Goodwood the Season

EDITOR’S LETTER

On THE COvER: Helena Christensen photographed

by Koto Bolofo. Helena Christensen is managed by www.unsignedmgmt.com

Traditionally, Glorious Goodwood has marked the end of the English Summer Season. However, the Season now embraces far more events and people than ever before and carries on long after Raceweek has finished.

At Goodwood, the 2012 Season is filled with an action-packed programme at each of our main events. The theme for this year’s Festival of Speed, 28 June to 1 July, is ‘Young Guns – Born to Win’, celebrating those who have arrived on the motor sport stage in a blaze of glory.

Glorious Goodwood Raceweek, 31 July to 4 August, with its wonderful mix of top-class racing and summer glamour, will mark the 200th running of the Goodwood Cup. The Goodwood Motor Circuit, 14 to 16 September, will play host to the 15th Goodwood Revival. This ‘magical step back in time’ is the moment not only to get out your favourite kit from the Forties, Fifties and Sixties, but also an opportunity like no other to ‘live’ the Season.

I hope you will enjoy reading about the fascinating heritage of many of the events that make up the English Season in these pages. Historically it revolved around the monarch and their court, so it is entirely appropriate that this year people all over the country will be celebrating Her Majesty The Queen’s Diamond Jubilee, as we will be at Goodwood with some of Her Majesty’s cars in the Cartier ‘Style et Luxe’ at The Festival of Speed.

I look forward to welcoming you this Diamond Jubilee Season.

EDITORIAL Executive editor Earl of March Editor-in-chief Peter Howarth Editor Sarah Deeks Chief copy editor Chris Madigan Copy editors Sarah Evans, Cate Langmuir Editorial director Joanne Glasbey DESIGN Senior art director Ciara Walshe Picture editor Juliette Hedoin Creative director Ian Pendleton MARKETING Marketing director Tracey Greaves COMMERCIAL Executive director Dave King Publishing director Toby Moore SHOW MEDIA 020 3222 0101 Ground Floor, 1-2 Ravey Street, London EC2A 4QP info@showmedia.net www.showmedia.net

Earl of March & Kinrara

Goodwood The Se aSon / daTeS for your dia ry 28 JuNE–1 JuLy: FESTIvAL OF SPEED The largest motoring garden party in the world. A true celebration of all things automotive 31 JuLy–4 AuGuST: GLORIOuS GOODWOOD The world’s most beautiful horse race meeting, hosted over five glamorous days on the Goodwood estate 14–16 SEPTEMbER: GOODWOOD REvIvAL A unique opportunity to experience motor racing as it was in the golden era. The biggest and best historic motor racing party of the year

16 / goodwood THE SEASoN

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Long Live The SeaSon! Glamorous, eccentric and above all unique, the Summer Season is a quintessentially English tradition with 300 years of history and an ever-evolving circuit

Words EloisE NapiEr

O n c e u p O n a time, beautiful young ladies – the cream of English society – dressed themselves up in elegant white ball gowns, lustrous pearls and elbow-length gloves… in order to curtsey in front of a giant cake. In all his madness, King George III couldn’t have come up with anything more ludicrous.

There are so many aspects of the English social season that are gloriously, unashamedly eccentric and Queen Charlotte’s Ball for debutantes, inaugurated in 1780 by her husband, George III, to celebrate her birthday, and held subsequently to raise funds for the Lying-In hospital in Bayswater, renamed Queen Charlotte’s Hospital in 1813, is a set-piece example. It finally ground to a halt in in the Nineties, but amazingly was resurrected, complete with outsize confectionery, three years ago.

By any normal standards, the English social season, with its all its apparent anachronisms, should have fizzled out long ago. And yet, it isn’t just still going; it’s positively thriving.

Events such as Glorious Goodwood { fig.1}, Royal Ascot and the Derby, that were first deemed part of the ‘Season’ up to 300 years ago remain magnets for record crowds today.

Moreover, as each decade passes, more and more new events are added to the scene.

Everyone loves a party and few, it appears, can stage them as well as the Brits. Such an inimitable combination of heritage, celebrity and inventiveness

has proved impossible to replicate and is a key aspect of the Season’s enduring success. Neither does anyone create the run of consistently spectacular events that we have in England.

As Liz Wyse, head of publishing at Debrett’s, explains: ‘There’s nothing comparable to the English Season in the world. Everywhere has something small and wonderful in its own right, like America’s Kentucky Derby, but each is a one-off.’

Keeping things entertaining so they never get stale is one of the secrets. ‘It’s the attention to detail that achieves this,’ says James Peill, curator of the Goodwood Collection. ‘We are always thinking about our heritage and how we can reinvent that for the 21st century.’

The Season originally evolved in the 1700s to accommodate the social life of the royal family between hunting and shooting seasons. Hunting finished in late March and the monarch would

return to London in April; a whirlwind of socialising ensued until August when the royal court and Parliament broke up and everyone hightailed it up to Scotland to shoot grouse.

By the beginning of the 19th century, the events that furnished this social frenzy – balls, concerts and sporting fixtures – had become entrenched in the social calendar. And no wonder – the networking, marriage-making and blatant opportunities to show-off were invaluable attributes for ambitious aristocrats and plutocrats.

Wyse sums it up: ‘Traditionally the Season was an array of events that were attended by the upper echelons. Being seen at these events was every socialite’s ambition. Today, the traditional Season highlights retain their glamour, but have been absorbed into a much more extensive and democratic social calendar, that embraces art, opera, poetry, even music festivals.’

It’s a paradoxical ability to combine both exclusivity and open access that makes the modern Season so addictive. Every event that has survived through the centuries, such as the Chelsea Flower Show, Henley Royal Regatta and Cowes Week has, crucially, been open to the public, while at the same time having highly visible, exclusive cordoned-off areas for the glitterati – the perfect recipe for people-watching.

Running from the Chelsea Flower Show in May through to the Goodwood Revival in September, the Season now not only embraces

“The Lawn aT Goodwood, 1886” by Thomas waLTer wiLson

fig.1

many more types of event than ever before, it also covers a much greater geographical area; in the early days the Season stretched as far as a two-day carriage journey from London – about 70 miles. Now, there’s no limit.

