, remounted and still won. He beat team-mate Emilio Mendogni by 76.7 seconds.

John is the only driver to win a World Championship race in which Lotus’s Jim Clark finished second. He did so for Ferrari in the 1963 German Grand Prix at the Nürburging. The pair was separated by 77.5 seconds at the finish.

John, a trained engineer, has restored many racing bikes and cars. Among them are the supercharged BMW twin that reputedly won the 1939 Senior TT and the horizontal-engined Norton F-Type that was never used in anger.

John’s current business is industrial property: “Because the only thing I had left after closing down my racing team in 1978 was the new factory. That’s what got me started on this enterprise.”

“If I had concentrated on sitting my bum in the best available seat rather than tackling the challenges I did, I would have done much better”

Main: Monaco Grand Prix, 1965 and World Champion John Surtees takes his V8-powered Ferrari 158 to 4th place Above, from left: Cooper T81 at Zandvoort in 1966 – not a happy race, electrical problems ended his charge; a better result, 3rd place for Cooper at Watkins Glen; Tourist Trophy, Goodwood, 1962, and John leads the race in the Maranello Concessionaires Ferrari 250GTO; he posted a DNF after colliding with Jim Clark in the Aston DB4GTZ

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JOHN SURTEES Master of the racetrack

A bespoke F1 Honda proved quick in 1968 but was hampered by “stupid little things”, and this time the team walked away walked away. Stranded, John signed with BRM for 1969, and had a miserable time of it.

Building his own cars was the natural progression. But was it logical?

“If I had concentrated on sitting my bum in the best available seat rather than tackling the challenges I did, I would have done much better for John Surtees racing driver. But I don’t suppose I would have changed any of it. As with all these things, even those that went wrong, there are relationships and memories I wouldn’t have wanted to miss. Enzo Ferrari once told me to remember the good times, not the bad.”

The death of John’s 18-year-old son Henry in a freak accident during an F2 race at Brands Hatch last July has sorely tested this. Initially was blighted by the increasingly churlish

John turned his back on the sport he has loved and graced, but he has since reconsidered:

“I knew from my MV experience that with an

machinations of Eugenio Dragoni, a team

“Henry wouldn’t have wanted me to stop.”

Italian team I needed to deal from a position of power. Ferrari gave me this long list of drivers

manager who scarcely hid his bias towards Italian drivers. When he handed co-driver

There is, however, another balance to be struck. The emotion is raw as this strongman,

they were planning to run. I thought, ‘We’re

Ludovico Scarfiotti the opening stint at Le

a survivor of the sport’s most gladiatorial age,

going to be pawns here.’” He walked away.

Only after two learning seasons with Cooper and Lola did he feel ready: “It was the

Mans in 1966 in order to please his uncle Gianni Agnelli, boss of parent company Fiat, John severed all ties.

explains his greatest challenge.

“It’s one thing for me, who shared so much of Henry’s last 11 years, experiencing his racing

right time to go. Like MV, Ferrari was not on the crest of a wave. They’d had a terrible 1962 and several key personnel had left.”

“Where I fell foul was trying to make Ferrari an international team. Some people there didn’t like me trying to bring in Anglo elements. But it

highs and lows, to relive things I have done in motorsport, to gain strength from the support people show me; it’s another thing entirely for

John again helped turn things around and won the German GP in 1963 and 1964. The latter triggered his push for the world title that

needed to happen, as Ross Brawn proved. I was the forerunner of that – 30 years too early.”

John spent the next two seasons honing

my wife, who looks upon motorsport as having taken her son.”

The genuinely felt warm applause John will

included an Italian GP victory and a dramatic Mexican finale: Clark’s leading Lotus ran out of oil on the last lap, and Ferrari’s Lorenzo Bandini

Honda’s F1 programme. Its engine was powerful but its chassis was pedestrian. Using a modified Lola Indycar he gave the sonorous

receive at this year’s Goodwood Festival of Speed will in his own mind be more for his family – wife Jane and daughters Edwina and

let his team leader through into second. Thus was achieved a unique world championship double that bestows genuine greatness.

Japanese V12 its first GP win, a last-corner thriller at Monza in 1967. A bespoke F1 Honda proved quick in 1968 but was hampered by

Leonora – than him. And in a more removed but still telling way, it will be for the youngsters he plans to continue to help gain a foothold in the sport that Henry loved and graced, too. 쏔

Main: John Surtees heads for the seventh retirement of 1968 in the Honda RA301 at Mont-Tremblant, Canada. Yet another was to come in Mexico...

컅 in the new 1.5-litre F1, but he felt unprepared:

Above, from left: Lord March welcomes John to the 2009 Festival of Speed paddock before the great man powers his World Championship-winning MV Agusta up the hillclimb

Sadly, the rest of John’s time with Ferrari

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“stupid little things”, and this time the team

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Rolls-Royce Ghost Phantom’s sporty sibling

For more than 100 years, Rolls-Royce has produced cars that have cosseted its occupants and were geared more to comfort and less to the ‘sporty’ side of motoring. Enter the Ghost, the most powerful car the company has ever built, and aimed squarely at the driver WRITTEN BY ANDREW ENGLISH PHOTOGRAPHY BY RICHARD NEWTON

ROLLS-ROYCE HAS ALWAYS HAD A BIT OF A PROBLEM WITH DRIVERS. It didn’t help that the driving half of Britain’s most distinguished car maker died in the UK’s first-ever air crash in 1910, just six years after the company had been founded. Had he lived, Charles Rolls, gentleman entrepreneur, pioneer aeronaut, racing driver and general dare devil would have been the perfect foil to Henry Royce’s fastidious and curmudgeonly engineering excellence.

Royce wasn’t much of a hell cat himself. He preferred the spirituality and ethereal science of building the best car in the world, suffered ill health and favoured the comforts of home in West Wittering, Sussex, or his South of France hideaway, over mad acts of derring do. And, far from generally improving the breed as was widely assumed at the time, Royce felt that the act of racing his cars could bring the whole notion of motoring into disrepute. Besides, most Rolls-Royce owners employed a chauffeur to actually lay hands on the controls. Driving was a job for the staff, and the steering weight, seating position and exposed nature of the driver’s seat in early Rolls-Royce machines more than bore this out.

So drivers’ Rolls-Royce models are rare and strange beasts indeed. The famous ’20s sporting EX models were almost forced upon Royce, who ordered his experimental department to develop a car ‘with a bit of fizz’ with which to compete with Bentley, Napier and Hispano-Suiza.

As for the egregious ‘Driver’s Rolls’, the 1929 20/50, well, history doesn’t treat this car at all kindly. Smaller than the mighty Phantom, the 3.7-litre, six-cylinder 20/50 could barely muster the get up and go to keep up with its own shadow.

So it was that when BMW finally assumed control of the revered car maker and laid plans for the car that became known as ‘The Project’, Henry Royce’s imperative of making the best car in the world was uppermost in the mind of its management. The 19ft-long Phantom duly emerged with a style so imposing and gravitas so sheer that it couldn’t fail to establish the status and serious nature of BMW’s undertaking.

And while the Phantom is underrated as a driver’s car and subsequent models such as the Coupé and Drophead Coupé have emphasised that these aluminium space-framed cars have much to recommend them from the front as well as the rear seat, there was always a driver-shaped gap in the model range, which one felt BMW was shy of filling.

Part of this reticence might be the fact that BMW produces perfectly acceptable, one might even say the ultimate driving machines, under its own propeller badge. How do you improve on the ultimate?

Well, here it is. The Ghost, all 17 feet 8.5 inches and two and half tonnes of it. And it is a sign of BMW’s growing confidence with Rolls-Royce that it has felt able to play with the shapes and proportions of the classic Roller for this new model. The famous Grecian-column radiator for instance, is lower, and incorporated into the bodywork for a more wind-cheating shape. Of course, Charles Sykes’s spirit of ecstasy (modelled on noted beauty Eleanor Thornton) on top of it still throws the Sussex drizzle off her wings and onto the windscreen, but that’s an aerodynamic quirk of this handsome mascot.

Hidden under the gently curving coachwork lie a small number of parts sourced direct from BMW Group, but you would never guess by looking at it – everything the customer sees or touches is unique to Rolls-Royce. The panels hug the wheels with a subtle, sporting look. From the driver’s seat the bonnet curves away like an infinity swimming pool and the Spirit of 컄

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out of the shadows

GOODWOOD 2010

101

Rolls-Royce Ghost Phantom’s sporty sibling

컅 Ecstasy maintains her modesty from the waist down. You are always

Above: early design sketches show the direction Rolls-Royce planned to take with Ghost – lower, sleeker, sportier...

Below: ...and those who have driven it generally agree that Ghost is indeed the ‘sportiest’ Royce ever

Peak power of 563bhp and torque of 575lb ft are more than enough to spirit the Ghost from 0-60mph in 4.8 seconds and on to an

with a high degree of accuracy.

And what an interior this is. While various wood veneer facias are

electronically limited top speed of 155mph.

This is a fast car, but power really isn’t an

available, the pick of the options list must be the art-deco styled piano black, with its immaculate shine and symmetry. Here is style in abundance, with a zing of originality; the translucent panels layered

issue in spite of the presence of a power reserve indicator on the dashboard. Look out of your window at the South Downs and the

over each other to create depth, with craft joints that defy rivals to match. Alan Sheppard’s interior design department has gained a maturity and confidence with the Ghost.

steep inclines represent barely a down shift for the Ghost. In reality it means there aren’t any conceivable circumstances where the new

Take the delightful heater controls which present the driver, not with a numerical ascendancy, but a series of descriptions; Off, Soft, Medium, High and Max. Soft? What manner of breeze is that? A Greek Zephyr,

Rolls runs out of fire power. And don’t confuse the seamless acceleration with any lack of urge – the Ghost might be seriously

a Californian Coromell or a Mediterranean Etesian? Rarely has a mere heater control wafted such flights of fancy.

fast, but it doesn’t like to broadcast the fact.

In fact, it is only at the upper reaches of the

There’s also a wit and reverence to the cabin, the control quadrants echo those of post-war luxury cars from Rover and Aston Martin as well as ’70s BMWs. The electronic control for the eight-speed automatic transmission is on a single steering column stalk, as is the tradition at Rolls-Royce. Even the matt-black lighting panel is reminiscent of the Lucas CAV charging panels on many pre-World War II models. Yet in spite of the historical allusions, the overall feeling is of modernity.

The starter is a discreet, satin-chrome button, which you press to

engine’s rev range where you get any aural indication that the high-tech power plant under the bonnet is working at all. In all other circumstances there’s barely a vibration and the engine emits just a hollow moan before Eleanor takes to the wing and the stately bonnet heads rapidly for the horizon.

Running costs aren’t really an issue for the Rolls-Royce owner, but environmental climate change affects even the super rich; considering the sledge-hammer performance on tap, an EU Combined/Urban fuel consumption of 20.8/13.8mpg and carbon dioxide emissions of

“One can imagine starting the mighty engine in Madrid’s setting sun, aiming at dining on the sea front in Biarritz and enjoying every single mile of the journey”

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unleash the 6.6-litre, twin-turbo BMW V12.

aware that this is a big car, but even though the corners of the bodywork are difficult to judge, the big mirrors and clever parking proximity sensors allow you to manoeuvre even in the tightest places

THE GOODWOOD ROLLS-ROYCES BMW’s acquisition of the Rolls-Royce automotive brand ushered in a new era for the eponymous British marque. Since 2003, when the Goodwoodbased, Nicholas Grimshaw-designed Rolls-Royce HQ and manufacturing plant began work on the new Phantom, the company has created 900 new jobs, and five distinct choices for those in search of automotive perfection in the higher echelons of motoring style and class. Phantom came first, of course, and derivatives followed. Now Ghost adds a whole new chapter. Whether you want to be driven, or drive yourself, there’s a model for you...

Phantom: introduced in 2003. V12, 6.75-litre, 720lb ft of torque, 0-60 in 5.7 secs

Phantom Extended Wheelbase: introduced in 2005.

250mm longer at 6084mm. 1197mm of rear leg room

317 grams per km are by no means calamitous.

And how do the needs of the driver affect

the standard electronic stability system will be placing an invisible calming hand on your

the legendary ride and handling of this RollsRoyce? The suspension is soft, but it doesn’t

shoulder. For those who insist on pushing further still, a limited amount of oversteer can

wallow. While it is inclined to heave over

be selected via the iDrive system which limits

Phantom Drophead Coupé: introduced in 2007.

hump-backed bridges, the damping control is well judged. There’s also a lot less body

the Dynamic Stability Control intervention.

So yes, if your employer gives permission,

Codenamed RR02, based on 100EX

movement than in the Phantom and although

you can steer the new Ghost on the throttle.

the nose wants to lift under acceleration and dip under braking, those tendencies are reined in. One of the nicest things about the

But is this a sports car? This question is more tricky. Ghost is fast certainly, but there’s not a lot of joy in overdriving such a big and heavy

Ghost is that Rolls-Royce hasn’t hedged its bets by offering myriad complicated steering and suspension set ups that can be changed

car. Reactions to the major controls are as fast as Rolls-Royce can make them, but there’s simply too much of the Ghost for it to have

at will. Ghost comes with one recommended suspension set up, which is a refreshing change in a world of nebulous choice.

lightning-fast responses. So on balance, no.