Intellectually, there is something for everyone. Opera buffs swoon at Glyndebourne in Sussex and Garsington in Buckinghamshire; literary types embrace the breathtaking surroundings of the Hay Festival in Powys, Wales; those of a bohemian nature go camping in breathtakingly beautiful surroundings at the Port Eliot Festival and mingle with the likes of Tracy Chevalier, William Dalrymple and Marcel Theroux.

Glastonbury festival, in all its muddy rock glory, is now as much a part of the Season as the Wimbledon Championships held at the All England Lawn Tennis Club.

Art aficionados glide out in force for the Serpentine Summer Party, along with more models and fashionistas than you can crush into the whole of Vogue; the guest list is no less glittery at the Royal Academy Summer Exhibition Preview Party.

Those with a love of fast cars and gleaming metalwork flock to the Goodwood Festival of Speed and the Goodwood Revival. The house parties at Goodwood House during these events reflect how society has changed over the generations. ‘We have wonderful photographs going back to Edwardian times showing royalty and other aristocratic guests,’ Peill reveals. ‘Now

‘The miracle of the Season is that it is far more inclusive than everyone realises’ the pictures are of top racing drivers and top celebrities who are passionate about cars like Jenson Button, Jay Leno and Sandra Bullock.’

Many of these events are relative newcomers to the scene, in that few of them are over 50 years old. Much of their success, according to Peter Florence, co-founder of the Hay Festival, is that ‘there’s almost no snobbery about them at all’.

He highlights this by describing a picture taken by a Guardian photographer of Hay-on-Wye during the Festival. The newspaper picked out each individual who had been randomly snapped.

‘One was the chief executive of Barclays Wealth; another was a former head of MI6; a third was a guy who had been to the Festival every year since its start – he stacked shelves in Tesco… The 19 / goodwood THE SEASoN

miracle of the English Season is that it is far more inclusive than everyone realises.’

The other miracle of the English Season is its idiosyncrasies. It almost always indulges the British love of dressing up. Hats are a recurring theme – at Ascot it is perfectly acceptable for women to wear artistically arranged fruit bowls on their heads. At Henley, grown men wander around in schoolboy caps or boaters with matching stripy ties, and no one even sniggers.

At Glyndebourne, ladies in high heels and coiffured locks huddle under umbrellas to sip champagne and nibble on smoked salmon as the rain buckets down. At Goodwood’s Revival, thousands of guests dress in fashions from the Forties to the Sixties and cheer as period cars roar round a classic racetrack.

Sporting events provide a backdrop for a sizeable proportion of the Season’s highlights and not only do the spectators revel in the fact that the sportsmen taking part are invariably competing at the highest levels, the audience can derive a similar thrill from people-watching.

The world would be a much less colourful place without the English Season, cake-curtseying debutantes and all. May it roar, totter and squelch through the next 300 years as successfully as it has through the previous three centuries.

Eloise Napier is a freelance writer and former social editor at Harpers & Queen

PRINT ICON penguin paperbacks are an english institution, a brand as famous for its cover designs as for its authors. more than 70 years on, it’s still bringing great literature to the masses Words michael prodger

T h e e a r l o f M a r c h and his father, the 10th Duke of Richmond, are famous for having an eye for the paintings of George Stubbs, and both the sleekest of motorcars and the speediest examples of horseflesh. They are less well known for collecting something that wouldn’t buy an inch of a Stubbs or pay for an oil change or a day’s feed for a thoroughbred – Penguin paperbacks. Among the luxury items that fill Goodwood and its grounds is a collection of these commonplace books. To step into the Music Room at Goodwood’s private members’ club house, The Kennels, is to be confronted with floor-toceiling Penguins – 5,000 of the classic old editions, almost every one ever produced.

What the books have in common with the horses and cars, and why they are collected at Goodwood, is good design. In 1934, as the story goes, the publisher Allen Lane was returning from a visit to Agatha Christie and found himself about to board a train with nothing to read and the station bookshop offering only pulp fiction or 19th-century doorstoppers. He decided there and then to publish high-quality paperbacks that were cheap enough for anyone to afford. ‘Good design is no more expensive than bad,’ Lane said, and he knew what he was talking about.

His uncle was John Lane, who had founded Bodley Head publishers, which commissioned, among others, Aubrey Beardsley.

The first 10 Penguin paperbacks cost sixpence each, the price of a packet of cigarettes. They stood out as much for their look as for their price. When Lane’s secretary suggested Penguin as the new imprint’s title he sent an office junior off to London Zoo to sketch the penguins there for its colophon, or logo. The same junior, Edward Young, also came up with the simple

The standardised designs meant you could spot a Penguin long before you could read its title three-band design and colour scheme that makes early Penguins so distinctive – orange for fiction, green for crime and blue for biography.

The books were initially distributed from a church crypt on London’s Marylebone Road and a fairground slide was used to get boxes down from street level. In its first year Penguin sold three million paperbacks – all had previously appeared as hardbacks brought out by other publishers.

Once the link between Penguin and good design was established, the company never broke it. Lane hired some of Europe’s most forwardthinking European designer-typographers, such as Jan Tschichold and Germano Facetti, to make the bond even stronger. The standardised designs meant that you could spot a Penguin book long before you could read its title and the brand itself became a guarantee of quality.

In 1946, Penguin expanded the ideas of democratisation and affordability and launched the Penguin Classics list, which developed into the famous series in black livery with a painting on the front cover. In 1966, a sister series was 20 _ goodwood THE SEASoN

born, the Penguin English Library, and others, the Penguin American Library and Penguin Modern Classics among them, followed.

Since 1986, all these imprints have been collected under the Penguin Classics label but in April this year, the Penguin English Library was relaunched with a distinctive new look of its own. Gone are the black jackets and paintings that have served them faithfully and in their place are stylishly decorated covers designed

by Coralie Bickford-Smith. They sport repeat patterns of a motif subtly related to the text – a clump of bulrushes for The Mill on the Floss, a bit of knitting for A Tale of Two Cities – on backgrounds that use a selection of heritage colours (which will look handsome in any library). In a nod to Allen Lane’s original books, they keep the three-band scheme, albeit with two of the bands reduced to thin sidebars.

Twenty titles were launched on 26 April with 10 a month following until the end of the year. The full 100 will span almost two centuries of English literature, from Daniel Defoe’s Robinson Crusoe, arguably the first English novel, to Dubliners, written by James Joyce just before World War l.