On the other hand, it responds to smooth driving and is a positive pleasure to drive

Push this big car hard and the huge 20inch tyres grip well and turn into corners with an eagerness that belies the weight and bulk.

briskly. One can imagine starting the mighty engine in Madrid’s setting sun, aiming at dining on the sea front in Biarritz just a few

You feel the car’s mass as an aftershock when the nose tries to run wide of the corner’s apex. Push too hard and the forces build up

hours later and enjoying every single mile of the journey. For Ghost is a swift car and that’s a great deal more appropriate for Rolls-Royce... And its drivers. 쏔

until the front tyres scrub wide, by this time

Phantom Coupé: introduced in 2008. Weighs 2590kg. Top speed 155mph, 0-60mph in 5.6 secs

Ghost: introduced in 2009. Top speed 155mph, 0-60mph in 4.7 secs, 563bhp, 20.8mpg

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SHELL HOUSE Eighteenth century fragile beauty

Tucked away in a private corner of the Estate is an eighteenth century labour of love. Rough and ready on the outside it may be, but step inside and a small, delicate room of simply breathtaking beauty awaits WRITTEN BY ROSEMARY BAIRD PHOTOGRAPHY BY JONATHAN STEWART

seaside folly THE SHELL HOUSE IS ONE OF THE SECRET GLORIES OF GOODWOOD, A HIDDEN HILLSIDE FOLLY KEPT QUIET, SECURE AND SERENE FOR THE PRESERVATION OF ITS FRAGILE BEAUTY. A small barrel-vaulted rectangular room, it is a classic building of a type originally created by the Romans to adorn their gardens, the half-dome over the apse symbolising the birth of Venus from a scallop shell. It is an especially rare survival because of the proliferation of shells over every inch of wall and ceiling, the extraordinarily high quality of the workmanship, and the remarkable preservation of whole areas in their original state.

In the 1730s Charles, 2nd Duke of Richmond (1701-1750) created extensive pleasure grounds at Goodwood, dotted with such buildings.

Follies were for fun, adventurous little essays in the latest architectural fashion, for viewing, admiring, sitting in, and having picnics.

Private guests and, on advertised days, public visitors could promenade from Goodwood House, passing exotic animals on view in even smaller structures, some of the latter also with classical and shell embellishments. They could admire a miniature neo-Roman temple, a monkey monument and a number of elegant urns on plinths before climbing the hill, saluting an obelisk and arriving at the Duke’s smartly porticoed banqueting house, Carné’s Seat. Here a smiling serving woman might pour them tea. Then came the culmination of the trip, the visit to the adjacent shell house.

These little buildings were newly fashionable in England, coinciding with the great craze for the classical past. Whereas a grotto is really a cave, possibly natural and often subterranean, a shell house suggests a room: however shell houses were often called grottoes because of the marine decoration. The Roman format for both had derived from the grottoes of the Greeks, places of worship and sacrifice around natural springs in caves. Grottoes and shell houses became popular in Europe again in the Renaissance. The Goodwood shell house is a relatively early English example, although aristocratic patrons had created grotto-rooms at Chatsworth, Wilton, Woburn Abbey and even Whitehall. The poet Alexander Pope had a famous grotto at Twickenham, to which the gardening-mad Countess of Hertford declared in 1736 hers at Marlborough to be superior. As the daughterin-law of the Duke of Somerset at Petworth (and herself the future Duchess), she was a possible inspiration for her contemporary, the (2nd) Duchess of Richmond.

The Goodwood shell house is unusual in being impeccably classical, 컄

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SHELL HOUSE Eighteenth century fragile beauty

Above: shells of every size, genus and shape adorn the walls and vaulted ceiling of the Shell House, more than half a million in all Left: the initials of Charles Richmond, 2nd Duke of Richmond, are carefully inlaid at the entrance to the apse

ěť… with finer detail set into a symmetrical, restrained architectural setting.

It was probably designed by Roger Morris, the Palladio-inspired architect of the banqueting house. The design includes superbly simple areas of cane-coloured shells formed to look like basketwork; perfectly rounded vases on plinths; and a wonderful horn or cornucopia spilling out its excess. Molluscs provide black and silvery colours, and borders of tiny black mussels range with rows of pale cockles. Many of the shells add tones of pink, cream, straw and siena. The marble floor is inlaid with horses’ teeth and the central mirror at the rear of the apse is positioned to reflect the spire of Chichester Cathedral. The perfection of style, shape, colour and workmanship leaves visitors gasping.

Shell work could be done by paid professionals but, like embroidery, was also seen as a genteel occupation for the lady of the house. Sir Thomas Robinson, Governor of Barbados and a family friend, believed

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EGGS AND SHELLS DO MIX...

The delightful Shell House was the setting for the renaissance of Fabergé, on September 9th last year, the first time the hillside folly had been used for such a purpose.

Guests for this historic event were just 20 prominent members of the business media representing leading publications on every continent, as well as international players such as Reuters and CNN. All were flown by helicopter to the front lawn at Goodwood for a buffet breakfast in the Front Hall, before being escorted to the hidden treasure tucked among the trees.

“Goodwood was the perfect location,” explains Tatiana Fabergé (above), great-grand daughter of Peter Carl Fabergé, founder of the house. “The intricate delicacy of the Shell House provided a truly dramatic setting for our launch, the first new pieces of jewellery to carry my family’s name since 1917.”

CEO Mark Dunhill is hoping to re-establish Fabergé as a luxury brand to rival Cartier, Tiffany and Co and Bulgari, and return the company to the esteem in which it was held in the late 1800s when Peter Carl created a range of Fabergé eggs for the Russian Tzars. The new Fabergé jewellery range begins at $40,000 and goes right up to $7million, but, interestingly reflecting Goodwood’s modern outlook with a nod to tradition, Fabergé is planning to sell its new jewellery through the web only, doing without the overheads of luxury boutiques and glamourous sales assistants.

“I’ve been dreaming of this moment for decades,” said Tatiana, speaking as guest of honour at the launch of the new collection.

“The exotic shells were brought back from the Caribbean by sea captains, while British shells were collected along the Sussex coast” that it was the Duchess who was fitting it up. Both she and her

flints, fossils and conch shells, designed not to be noticed from far away. The project was first

daughters certainly did a number of the panels, probably working on them in the main house. At the entrance to the apse, initials denote Charles Richmond and Sarah Richmond, with those of their two eldest

recorded in 1739 when the captain of HMS Diamond wrote from Jamaica: ‘I have a small ship load of shells for the Dukes of Bedford and Richmond’. The panels were put up in the summer of 1748, at which time the boys’ tutor, Mr Gibberd, was still trying to buy shells in London. By

daughters on the sides. Below the carefree Emily’s initials is an especially rough piece of shell work, while beneath those of the elder and more perfectionist Caroline there is a more accomplished area. A

the end, the Duchess had so many shells that she did not know what to do with them.

Most English 18th century shell work is from a slightly later date and rococo in form, often developing into a rather overblown style. This makes the supremely elegant Goodwood example

letter from Emily mentions that she did the middle niche at the back, complaining to her father about its poor quality; but he loved it anyway.