In keeping with the Penguin ethos the whole series will be instantly recognisable but carefully differentiated. Of course, the new books won’t cost the original sixpence but one penny under £6 – but, neatly that’s about the price of a packet of cigarettes today and still fulfils Lane’s wish to make good reading affordable to all.

The Earl of March, however, has yet to decide whether to fit the new books in with their 5,000 forebears or give them a room of their own.

Michael Prodger is art critic for Standpoint magazine, previously literary editor for The Sunday Telegraph

THE COBRA LEGEND The AC Cobra celebrates its 50th anniversary this year with a unique one-model race at the Goodwood Revival, a fitting tribute to this iconic Anglo-American sports car Words simon de burton

T h e G o o d w o o d c i r c u i T is no stranger to the spinetingling sound of classic racing engines, but lovers of the ground-shaking growl of a highly tuned, American V8 will find one particular event at this year’s Revival meeting especially mellifluous – a battle royal between some of the world’s finest AC Cobra sports cars.

The one-model race is being staged to mark the 50th anniversary of the legendary AC Cobra, a car that was born from a mongrel mix of British and American engineering but which blossomed into one of the most desirable four-wheeled thoroughbreds ever to burn rubber.

The Cobra story dates back to 1953 when AC Cars of Thames Ditton in Surrey, launched its new Ace model, penned by the engineer and car designer John Tojeiro. Understated and decidedly pretty, the Ace featured a tubular frame draped in lightweight, hand-wheeled aluminium bodywork that was initially fitted with AC’s somewhat dated two-litre engine, giving

the car a top speed of little more than 100mph. Within three years this was replaced with a punchier, 120 horsepower unit built by the Bristol car company, which upped performance to around 115mph. But only around 1,000 Bristol-powered cars were built before it was announced that production of the engine had stopped. The substitute was a rather less glamorous powerplant originally designed for the Ford Zephyr.

As it stood, the Ace looked destined to become just another British sports car with lovely looks yet pedestrian performance, but then a letter dropped onto the desk of AC’s co-owner, Charles Hurlock. It had travelled all the way from California and had been written by a well-known Texasborn racing driver called Carroll Shelby who, having retired from the track, wanted to build his own production sports car.

Shelby had carved his career during the Fifties, driving for the Aston Martin and Maserati teams and ultimately finding fame by winning the

23 / goodwood the season

1959 Le Mans 24 Hours with his teammate Roy Salvadori in the Aston DBR1. By 1961, Shelby was the distributor for Goodyear tyres and ran his own race school, but the funds to realise the dream of creating his own car were decidedly lacking. Shelby’s solution was to write that letter to Hurlock, requesting an AC Ace that he could modify with the addition of one of Ford’s new lightweight, high-performance 260 cubic inch (4.2L) V8 engines.

Shelby made several visits to the AC factory before the first prototype car was fitted with the V8 engine in January, 1962. Having been found somewhat short in the stopping and handling departments, it was subsequently given upgraded brakes and suspension before being taken for a shake-down test at Silverstone – where it scorched to 150mph with ease. The benign Ace had turned into a Cobra with a venomous bite, metamorphosing from a cosy, British two-seater to an Anglo-American muscle car capable of seeing off the likes of Ferrari and Corvette.

With AC well and truly on-side, all Shelby had to do was to persuade Ford management to back the project with a steady supply of engines and gearboxes. So a Cobra-bearing chassis, number CSX0001, was carefully assembled and shipped to Los Angeles for final approval by the blue oval bosses.

Duly impressed, Ford issued a letter of agreement on 5 February, 1962, to provide the required parts on the understanding that every Cobra would carry a ‘Powered by Ford’ badge.

Hurlock, meanwhile, agreed to supply bodies and chassis provided the AC badge would remain on the finished cars.

The initial plan was to build just 100 Cobras at Shelby’s newly formed company, Shelby American, which would receive the cars in America as rolling chassis prior to the fitting of engines and transmissions and final finishing.

But once CSX0001 was painted pearlescent yellow and displayed at the New York motor show, the orders flooded in – and after 75 had been built using 260 ci engines, a further 51 were made using the upgraded and even more powerful 289.

In October 1962, the first Cobra took to the track at California’s Riverside Raceway where it demonstrated its potential by leading the three-hour production car race before retiring with a broken stub axle; later, at Nassau Speed Week, the Cobra threatened to oust the mighty Ferrari GTO but this time suffered a steering failure before the finish. In a subsequent race, the car ran out of fuel.

In February of the following year, however, the first Cobra race victory was claimed at Riverside to establish a pattern of domination that peaked with Cobras winning all the home races in which they were entered, bar one, for an astonishing three years on the trot.

Now, of course, an original Sixties Cobra could easily command £1m

By now, the Cobra was regarded as a car in its own right, and not merely the happy marriage of a set of apparently disparate parts. As a result, a development programme was instigated, which began with a steering upgrade and the 1963 launch of the MK II, 528 examples of which were built during the following two years.

But it was, perhaps, in 1965 that the Cobra truly became the stuff of legend when the MK III was launched with Ford’s fire-breathing 427 ci engine – a 6.7L lump producing a staggering 425 horsepower, sufficient to propel the still lightweight Cobra from standstill to 100mph in a mere 8.8 seconds, and on to a top speed of 164mph (185mph in competition tune).

Yet, despite its awe-inspiring performance, flared wheel arches and bruising looks, the MK III proved a financial flop. Production ceased in 1967 after 343 were built, some of which were sold as S/C (semi-competition) versions fitted with windscreens and detuned engines.

Although production of the ‘original’ Cobra stopped in 1967, further models have been built in the years since. In 1983, the British firm Autokraft, built 494 MK IV versions using the original AC jigs and body bucks. They were authentic enough for Ford to allow cars sold outside America to carry the Cobra name.

Other Cobra ‘continuations’ and recreations have also been built, with some of the best being the CSX models built by Carroll Shelby’s company Shelby Distribution, and Peterboroughbased AK Sports Cars, with prices starting from around £34,000 plus VAT. Now, of course, any original Sixties Cobra is hugely valuable – a genuine S/C, for example, could comfortably command £1m and, in 2007, Carroll Shelby’s own, personal, 800 horsepower Cobra (chassis CSX3015) fetched a remarkable $5m at auction in America.

Another Cobra, the first of just six closed coupé racing models ever made, is said to have changed hands in 2001 for around $3m, having been sold 30 years before for just $1,000 by its then owner, the music producer Phil Spector.