However, some sections of wall are so uniformly, beautifully and evenly

even more extraordinary. The detail is such that no-one can ever confidently say that they have seen everything. Today, happily restored after hurricane damage to the roof in 1987, the shell house is still occasionally used for a special event, such as a recent one-hour Fabergé exhibition

encrusted that they could not have been executed by an amateur.

The exotic shells were brought back from the Caribbean by sea captains, while British shells were collected along the Sussex coast.

(see above) or a small raceweek family dinner. In 1928, Lady Diana Cooper famously described a picnic there, ‘of lobsters and meats, fruit and wine, roses and candles’. 쏔

More than 500,000 were used. The exterior is more rustic, with local

The shell house can be viewed only by pre-arranged groups of at least 10 people: tel 01243 755048.

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AVIATION AT GOODWOOD Celebrating 80 years of passion for flight

Freddie March, later to become the 9th Duke of Richmond, was at the forefront of aviation in its early days, and the Goodwood airfield played a vital role during the war WRITTEN BY TONY HARMSWORTH PHOTOGRAPHY FROM GOODWOOD ARCHIVE

pioneers of the air DURING THE LAST SUMMER BEFORE THE OUTBREAK OF THE FIRST WORLD WAR, 10 YEAR OLD FREDDIE MARCH LOOKED LONGINGLY SKYWARDS FROM THE COCKPIT OF HIS LITTLE HOME-MADE MODEL AEROPLANE IN THE GROUNDS OF GOODWOOD HOUSE, dreaming of taking to the air over the chalk downland of west Sussex. Now, almost a century later, state of the art ‘glass cockpit’ training aircraft, with advanced, integrated flight instrument systems and LED displays are being delivered to the Aero Club to join the Harvard, Cirrus, Piper and Super Decathlon aircraft already stationed at Goodwood aerodrome, a vibrant, general-aviation centre which originated as an RAF fighter base at the start of the Second World War. In 1929, 15 years after he had packed away his model biplane, Freddie March landed on a newly cut flying strip close to Goodwood house in an Avro Avian biplane. A thatched-roofed hangar was soon built just south of Goodwood house, and over the next few years, Freddie flew his aeroplane from the site while pursuing a highly successful motor racing career.

After becoming the 9th Duke of Richmond and Gordon in 1935, Freddie teamed up with test-pilot friend Edmund Hordern to co-design a safe and reliable aircraft for the ordinary man who wished to travel or tour by air. The two like-minded individuals came up with the Hordern-Richmond Autoplane, a twin 40hp Continental-engined, plywood-covered machine of small frontal area, which featured an unorthodox control system: at the top of each of the control columns there was a small wheel which took the place of the more usual rudder bar or pedals to control the rudder, enabling the pilot to carry out all manoeuvres using just one hand. Edmund Hordern was at the controls of the machine, now registered G-AEOG, for the first flight at Heston Aerodrome (near Heathrow Airport) on October 28 1936. In testing, the two seater showed great promise with a top speed of about 100mph, and 85mph in the cruise. The Duke, who owned the machine, soon moved it down to Goodwood, where the folding wings were of great benefit in the old thatched-roof hangar. In April 1937 the co-designers formed HordernRichmond Aircraft Ltd to manufacture the Autoplane, but it needed development work, and more powerful engines. In April 1938 ownership passed to Hordern-Richmond Aircraft Ltd at Denham Aerodrome, but with war looming, the innovative little machine became a victim of the times, and the project folded.

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Far left, from top: the very beginning of aviation at Goodwood, Lord March’s grandfather Freddie March with the model plane he built in 1914; Freddie March and Edmund Hordern with the twin-engined Autoplane they built in 1936; the Autoplane taxying in front

of Goodwood House; the Avro 616 Avian Mk4M, the first plane to land at Goodwood, in 1929 Below: the 9th Duke (black top) with G-ACPJ, a BA Swallow 2, and at the controls of G-AEOG, the twin-engined Autoplane

In December 1938, with war inevitable, the Air Ministry was looking to create an emergency landing ground for aircraft based at RAF Tangmere, one of the RAF’s most important fighter bases, just three miles east of Chichester. Fields close to the village of Westhampnett on the Goodwood Estate were identified as ideal for the purpose, and the Duke immediately agreed to use of the site for the war effort, Initially, RAF Westhampnett was just meadowland for aircraft to alight if they were in trouble, but following the fall of France in May 1940 it was upgraded to a full satellite fighter station. Four grass runways were cut, Sommerfield Tracking laid, and blister hangars and a watchtower constructed.

On July 30 Hawker Hurricanes from 145 Sqn, Tangmere moved in. Sadly, the following day the airfield suffered its first casualty, when 145 Sqn pilot Sub Lieutenant Ian H. Kestin was shot down into the sea off Hastings by the rear gunner of a Henschel Hs 126 reconnaissance machine. Seven days later, Hurricanes from Westhampnett were heavily involved in what many historians now consider to be the first action of the Battle of Britain. British convoy CW-9, codename Peewit, consisting of 25 merchant ships carrying coal from Southend to Swanage, Dorset, was detected heading west through the Straits of Dover by German radar. During the morning of August 8, the commander of the Luftwaffe’s VIII. Fliegercorps, General Major Baron Wolfran Von Richthofen – a cousin of WW1 ace Manfred von Richthofen, the ‘Red Baron’– despatched 60 Junkers 87 Stuka dive bombers, escorted by 50 Messerschmitts from bases in northern France, to attack the convoy off the Isle of Wight. Three of 145 Sqn’s Hurricanes managed to get through the fighter protection, shooting down three Stukas, but four ships were lost and several damaged.

During the afternoon another attack of 82 Stukas and 68 escorting fighters headed for the convoy, and 145 Sqn, led by 컄

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AVIATION AT GOODWOOD Celebrating 80 years of passion for flight

컅 the inspirational Sqn Ldr J.R.A. Peel, shot

didn’t return. The tail of his Spitfire was torn

Below, from top: the Horden-Richmond Autoplane during construction at the Heston Aircraft Company in 1936; three squadrons of Hawker Typhoons arrived at Westhampnett in 1943, and were soon in the thick of the action; a bronze statue of wartime hero Douglas Bader, who flew his final mission from the airfield, now stands outside the Goodwood Aero Club; pilots of 145 Squadron scramble to their waiting Hurricanes

Army Air Force (USAAF) arrived, and

down three Ju 87s on their first diving attack.

By the end of the day, 145 had shot down 11 enemy aircraft, but at a heavy cost: five

off during a dogfight over Le Touquet, and he bailed out, spending the rest of the war in captivity. On the 60th anniversary of Bader’s

American uniforms became a regular fixture in the Chichester area. The American 31st Fighter Group, 8th Air Force renamed the base Station

Hurricane pilots had been lost, and the engagement was the worst maritime disaster

last combat mission, in August 2001, his widow Joan unveiled a 6ft bronze statue of

of the war in inland waters, with only four ships managing to limp into Poole and Portsmouth harbours undamaged.

Bader at Goodwood airfield. The tribute was created by sculptor Kenneth Potts and commissioned by the Earl of March.

Following 145 Sqn’s heroic efforts, The Duke of Gloucester visited Westhampnett to meet the crews, but there was no let up in the

Many fighter and fighter-bomber units came and went over the following four years of war, their pilots coming from most of the allied air

action. Over the next six days, seven more Hurricane pilots were killed, and the unit was posted to Scotland for a well-earned

forces, including units of Australians, New Zealanders, Canadians, and the Free French, the latter receiving a visit from General de

following month the exotic, twin-tailed Lockheed P-38 Lightnings of the 14th Fighter Group moved in.

rest on August 14. Their replacements at Westhampnett, 602 Sqn, then brought in a

Gaulle on August 14 1943. On July 30 1942, a unit of Spitfires wearing

In June 1943, the growl of the 37-litre Rolls-Royce Griffon engine was heard at

type which would become a near constant presence over the next five years – the immortal Supermarine Spitfire. 602 arrived just as the Germans changed tactics, switching their attacks to airfields. On August 17, 602’s Spitfires were up attacking Messerschmitt 109s that were escorting a huge Stuka raid on Tangmere, which resulted in the destruction of two of Tangmere’s hangars, and the deaths of 13 personnel. Two days later, 85 Stukas attacked Gosport, 16 of their number beings shot down, with four of those credited to 602. After that mauling, the Stukas were withdrawn from the Battle.

The next few weeks saw continued frenetic activity, but towards the end of September the pace slackened. In November, a

the unfamiliar stars and bars markings of the United States

Westhampnett for the first time, as Spitfire XIIs of 41 and 91 Squadron, took up residence. They soon made their presence felt with the enemy, and in September, 91 Sqn was the highest scoring unit in the RAF. In October, three squadrons of the pugnacious Hawker Typhoon fighterbombers arrived at the airfield, and during the build up to invasion of France were kept busy with rocket-firing attacks on railways, shipping and airfields. As dawn broke on On D-Day, June 6, 184 Sqn got airborne from Westhampnett, and was one of the first units in the thick of the action, attacking German gun positions. The following month, German V-1 ‘doodlebug’ flying bombs began to appear over southern England, and high-performance

352, and soon joined RAF Spitfires on fighter sweeps. On the disastrous Dieppe Raid of August 19 1942, Westhampnett-based Lt. S. Junkin scored the first confirmed victory by an 8th Air Force pilot, shooting down a FockeWulf FW 190 over the French coast. The CO of the 8th AF, General Carl Spaatz visited Westhampnett on September 2, and during the

Polish-manned Hurricane Squadron, 302 arrived, and in mid-December 602 Sqn finally

Spitfire XIVs arrived at Westhampnett for interception duties against this new menace.

left for a new base in Scotland.

At the end of 1940 work got underway on a concrete

As the year wore on, things became quieter at Westhampnett as many operational squadrons moved to

perimeter track around the base, to help combat the continuing problems of waterlogging on the airfield. Eight Blister hangars and an iron-clad watch-office were also installed, and the bell tents were replaced with Nissen huts.

forward operational bases in liberated territory in Europe. In early 1945, with no resident units, the base went onto care and maintenance regime. It re-opened to flying in July, when the Naval Air Fighting Development Unit arrived with a motley

During the spring of 1941, RAF Fighter Command went on the offensive, flying fighter sweeps and bomber escort missions

selection of naval aircraft, but military flying ceased completely when they moved out in November.

over France and the low countries. Douglas Bader, who had lost his legs in a flying

Freddie March served with the RAF during World War II, and spent some

accident in 1931 and was now the most famous pilot in Britain, arrived in Sussex

time based in Washington, working for the Ministry of Aircraft Production. With

to command the Tangmere Wing of Spitfires. On 9 August 1941, Bader flew out of Westhampnett in his Spitfire Mk V,

hostilities now over and the airfield deserted, former Westhampnett-based Spitfire pilot, Flt. Lt. Tony Gaze, who had

leading a sweep over northern France, but he

often raced his MG around the perimeter

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On July 30 1942, a unit of Spitfires wearing the unfamiliar stars and bars markings of the United States Army Air Force (USAAF) arrived

Above: the Americans arrived at Westhampnett in 1942 and Stars and Stripes-liveried Spitfires joined in the fray Right: the NDN Firecraker was developed and built at Goodwood in the ’70s

track while off duty, saw the potential of adapting the old concrete peritrack into a motor-racing circuit to replace the now moribund Brooklands track in Surrey. Freddie March wholeheartedly agreed, the first meeting was staged in September 1948, and soon competitors and teams began to arrive by air on the old landing strip. Planning permission for an airfield was granted, and three grass strips were constructed, the longest being a NW/SE 4,320ft strip. Many famous racing personalities arrived for race meetings by air up until the closure of the circuit on safety ground in 1966. Two years later the Goodwood Flying School opened, and an aircraft engineering department was established in the wartime T1 hangar on the north of the site. New hangars were now also built, supplementing many of the wartime buildings which were still in use.

In the mid 1970s, the NDN Aircraft Firecracker high-performance piston engined trainer was built in the eastern end of Goodwood’s Hangar Two by NDN, an offshoot of the famous Brittan Norman company. It made its first flight in May 1977, and a turbine version was shortlisted to replace the Jet Provost as a basic trainer in RAF service.

Unfortunately, the MOD chose the Shorts Tucano, and only four Firecrackers were built.

In 1986 construction of a new engineering hangar began ,and helicopter operations were increasing apace. Rob Wilderboer, who was appointed Aviation General Manager at Goodwood in January this year, says: “I started here at Goodwood Aircraft Engineering (GAE) as an apprentice in 1986. 컄

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AVIATION AT GOODWOOD Celebrating 80 years of passion for flight

컅 At that time we were looking after about 30

Speed and Revival

AR213 won the top award, and in 2009

aircraft. We now maintain 85!”