Spector’s buyer was his bodyguard George Brand, who later gave the car to his daughter Donna O’Hara. She hid it in a ramshackle lock-up garage and refused several offers to sell before committing suicide, resulting in the Cobra’s ownership passing to her 78-year-old mother, who quickly put it on the market and scooped the aforementioned $3m.

Unsurprisingly, the sale resulted in a prolonged court case involving several claimants to ownership…

Cobra continuations: Shelby Distribution, shelbydistributionusa.com or AK Sports Cars, aksportscars.com Simon de Burton writes about motoring and aviation for The Telegraph and GQ magazine

24 / goodwood the season

ron kimball/kimballstock; getty images; motoring picture library

PREVIOUS PAGE: Shelby Cobra AC 247 CSX 3342 from 1967 LEFT, FROM TOP: Shelby Cobra AC 289 from 1964; Carroll Shelby and Bob Bondurant at Watkins Glen in 1967; Shelby Cobra AC from 1965

To be an occasion, it must be shared.

Visit the De’Longhi Coffee Shop at the Goodwood Revival 14th – 16th September 2012

Intuitive, digital touch screen display with intelligent feedback.

One touch cappuccino, caffè latte, latte macchiato, espresso and long coffee.

Easy to maintain, automatic machine rinse and one touch milk carafe clean function.

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*In value, 10 Western European Countries.

ART BEYOND THE GALLERIES fig.1

From the East End to the West Country, unique arts events are being staged to mark this auspicious year

C l e r k e n w e l l D e s i g n w e e k { f i g .1} With so many architects per square mile it’s no wonder Clerkenwell has become a creative hub, and its annual showcase such a highlight of the international design calendar that sees showrooms, studios and workshops opening to the public for exhibitions and talks – not to mention a host of free entertainment and music events.

22–24 May; clerkenwelldesignweek.com fig.2 fig.3

ageas salisbury i n t e r n at i o n a l a r t s f e s t i Va l { f i g . 2} The Festival programme of music, theatre and outdoor performance is thrilling enough but this year, as part of the Cultural Olympiad, the organisers have added a postscript. Outdoor alchemists Compagnie Carabosse will use fire sculptures and illuminations to turn historic Stonehenge into The Fire Garden, from 10-12 July.

25 May–9 June, 10–12 July; salisburyfestival.co.uk

t H o m a s H e at H e r w i C k at t H e H ay f e s t i Va l { f i g . 3 } Celebrating its 25th year in Hay-on-Wye the Hay Festival welcomes a stellar line-up of international thinkers, writers and artists, including innovative architect and designer Thomas Heatherwick – the man behind the Olympic Velopark and London’s new routemaster bus – in conversation with Mariella Frostrup on 5 June.

31 May–10 June; hayfestival.com

Visual arts feast!

H en le y fest i Va l {f i g .4} The official after-party of the famous regatta, FEAST! is a five-day riverside event combining music, art and culture with a great location. Art exhibitions include the work of Russian surrealist Alexander Vorobyev, contemporary artists Jeffrey Kroll and Nicolas Ruston, and the chance to see Auguste Rodin’s iconic sculpture, ‘The Thinker’.

4–8 July; hayfestival.com

daniEl saint légEr

fig.4

fig.5

r oya l g o o D w o o D at gooDwooD House {fig.5} To celebrate the Diamond Jubilee, Goodwood’s summer exhibition looks at the Estate’s royal heritage, with portraits collected over three centuries, as well as photographs and letters documenting royal visits, from Edward VII to Her Majesty The Queen, a frequent guest during Raceweek.

6 August–15 October; goodwood.co.uk Words sarah deeks

27 _ goodwood THE SEASoN

BORN FROM ENDURANCE FOR THE MOST EXHILARATING DRIVE!

Michelin is proud to be a sponsor at the 2012 Goodwood Festival of Speed, including the Supercar Paddock and Supercar Run. Visit our stand where you can see some legendary vehicles highlighting our tyre innovations and longstanding involvement in motorsport. There are also give-aways and promotions with some fabulous prizes to be won.

www.michelin.co.uk

A high note

CourteSy of Glyndebourne ProduCtionS; Getty imaGeS

Glyndebourne is a mainstay of the Summer Season, says Jonathan Kent, director of some of the opera festival’s most acclaimed productions…

G l y n d e b o u r n e is quite simply unique.

The annual opera festival that has taken place there, since being founded in 1934, is one of the highlights of the world’s musical calendar. What distinguishes it is that the festival was born of the passion of one man and his wife. Today it remains within the same family, run by the third generation. There’s a nice symmetry in that current owner Gus Christie, is married to opera singer Danielle de Niese, while his grandfather John, who founded the festival, also married a singer, the Canadian soprano Audrey Mildmay.

The family tradition – the family commitment to, and love of, music – is what informs the place.

The problem with great institutions is that they can easily forget why they are there, but that can’t happen with Glyndebourne. In this respect it is quite unlike any other opera house I know.

Of course, what this could have given rise to is an awful amateurism, but Glyndebourne’s professionalism is remarkable – second to none.

I have worked at great opera houses all over the world as a director and I can honestly say that Glyndebourne has some of the finest production standards it is possible to find.

I love going. I started visiting Glyndebourne as an audience member in the Eighties and I have seen some of the best productions of my opera-going life there. There was a Jánaček trilogy that was remarkable, an Eugene Onegin that is the best I have seen, and a Tristan and Isolde that was simply brilliant. As a director, I’ve staged Don Giovanni and The Turn of the Screw there, and this summer I’m reviving The

Fairy Queen. We first did this Purcell piece for the 350th anniversary of his birth and the 75th anniversary of Glyndebourne {fig.1} in 2009. It was a huge and sprawling thing, with 18 actors, a chorus of 20, nine principal singers and eight dancers.

I can’t think of any theatre that would have done it so perfectly and now we’re putting it on again.

Glyndebourne is an ideal setting for this quintessentially English piece, which is the work of a man who has written the most beautiful work of the last three-and-a-half centuries.