One of the great success stories in civil aviation over the past 15 years has been the

meetings has boosted aviation activity at the aerodrome. Air displays by

a Bucker Jungmeister was awarded top billing by the judges, who included Apollo 11 astronaut Buzz Aldrin and

Swiss-built, single turboprop-powered Pilatus PC12, the type seeing widespread service as

vintage warplanes have become an inextricable part of

an economical ‘bizjet’. GAE is now a Pilatus Satellite service centre for Bournemouthbased Pilatus UK. Rob explains: “Goodwood

the Revival Meeting, with Spitfires, Mustangs, Hurricanes and

is perfect for PC12 operation, and we provide 24/7/365 day service for the type. We are also a Piper, Cessna and Robin service centre, and

Kittyhawks flying breathtaking displays in front of crowds far

maintain a wide range of aircraft from vintage de Havilland Tiger Moths and North American Harvards to twin-turboprop Beech Kingairs.”

larger than seen at any regular air shows. On the

has to be paramount. We need this to be a sustainable business, but at the same time all aspects

The Chief FIying Instructor at Goodwood Aero Club, Steve Cooper, enthuses about the

Saturday of the 2009 Revival meeting, a

should remind us of why we are here in the first place. I want to

latest arrivals in his hangar: “Our rather mismatched collection of Piper Cherokee and Tomahawk trainers are now being replaced by five ‘glass-cockpit’ Cessna 172Ss, which will bring us a standardised, safer, more modern fleet. We are about to take delivery of our third 172S, which really is mini-airliner tech and perfect for Airline Transport Pilots Licence systems familiarity. A Garmin 1000 training syllabus is currently being prepared, and our school is aiming for the best training standards, bar none. “ Development at the aerodrome is still ongoing. A 900sq m hangar was built in 2009, and permission has recently been granted for another 1000sq m hangar. Just as the airfield spawned the racing circuit, the rejuvenation of motor sport at Goodwood with the Festival of

WW1 Vickers Vimy bomber, a WW2 Avro Lancaster and a cold war Avro Vulcan flew during the display, the first time ever that bombers from all three eras had been seen in the air at a show.

At the 2007 Goodwood Revival Meeting the ‘Freddie March Spirit Of Aviation’ concours event was inaugurated, with 25 select vintage aircraft coming under the scrutiny of a distinguished panel of judges. Winner of the first event was Foster-Wikner Wicko G-AFJB, built just down the road in Southampton during 1938. In 2008 the world’s only airworthy Spitfire Mk 1,

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TV presenter James May. Rob Wildeboer says, “Although we are thriving, the aerodrome and associated businesses have much more to offer, and I intend to see the full potential realised. Our focus is on high-level customer experience, and the fun element

Above, from top: Spitfire, Lancaster and Hurricane display at Goodwood Revival; one of five new ‘glass-cockpit’ Cessna 172Ss; Super Decathlon on final approach

see many varied types of customer/machine combinations enjoying Goodwood and its buoyant social atmosphere, at a historic aerodrome which has something unique to give.”

It seems certain that Freddie March, co-designer of the innovative Autoplane, would approve of the latest developments at The Aero Club. And could the 10 year old boy who sat in his little wooden aeroplane have later imagined that, just short of a century later, the spirit of aviation trophy that bears his name would be judged by a man who had set foot on the moon?

Goodwood truly has the stuff that dreams are made of. 쏔

The Vintage Marketplace VintageClothing & Accessories After 20 years on Monmouth Street at Seven Dials, Covent Garden in London’s West End, CENCI, one of the city’s bestknown and well-established vintage clothing shops, now trades (since 2005) from a vast warehouse in West Norwood, South London. CENCI stocks thousands of items for men, women, and children, both original clothing and accessories from the 30s thru the 80s. Open 11am to 6pm, Mon to Sat and the first Sunday of each month.

STYLISH VINTAGE, RETRO AND MODERN BICYCLES AND ACCESSORIES The Old Bicycle Company, a collection of stylish bicycles and accessories for the discerning cyclist. For your delectation, find us at Vintage at Goodwood, The Goodwood Revival, at our Electric Showroom online at: www.theoldbicycleshowroom.co.uk or telephone: +44 (0)1279 876193.

The Old Bicycle Company, Cut Elms Farm, Aythorpe Roding, Near Great Dunmow, Essex CM6 1PQ, England.

HIGHLY QUALIFIED TEAM TAKES VINTAGE HAIR AND MAKEUP TO A WHOLE NEW LEVEL

Vivien of Holloway’s beautifully authentic reproduction vintage ladieswear makes the world a more glamorous place. Visit the boutique to find fabulous dresses, shoes, jewellery and even hair flowers, and have a true top-to-toe retro makeover.

As well as innovative and High Street hair and makeup techniques, the South East’s Eden Hair and Beauty team are experts in dressing hair for weddings and other prestigious occasions. Their highly qualified, skilled and experienced portfolio includes exquisite vintage imitations, effortlessly sophisticated styles, or enviably glamorous looks.

Visit www.edenhair.co.uk for helpful advice and bookings or telephone: 01428 658548.

www.vivienofholloway.com Tel: 020 7609 8754

4 Nettlefold Place, London SE27 oJW. Tel: 020 8766 8564 www.cenci.co.uk

SELECT THE RIGHT GEAR FOR THE REVIVAL AND LOOK THE PART

Select the right ‘gear’ for the Revival and look the part by visiting www.vintage-revived.com/revival for the best selection of vintage clothing on the web.

A special discount of 10% for readers of Goodwood Magazine is available until 31st August 2010.

Use the code GWR2010.

Look and feel the part at the Revival. Visit our website (www.haslemerewardrobe.co.uk /revival.php) for original quality outfits. Book Revival outfits until 31st August 2010 and receive a special discount of 10% using the code ‘Revival Early Bird’.

FAUX VINTAGE LINGERIE Lingerie, shapewear, corsets and nylons inspired by the Goodwood era. Telephone for a free catalogue on 0845 430 8743, shop online at www.whatkatiedid.com or visit our boutique at: 26 Portobello Green, 281 Portobello Road, London W10 5TZ to see the full range.

WE BUY AND SELL LADIES VINTAGE CLOTHES Conveniently located in Chichester, Sandra will help you with her expert knowledge on vintage clothing and help you look the part. A truly personal service.

9 Almshouse Arcade, 19 The Hornet, Chichester, West Sussex PO19 7JL. Tel: 07951 835271 Open: Wed-Sat, 10-5

Sandra’s Ladies Vintage Clothes

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ESTATE NEWS Around Goodwood in 2010

SCENE IS SET FOR SPECTACULAR RACING ACTION It was the 3rd Duke of Richmond who, in 1802, first brought horseracing to Goodwood. Now, more than 200 years later, Goodwood is internationally acclaimed as being one of the most beautiful racecourses in the world. Renowned for its unique style and elegance, Goodwood continues to set ever-higher standards of quality for its racegoers.

Set on top of the Sussex Downs, Goodwood is not only a breathtaking backdrop for some of the very finest flat racing, but it is also one of the world’s greatest venues for entertaining in true style. There are few moments in sport to equal the thrill of a top-class field making that final sprint to the winning post. Goodwood offers world-class horse-racing at its most relaxed and chic. With 23 days to chose from, ranging from the May Day Garden Party (see right) on 1st May right through to early October, there is no excuse not to come racing, and with six evening meetings this year, it could even be after work!