What’s so potent is the combination of an English summer and some of the most beautiful music ever written. There have been imitators, but you can’t replicate the original. The festival is in a beautiful setting, one with extraordinary charm and grace – a grace that saw it build a new auditorium in the Nineties that effortlessly fits in with the original architecture. Certainly one of

The luxury of falling out of bed and into the rehearsal room is a huge bonus

fig.1

the traditions is to take a picnic for the interval {fig.2} but what’s important about Glyndebourne is that the picnic doesn’t become the event: the opera is, and remains, the reason for its being.

Although Glyndebourne adheres to its own traditions, it is anything but traditional in its attitude to creativity. Superficially, because of its location and its ancient country house, the festival could appear to be conservative – with a small ‘c’. Yet its productions are anything but.

The festival wears its sense of history lightly. It consistently engages the best, most interesting, young musicians and artists; for example, the recently appointed music director, Robin Ticciati, is only 29.

For a director, working at the festival is a joy.

I live in the main house when I’m there, and the luxury of falling out of bed into the rehearsal room is a huge bonus. Directors and designers live at the house, the casts tend to rent places nearby. Some of them end up moving there, like Miah Persson, who starred in my production of The Turn of The Screw last year. It’s a seductive part of the country. I sometimes walk across to Lewes, the nearest town, and there are points high up on that route where you look out and not see a single house. The landscape hasn’t changed for centuries. It’s ageless.

Jonathan Kent directs a revival of his 2009 festival production of Henry Purcell’s The Fairy Queen at Glyndebourne (20 July-26 August).

Next year he will stage Glyndebourne’s first-ever Rameau opera, Hippolyte et Aricie, conducted

by William Christie. glyndebourne.com

fig.2

29 _ goodwood THE SEASoN

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Waxing lyrical Belstaff’s illustrious heritage makes it a perfect partner for the new Goodwood sport and Racing Company’s clothing collection Words josh sims

fig.1

M a r t i n C o o p e r h a d always been impressed by the Belstaff story, long before he joined the company last year as chief creative officer, after 16 years on the design team at Burberry. The story of Belstaff’s launch in Staffordshire in 1924, its development of waxed cotton, the Trialmaster jacket that became a menswear icon (favoured by Steve McQueen),

the whole gentleman adventurer tone of the company… all of this was familiar to Cooper. But then he met Charles Gordon-Lennox, the Earl of March, the man behind Goodwood and its many events, among them the Festival of Speed, and the Goodwood Revival, the world’s largest historic motor racing event.

31 _ goodwood THE SEASoN

fig.1

fig.3

fig.2

‘His ancestors really lived that life,’ says Cooper with Boy’s Own enthusiasm. ‘Back in early decades of the 20th century, when wealthy men flew open cockpit planes and rode motorbikes and drove the latest sports cars, Belstaff may have outfitted them. These were the kind of men who lived out the romanticism of speed and freedom.’ Inevitably, the two men hit it off and an idea formulated: to collaborate on a new clothing line, specifically the Goodwood Sport and Racing Company By Belstaff.

The collection launches this coming autumn/winter and will focus on menswear, with a women’s wear line in the pipeline. Expect the likes of polo shirts, T-shirts, printed V-neck sweaters, leather racing jackets – each featuring a Gordon tartan check, the Goodwood family tartan – as well as merino wool turtlenecks, scarves, racing gloves, jeans and chinos.

The line will also include a version of the Trialmaster, again printed with the check.

Cooper thinks of it as being a more ‘weekend’ line than Belstaff itself, one which might have been favoured by Freddie, ninth Duke of Richmond, Goodwood scion and, thanks to his interminable love of engine oil and derring-do, the most playboyish Englishman of the Thirties one could hope to draw inspiration from.

‘The Goodwood line is, like the events, all about heritage and authenticity but it’s more

‘The Goodwood photo album has pictures of planes casually parked on the lawn’

relaxed,’ Cooper explains. ‘I spent numerous hours with the Earl going through the family photo album, quite literally, to get ideas – and as one might expect his photo album is a little more special than you or I might have at home.

There are pictures of Goodwood with planes casually parked on the lawn.’ {fig.1-3} Indeed, Goodwood Sport and Racing Company is set to be easier going compared with Belstaff, in part because that, too, is going through a major overhaul following the company’s purchase last year by Swiss luxury goods company Labelux. The new owner’s intention is to relaunch Belstaff as a luxury lifestyle brand, selling not just the rugged outerwear, but also men’s and women’s ready-towear, accessories and shoes with, perhaps above all, a renewed emphasis on its Britishness, 32 _ goodwood THE SEASoN

rather than what Cooper diplomatically calls ‘the previous owner’s Italian idea of Britishness’.

Perhaps no other British clothing brand – with the exception of Lewis Leathers – can claim to have such strong ties to UK motor sports. ‘And what we’re doing is very much about going back home, so to speak,’ Cooper adds.

‘That means the Goodwood tie-in underscores that sense of Britishness.’ He’s not kidding.

Never mind the connoisseur’s appreciation for great British clobber shown by those dapper chaps who make it onto the Goodwood Revival’s Best Dressed list; it was at Goodwood where the earliest written rules of cricket were drawn up – for the second Duke in 1727 – and are still housed in the Goodwood archive.

Cooper, too, has spent time in the archive, but with the Belstaff material, adding cashmeres and exotic skins to that famed waxed cotton. He has even added new fabrics somewhere in between – one item on its way is a Trialmaster in matt, waxed crocodile skin. Their like will be seen at two new, country house-inspired flagship stores opening later this year, one on London’s New Bond Street and another on New York’s Madison Avenue. Expect a Union Jack to be flying overhead. belstaff.com Josh Sims writes for The Independent and the Financial Times

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THIS PAGE: Edie was photographed at the George Baker Whitsbury Manor Racing Stables, Hampshire. OPPOSITE: Edie, photographed by Jürgen Teller, wearing Marc by Marc Jacobs {fig.1}; in her Jasmine Guinness race silks at Goodwood in 2011 {fig.2}; wearing Burberry {fig.3}

MODEL RIDER Supermodel Edie Campbell won last year’s Celebrity Ladies’ Race at Glorious Goodwood in spectacular style, but can she retain her title? You’d be brave to bet against her…

Words aRabELLa diCkiE / PHoToGrAPHY phiLip SindEn

S h e i S t h e doe-eyed beauty who is most at home on magazine covers and in fashion shows strutting designs for the likes of Burberry and Chanel. But on 2 August, 21-year-old Edie Campbell will swap the catwalk for the racetrack in order to compete in Glorious Goodwood’s Celebrity Ladies’ Race 2012 (The Magnolia Cup). Not for the faint-hearted, the charity race – in aid of Spinal Research and Winston’s Wish – consists of a six-furlong gallop at breakneck speed, in front of a packed crowd. It is a hard-core, adrenalinefuelled endurance test on world-class racehorses.