Find out more about horse-racing at Goodwood at www.goodwood.com DATE Saturday 1st May Thursday 6th May

First Race 2.20 pm 1.55 pm

Last Race 5.45 pm 5.20 pm

Races 7 7

Wednesday 19th May Saturday 22nd May

2.00 pm 2.20 pm

5.30 pm 5.40 pm

7 7

GOODWOOD HOTEL OFFERS THE PERFECT COUNTRY GETAWAY Set in the heart of the Goodwood Estate on the glorious Sussex Downs, The Goodwood Hotel has always been a relaxing and spacious getaway. This unique, Goodwood-run hotel has an overriding passion to deliver a first-class experience; a perfect balance of awardwinning dining, stylish rooms and 21st century technology coupled with superb manners and intuitive attention. The Richmond Arms Restaurant and Goodwood Bar and Grill use the very best local and Estate-grown seasonal ingredients, and with a state-of-the-art gym, a stunning indoor pool, sauna and steam rooms and The Waterbeach treatment rooms, The Goodwood Hotel offers the perfect atmosphere for you to unwind and rebalance. With the ‘public’ areas of the hotel now refurbished to the highest standards, attention has turned to the bedrooms, which are receiving the ‘Goodwood’ treatment – decor and furnishings which reflect the Estate’s heritage, but with a thoroughly contemporary twist.

For further information or to book please telephone 01243 775537

FESTIVAL OF SPEED NOW HAS ITS OWN GOODWOOD AIR SHOW

Monday 31st May

2.00 pm

5.30 pm

7

Friday 4th June (eve) Friday 11th June (eve)

6.15 pm 6.15 pm

8.55 pm 9.00 pm

6 6

Friday 18th June (eve)

5.15 pm

9.00 pm

8

Thursday 24th June Tuesday 27th July (GG) Wednesday 28th July (GG) Thursday 29th July (GG) Friday 30th July (GG)

2.00 pm 2.10 pm 2.10 pm 2.10 pm 2.10 pm

5.30 pm 5.45 pm 5.45 pm 5.45 pm 5.45 pm

6 7 7 7 7

New for this year’s Festival of Speed is the introduction of the Goodwood Aviation Show. The exhibition will give manufacturers the opportunity to exhibit their latest fixed-wing or rotary

Saturday 31st July (GG) Thursday 12th August (eve) Thursday 26th August (eve)

1.55 pm 5.25 pm 5.05 pm

5.25 pm 8.05 pm 7.45 pm

7 6 6

aircraft and associated services to the world’s media and more than 160,000 members of the public, and to even take prospective customers on evaluation flights. Running alongside the Festival of Speed, The Goodwood Aviation Show is also being seen as a standalone event for

Saturday 28th August Sunday 29th August Tuesday 7th Sept

2.05 pm 2.10 pm 2.00 pm

5.30 pm 5.40 pm 5.30 pm

7 7 7

the aviation industry for those that do not want to visit the FoS. Research has shown that of those 160,000 visiting the Festival, 20 per cent have an interest in aviation, hold a PPL or HPL or own their own aircraft. Entry to the exhibition will be free

Saturday 11th Sept Sunday 12th Sept Wednesday 22nd Sept

2.20 pm 2.00 pm 2.00 pm

5.45 pm 5.30 pm 5.30 pm

7 7 7

of charge, and a shuttle service will be run from the FoS site to the aerodrome via a VIP route.

Several manufacturers have already signed up to the 2010 Aviation Show, and the signs are that this exciting new event will become key for all aviation professionals and enthusiasts.

Sunday 10th Oct

2.00 pm

5.30 pm

7

For further information or to book exhibition space, please call Mike Husband on 01243 755087 / 07733 285051 or visit www.goodwood.com/aviation

(GG) – Glorious Goodwood

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GOODWOOD 2010

FREE-FOR-ALL AND FRANKIE’S LADIES’ NIGHT

CONTINENTAL OR FULL ENGLISH? GOODWOOD OFFERS IT ALL...

It is 100 years since King Edward

Following on from another hugely successful year of the monthly Goodwood Breakfast Club

VII, one of the Racecourse’s greatest fans and the man who

events in 2009, the themes and timings for these popular Sunday morning meetings have been set for the 2010 season. If you’ve not been before, you really should give it a go...

referred to it as ‘a garden party with racing tagged on’ sadly passed away. It was also King Edward who

As in previous years, the majority of Goodwood Breakfast Club meetings for 2010 will be held on the first Sunday of the month at the historic motor circuit in West Sussex. There will be a couple of exceptions to this, however, with Breakfast Club meetings being held on the last Sunday

introduced the Panama Hat and the linen suit to Goodwood (see p 24) and to commemorate the monarch’s

of June and August, so as not to clash with the preparations for the annual Goodwood Festival of Speed (being held on 2nd to 4th July) and the Goodwood Revival (17th to 19th September).

The 2010 Goodwood Breakfast Club season promises an eclectic mix of vehicles, trade stands

contribution, Goodwood is to hold a complimentary day where the public can have free entry to the Gordon and Lennox Enclosures. The Goodwood Racecourse Garden Party on 1st May will also be the first of two days when

and a tempting breakfast menu to whet the appetite of any motoring enthusiast. The Breakfast Club was launched to huge acclaim in March 2006 with a total of seven themed meetings, each attracting a strong petrolhead audience. For 2010, the Breakfast Club meetings have been

Members can invite a guest to come racing free of charge.

Whilst the complimentary entry will be warmly received by many, this

enhanced with a new set of themes – as detailed below – plus other initiatives designed to appeal to the motoring enthusiast with a healthy appetite. In addition to some great cars,

will also be the ideal day to bring along a friend who has never been racing before. There will be teams of hosts and tipsters on hand to help explain how racing works and assist with picking that ever-elusive winner, or two! A large crowd and some excellent racing will guarantee a wonderful atmosphere and a great start to the season.

This will be quickly followed by our first ever Ladies’ Night on 11 June, or Frankie, Fillies and Frocks Night as it is being titled. Racing’s favourite jockey, Frankie Dettori, will be our host on the night where he will also reminisce about his first ever winner in the UK here at Goodwood 23 years ago. Ladies will also get the chance to meet Frankie and make a presentation with him in the Winner’s Enclosure, should they be

owners of interesting motorcycles, trucks, and even buses are also encouraged to attend.

As in previous years, admission to the Breakfast Club remains free, and all visitors are welcome; if you turn up in one of the ‘themed’ vehicles, you become part of the display...

A dedicated Goodwood Breakfast Club website (www.goodwood.com/breakfastclub) is available, highlighting updates on each monthly theme, and enabling visitors to pre-register their vehicle and attendance on-line to secure easy parking and breakfast access. Meetings are held from 08:00hrs to midday.

successful in our Most Stylish Lady competition.

More details on the website – www.goodwood.com

GOLF AT GOODWOOD MOVES UP A NOTCH

Sunday Date 2010

Goodwood Breakfast Club Theme

7 March 4 April 2 May

Tax-free Sunday – for all pre-1973 classics Sporting Family Favourites – four-seater fun Everything but the Car – from bikes to buses, tractors to trucks; nothing is too bizarre Supercar Sunday – the ultimate performance machines; cars and bikes Soft Top Sunday – a taste of the British summer for all open-top cars Not held due to Goodwood Festival of Speed Performance Car Legends – post-1970 driver’s cars, including track day favourites Classic Sunday – pre-1966 vehicles in the spirit of Goodwood’s golden days.