For Campbell, the pressure is on as this time she rides to retain her title, won in spectacular fashion at last year’s inaugural all-ladies’ race.

‘I’m hugely competitive by nature so will fight my hardest until the finish line,’ says the model, who undertook a gruelling training programme in 2011 with racehorse trainer George Baker. ‘I rose at 5am for six weeks to drive two hours from London to George’s yard in Salisbury.’

Things got off to a shaky start for the keen rider, who keeps her own horse at her family home in Warwickshire. ‘To begin with I’m sure George didn’t think I was up to the challenge. I arrived late on the first day after getting lost and he said rather curtly, “We’ve tacked up your horse for you. Don’t make this a habit.” I realised then that I had to man up and prove that I wasn’t some flaky model who was afraid of breaking a nail. He soon saw I wasn’t completely useless!’

Racing against Campbell was a formidable line-up of female celebrities that included Radio One DJ Sara Cox, Tatler editor Kate Reardon and model Delfina Figueras. They were joined by several accomplished horsewomen; polo player Clare Milford Haven, dressage rider Laura Bechtolsheimer, eventer Daisy Trayford

fig.1

and trainer’s daughter Francesca Cumani.

All were united in their steely resolve to win – with actress Annette Mason piloting her own helicopter from her Hertfordshire home to her trainer’s Wiltshire base – although Campbell admits some were less forthcoming than others about their training: ‘No one wanted to let on that they had been practising too hard. It was a bit like school exams when people play down the amount of revision they’ve done and then go and get straight As!’ Although Campbell wasn’t born into an equestrian family she was competent on horseback from a young age. ‘I went through that little girl stage of falling in love with ponies when I was five. I learnt at riding school and have been hooked ever since.’ In an attempt to get into the mindset of a champion jockey, she called upon her past experiences of equestrian competitions as well as enlisting the help of family friend and Gold Cup-winning jockey, Sam Waley-Cohen. ‘Sam taught me to “ride a finish”

Style and glamour are central with iconic fashion brands recruited to design the racing silks

fig.2

35 _ goodwood THE SEASoN

on his Equicizer – a mechanical racehorse he has in his Fulham flat. You position it in front of the TV and “ride” while watching playbacks of Channel 4’s Racing to improve your posture and technique. I tried to appear professional, but it’s difficult when you’re galloping on a blue-carpeted rocking horse in a sitting room!’

All of the hard work paid off when Campbell stormed through the finish line first on 28 July last year. ‘It was one of the most exhilarating experiences of my life,’ she enthuses. ‘Nearing the end of the race I suddenly realised that there was no one in front of me. You can’t beat that feeling.’

After the race, trainer George Baker paid tribute to his protégée: ‘Edie is a star – I take my hat off to her. She has been riding out most mornings and taking it very seriously.’ Another elated supporter was Campbell’s mother, architect and former Vogue fashion editor Sophie Hicks, who was so convinced of her daughter’s triumph that she wagered £50 on her win and walked away with £1,000.

Style and glamour are of the essence at Goodwood events and the Ladies’ Race is certainly no exception, with iconic fashion brands recruited to design the racing silks.

Last year Issa, Amanda Wakeley and Hermès were among the top brands tasked with the job. Campbell’s red spotted number, created

by Jasmine Guinness, was certainly fit for a model and now stands as a triumphant reminder, no doubt to spur her on to fight for victory this August. ‘For my birthday my mother framed the silks alongside all the press clippings of the event,’ says Campbell. ‘It now hangs proudly on my wall; a priceless memento of such a memorable day.’

fig.3

for her, clockwise from ToP lefT: Dior Vernis nail polish in riviera, £18, Dior, dior.com.

Brass and crystal skull keyring, £150, Alexander McQueen at Net-a-Porter, netaporter.com. Patent car keyring, £100, Prada, prada.com. whipstitch tortoiseshell sunglasses, £279, Burberry, burberry.com. mV800 digital camera with multiview flip-out display, from £149, Samsung, samsung.com. Broad spectrum facial sunscreen, sPf 50+, £101, Sisley Paris, sisley-cosmetics.com. crystal earrings with roses, £320, Prada, as before. live love laugh notebook, £45, Smythson, smythson.com. oyster Perpetual cosmograph Daytona watch, £21,250, Rolex, rolex.com. Apple glitter bag, £895, Anya Hindmarch, anyahindmarch.com. crystal necklace with roses, £695, Prada, as before. Ballon Bleu watch in yellow gold (large) £24,000, Cartier, cartier.com

finishing touches Whether it is an elegant timepiece, a co-ordinating camera or some stylish sunglasses, there are certain seasonal accessories that Goodwood guests should always have to hand PHOTOGRAPHY chris brooks / STYLING ciArA WALshE / SeT deSIGN sAriAnnE PLAisAnT

for him, clockwise from ToP lefT: cotton neck tie, £115, Alexander Olch at mr Porter, mrporter.com. carrera calibre 16 chronograph speed watch, £2,995, TAG Heuer, tagheuer.com. X-Pro1 digital camera, from £1,399, Fuji, fujifilm.eu/uk. checked cufflinks, £165, Dolce & Gabbana at matches, matchesfashion.com. Professional callaway golf ball (part of Golf Zip case set, £100) Dunhill, dunhill.com. sterling silver oval hip flask, £1,750, William and Son, williamandson.com. silk pocket square, £45, Turnbull and Asser at mr Porter, as before. leonard roundframe sunglasses, £130, Illesteva at mr Porter, as before. eye mask, £45, Otis Batterbee, otisbatterbee.com. clic clac clock, £800, Asprey. asprey.com. monkey charm keyring, £35, Aspinal of London, aspinaloflondon.com sTYlisT’s AssisTANT Grace Joel

37 _ goodwood the season

GO, GIRL Fifties fashion is back on the catwalks for spring, making it easier than ever to be ravishingly retro at this year’s Goodwood Revival

Words Clare Coulson

david seymour/magnum photos; philippe halsman/magnum photos; bettman/corbis; conde nast archive/corbis

P i c t u r e t h e scene. It’s a dusky, lilac-tinted evening and thousands of candycoloured fairy lights are twinkling in the distance. A sultry rendition of ‘Mambo Italiano’ is playing and everyone is toe-tapping and hip-swinging in time to the music. Girls are wearing full-skirted sundresses, some in market-stall prints lush with tomatoes or chilli peppers, or midriff-baring sun tops and slinky pencil skirts to show off shimmering tanned legs.