6 June 27 June 4 July 1 August 29 August

5 September Not held due to Goodwood Revival preparations 3 October Souped-up Sunday – modified and custom vehicles of all ages 7 November Deutsch Marques! A tribute to Germany’s finest motoring marvels 5 December Christmas Cracker Special – cherished cars and Santa’s sled.

For further information please contact the Goodwood Breakfast Club Hotline: Telephone: +44 (0)1243 755060 • Fax: +44 (0)1243 755078 • email: cooked@goodwood.com Website: www.goodwood.com/breakfastclub

Biggest news for Golf at Goodwood this year is the announcement

COME AND MEET SOME OLYMPIAN SPORTING GREATS AT GLORIOUS

that the PGA has chosen the magnificent James Braid-designed Downs Course to host the inaugural PGA English Championship.

Sponsored by Business Fort, the event runs from July 22nd to 24th

On the first day of Glorious Goodwood, 27th July, the racecourse will be filled with Sporting Greats from the past and present. It will be exactly two years to the day until the opening ceremony of London 2012, and Goodwood has partnered with Sportsaid (who provide the funding for all Olympic athletes)

and will attract 144 of England’s top golfing professionals (see p30).

Naturally, we are very excited about the prospect of putting Golf at Goodwood very firmly on the map of the British golfing public’s

to highlight not only the forthcoming Olympics but the fantastic achievement of sportsmen and women from all over the world. As well as getting to meet some true sporting greats, there will also be the opportunity to see sporting demonstrations from some of our aspiring Olympic athletes.

conscience, but you don’t have to be a Pro to enjoy Golf at Goodwood. You don’t even have to be a member... The Park Course, which meanders its way across the Goodwood Estate is

We will also be holding a private lunch in the Charlton Suites, where each table of 10 will have at least one sporting great in attendance, as well as a talk from a high-profile speaker from the world of sport. In 2009 we were fortunate to have Michael Holding, interviewed by Rishi Persaud, mark our

available to all casual golfers on a pay-and-play basis.

Find out more about Golf at Goodwood at www.goodwood.com/golf

card just ahead of the third Ashes Test.

For more details please visit www.goodwood.com

GOODWOOD 2010

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ESTATE NEWS Around Goodwood in 2010

BE A PART OF THIS SUMMER’S BIGGEST BASH With the Festival of Speed and the Revival well established as the world’s greatest celebration of motoring, Lord March is adding another Goodwood

THIS YEAR’S BIG EXHIBITION IS THE GOODWOOD HOUSE PARTY

spectacular, with a very different flavour to the calendar. ‘Vintage at

Over the last 300 years, Goodwood has played host to many famous people, including members of the Royal family. The Prince of Wales, later Edward VII, first visited Goodwood

Goodwood’ will be a celebration of five decades of British popular culture.

in the early 1880s, and thereafter was a frequent guest in the summer for raceweek. Other guests included his wife, Princess Alexandra, his mistress, Mrs Keppel and his son, the future George V. When he stayed in 1904, Edward VII, a fastidious dresser, changed the dress code

The music, fashion and lifestyle from the ’40s to the

unexpectedly, appearing in a white silk hat instead of a black one. Two years later, he had completed the sartorial downgrade, switching to an ordinary suit with a white bowler or

’80s will be on show in the fabulous grounds of the Estate. The brainchild of renowned creative designer Wayne Hemingway and Lord March, the threeday festival will be a rare chance to take a trip back in time. “It’s really about five decades of British cool,” explains Lord March.

“The idea is to create five zones, so there will be five areas representing each decade.

“There will be live music, DJs, period beauty salons, film screenings, fashion shows, crafts and vintage clothing, so each area will have its own thing going on. And while we would expect that some people will arrive completely in keeping with their chosen era, others will come on the day and get the clothes, the hairstyle and the fashion advice to put the whole look together. Like the Goodwood Revival, we want people to contribute to the show, to really be a part of it.”

Running from 13th to 15th August, Vintage at Goodwood will feature the first performance in years by Sandie Shaw (the first British winner of the Eurovision Song Contest – remember Puppet on a String?) and see the launch of pop super-Princess Lily Allen’s

derby. Formal group photographs of the guests show the other gentlemen in a variety of hats attempting to second guess what the King would wear.

The summer exhibition at Goodwood will tell the story of these house parties, accompanied by old photographs, guests’ books, costumes and Royal gifts. Even Edward VII’s flag survives, having been folded up in the attic for more than 100 years. Visitors can take tea in the Ballroom where the King once dined, smell the scent of a Goodwood candle evoking the romance of the house and might even catch a glimpse or overhear guests or servants from a hundred years ago...

The exhibition will run from 7th June to 27th September.

Please see www.goodwood.com for opening times.

Goodwood Racecourse Glorious Goodwood; July 27 to 31; 18 further race meetings, perfect for entertaining

Goodwood Road Racing Club Membership offers special benefits and discounts for motor events at Goodwood

new fashion label, Lucy in Disguise.

The music lineup in five on-site clubs and ‘inspired by’ main stage will include performances from Sandie Shaw, David Holmes,

Goodwood House The ancestral home of the Dukes of Richmond, renowned for entertaining in

Golf at Goodwood Two championship courses, the Downs Course designed by James Braid in 1914 and

Heaven 17, Leroy Hutson, The Beat, Wanda Jackson, Imelda May, The Noisettes, Barry Cryer, Mike Sanchez and Band, The Damned, The Buzzcocks, Alvin Stardust and many, many more.

lavish style since the 18th century. A

the Park Course; both provide an excellent

fantastic venue for all occasions.

sporting challenge

Three runway shows daily will feature Vintage designers to future trends and a unique custom-built ‘High Street’ will host the world’s largest vintage market alongside pop up outlets from John

Vintage at Goodwood

The Kennels

Celebrating Five Decades of British Cool The latest event to be launched at Goodwood; August 13, 14 & 15

Clubhouse for the golf courses and members of all Goodwood clubs

Lewis to Oxfam.

Read more on page 40 or see www.vintageatgoodwood.com

HOW WELL DO YOU KNOW WHAT GOODWOOD HAS TO OFFER?

Goodwood Motor Racing Circuit The only classic motor circuit to remain in its original form; refurbished in 1998 Goodwood Festival of Speed The world’s biggest celebration of motor sport and car culture; July 2, 3 and 4 Goodwood Revival Outstanding historic motor racing; a theatrical, magical step back in time September 17, 18 and 19

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GOODWOOD 2010

Goodwood Hotel Now back in the management of the Goodwood Estate, this 94-bedroom hotel and Health Club is the perfect base to enjoy Goodwood and Sussex

Clarkson writes off cars every Sunday.

For the part of you that wants an expert opinion on cars (and the world at large), don’t miss Jeremy Clarkson in InGear and News Review.

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