It might have been a moment from the waterfront at Rimini circa 1952, but this was the scene at Dolce & Gabbana’s spring/ summer 2012 show, which put the Fifties firmly back into focus.

Girls with their hair styled in light waves and their eyes topped with a flick of the darkest black eyeliner, glided along the catwalk in full skirts and Perspex sandals, carrying pretty faux-wicker bags.

Dolce & Gabbana is not alone, for the decade that gave us swooshy New Look-inspired skirts, teeny-tiny waists, stiletto-heeled courts, cherry-red lips and immaculate hairdos, is

defining fashion this summer. The look appeared time and time again on the catwalks.

It’s a theme Miuccia Prada has also turned to. Guests at her spring/summer show were greeted by life-size models of classic Cadillacs parked up on the Prada catwalk. What followed – delicious sunray-pleat skirts, midriff-baring bandeaux and bejeweled satin bomber jackets in a summery ice-cream palette – was a riff on fashion’s most feminine decade. The Italian designer, not best known for her forays into prettiness, attributed the womanly parade to an investigation into ‘sweetness’.

Jonathan Saunders gave one of the most modern interpretations, inspired by the fresh colours of Miami’s Art Deco palaces: peach, bubblegum pink, lemon, mint and pastel blue.

His collection includes swoonsome, full-skirted sundresses in silks in sorbet shades or in the sort of tile prints you could imagine decorating the kitchen walls of Kate Winslet’s house in Revolutionary Road. There are waffly knits, light silk blouses and glossy wedge sandals with a pink braid trim and tangerine ties.

It’s easy to see why such a joyous period in fashion has wiggled back into our consciousness.

Nostalgic and somehow carefree, the decade of fabulous vintage cars, and skirts designed for pure pleasure, it offers an intoxicating shot of escapism.

Who wouldn’t be seduced by the sight of Louis Vuitton’s pastel lace dresses gliding around on the white carrousel that provided the setting for the brand’s sweet spring showing in Paris or the playfulness of Miuccia Prada’s leather skirts, emblazoned with vintage motor cars and Americana flames?

Most of all this look is democratic – as anyone who likes to shop for vintage will know, the often handmade cotton skirts of the Fifties are rarely expensive and can be paired with anything from a pastel-coloured tee to a fitted knit. And it doesn’t need to feel as costumey as, say, the flapper frocks of the Twenties or the youthquake mini skirts of the Sixties. The mid-century look is, to an extent, ageless – it’s accessible and it’s fun.

You can even make it more covered-up if you like – one of the highlights of Prada’s ode to the Fifties is the satin opera coat elegantly cinched with a bejewelled belt. Marco Zanini swathed his models’ coiffed hairdos with sheer organza headscarves at Rochas and gave them cat’s-eye sunglasses too – a slightly theatrical touch, if the mood takes you.

However, as this look is all about the bella figura, the more curve-hugging your dress, the better – just in time for summer’s Fifties affair, Topshop has introduced its 50s Diner collection, which includes floral-print playsuits

The joy is that it’s essentially a one-piece look, you just need a killer dress

CLOCKWISE FROM TOP RIGHT: Fifties focus from Prada, Jonathan Saunders and Dolce & Gabbana; Audrey Hepburn; Sophia Loren; Gina Lollobrigida; model wears Brigance in 1952

39 / goodwood THE SEASoN

and full-skirted dresses in white crochet or pastel bluebird prints.

There is, of course, endless celluloid inspiration for anyone planning to work the look for this year’s Revival from the classic films of the Fifties. Audrey Hepburn shows off some seriously chic costuming in Funny Face, while Leslie Caron does a more gamine take on the look of the times in An American in Paris.

Behind the scenes at the Dolce & Gabbana show, the designers revealed the curvaceous, unashamedly feminine women who inspired their show – iconic Italian actresses Sophia Loren, Gina Lollobrigida and Claudia Cardinale smouldering into the camera, sunbathing in barely-there shorts and cleavage-enhancing little tops or dancing in halter-necked dresses puffed up with umpteen layers of net underskirts.

Their tiny Fifties waists might be unachievable for us today but their look is as democratic as it gets – so set your hair in waves and add copious amounts of hairspray, paint on a cat’s eye flick of eyeliner and some luscious scarlet lipstick and throw on a pretty sundress.

The joy of this look is that it’s essentially a one-piece look – you just need a killer dress.

And there can be no more perfect finishing touch for Goodwood than Miuccia Prada’s hot-rod heels – each decorated with a swirl of flames and a pair of tail-lights.

Clare Coulson is a fashion writer who writes for Harper’s Bazaar and The Sunday Telegraph

RAW REVOLUTION The unpasteurised milk many of us enjoyed as children is making a comeback and fans of doing dairy the organic way are on the rise

Words VANESSA KIMBELL / PHoToGrAPHy CHRIS BROOKS

OPPOSITE: Tonale carafe (and beaker), David Chipperfield for Alessi, £27, alessi.com, 020 7518 9090; Linen scrim; £4.50, Labour and Wait, labourandwait. co.uk, 020 7729 6253.

A S A C H I L d each morning I was handed a beautifully battered old milk pail with a metal handle with which to fetch milk from the farm.

I can clearly remember dodging cowpats along the lane and with the pail knocking the tops of my wellies, I’d sing and pick daisies en route.

At the farm the cows would patiently wait in line in the sunshine, always in the same order, the one with the bell at the front. They would be given a scoop of something delicious (to a cow) to chew and seemed to me to contemplate life while Rene, the farmer, would slosh on something to sterilise their soft pink udders and gently pop on the pumps. There was a rhythm to it all; the unmistakable milking parlour smell was both comforting and familiar. I’d idle my way to where the milk was stored in a huge steel vat, chilled with an arm that moved continuously, and I’d be given a ladle of creamy tasting sweet milk to drink before my can was filled. With my milk moustache I’d walk home along the lane, spilling the top inch or so into my boots, singing away without a care in the world.

More than 30 years later, things have changed significantly. There has been a continued and sustained attack on the consumption of raw milk as, years ago, it was associated with the spread of TB in humans, and branded a possible carrier of food poisoning bugs such as E.coli, Salmonella and Campylobacter. With such dire warnings, it has been years since I have drunk real milk and now the only way you can buy it is directly from the farmer.

But here I am, standing at a stall in London’s Borough Market, watching as people all around me are buying their unpasteurised milk directly from the farmer. They are laughing and relaxed as they drink their milk in the sunshine. Are they food rebels? Have they read the mandatory warning label? Is it really risky? Or are they simply drinking the most amazing food in the world just as nature intended? Should I drink some? The people here at Borough Market can’t seem to get enough.

I ask Nicette Ammar, a regular buyer of unpasteurised milk at the market, if the risk of illness worries her. She replies, laughing: ‘There are risks in everything you do, but it’s ridiculous that a natural product is under such scrutiny and we should have the choice. For me it’s about trusting the source of the milk and I have noticed that farmers who pasteurise their milk don’t have to be quite so careful about hygiene whereas those who produce raw milk are fastidious.’

The warning labels are there to inform people of the risk of infection from unpasteurised milk. Pasteurisation was first tested by the French microbiologist Louis Pasteur – after whom the process was named – and involves heating milk (to 72ºC) to destroy any bacteria, yeast or fungi.

It extends the shelf life considerably. However, while pasteurisation kills off anything that might contaminate milk, it is well documented that heat treatment also kills all the good bacteria, such as Lactobacillus acidophilus, and negates the gut-protective properties of whole milk.

Some schools of thought believe the homogenisation process breaks down the fat globules in such a way that they may well be the very cause of the massive increase in dairy allergies we see in today’s generation of children.

Ironically raw milk consumption has been shown to positively influence the immune system’s resistance to developing asthma, hay fever and atopic sensitisation (although the mechanism for this is not entirely understood).

Speaking to Xanthe Clay, food columnist for The Telegraph, it seems it’s not just the health benefits that make people so passionate about raw milk. ‘It is simply lovely,’ she says. ‘And when you taste it you realise that the pasteurised milk we are used to has a cooked taste to it. Raw milk tastes pure and clean. But you must make sure it’s from a reputable source.’

Despite a well-documented resurgence in the interest in raw milk and sales where it is available increasing, the number of farms producing it in England and Wales (it is banned in Scotland) has dropped from 570 to 100 in the past 15 years. Herds on estates such as Welbeck in Nottinghamshire, which supplies the milk to make the unpasteurised Stichelton blue cheese, and Home Farm on the organic Goodwood Estate in Sussex, have become closed to protect the milk they produce. This way they know the animals are 100 per cent healthy. ‘With just 180 Shorthorn cows we are a small producer and keep a really close eye on our herd,’ explains Tim Hassell, Home Farm manger. ‘We have rigorous weekly checks and we’ve never had any abnormalities. The cows graze on the sweet meadow grass typical of chalky Sussex soil. The fields are dotted with red and white clover, bird’s foot trefoil, hoary plantain and wild basil. It’s that luscious fresh grass that makes the milk so delicious.’

Goodwood herdsman Michael Forsyth proudly tells me he’s been drinking unpasteurised milk for 20 years. His day revolves around the cows and he has an intimate, old-fashioned style. ‘I know all of them,’ he proclaims. ‘Each and every one, and I’d soon spot if one of them was a little off-colour. I’ve never had any problems with my herd… except the odd naughty cow who just won’t come no matter how much I call, and who I end up having to chase while watching my language in case there are any schoolchildren about – but then who could blame them when it’s so lovely out in the field!’

I pour myself a glass of Goodwood milk. I close my eyes and sip. Sweet, cool, clean, buttery milk. I am nine again. This is how milk used to taste, I say to my daughter as I pour her a glass. She tells me she’s never tasted milk so good. I smile – it seems to me integrity of the source is the answer to my question.

‘The milk we’re used to has a cooked taste… raw milk tastes pure and clean’

Goodwood milk is available at the Goodwood Farm Shop, 01243 755154 or goodwood.co.uk/the-farm-shop Vanessa Kimbell is a food writer, BBC Radio broadcaster for the Kitchen Garden Show and author of cookbook, Prepped!

41 / goodwood THE SEASoN

Grand

Innovators This year’s Festival of Speed celebrates the theme ‘Young guns – Born to win’, and no one embodies this spirit better than Lotus, pioneer of British manufacture and engineering

Words Simon Arron

REX; coRbis

S t a t i S t i c S c a n be manipulated to imply almost anything, but some stand out as beacons of truth. Here is one such: despite a prolonged absence from the Formula One world championship, Lotus remains fourth on the sport’s list of winners and won’t be overhauled any time soon. It reflects a period of sustained success that made Lotus a byword for fruitful innovation – a reputation that endures, and the reason Lotus is at the heart of the ‘Young Guns – Born to Win’ celebration at this year’s Goodwood Festival of Speed.

It is 60 years since Colin Chapman established Lotus Engineering, although he’d sown seeds for the company’s foundation during the late Forties, by modifying humble Austin 7s for use in off-road trials. He named the second of these the Lotus Mk2.

Lotus Engineering set out to create competition cars and its first, the Mk4, was another designed for tackling muddy lanes – the opposite end of the motorsport spectrum to the fledgling F1 world championship. The Lotus Mk6 followed – the company’s first bespoke sports racer – and that spawned the iconic Lotus Seven, which survives to this day in physically similar form as the Caterham Seven.

Chapman crafted a series of elegant, successful sports racers during the Fifties and the Vanwall F1 team commissioned him to design its grand prix car for the 1956 season. The first Lotus single-seater – the 12 – followed soon afterwards and, although not particularly successful, was ripe with Chapman’s trademark engineering purity. The body was sleek, the driver sat deep in the chassis to lower the centre of gravity and magnesium wheels blended strength with lightness.

This became the first car to represent the company in the F1 world championship, in the 1958 Monaco GP, and its successor, the 16, appeared halfway through that year’s campaign. It was another graceful design, but it wasn’t wholly reliable and its engine was located ahead of the driver. In Argentina earlier that season, Stirling Moss had scored the first victory for a rear-engined grand prix car, the Cooper T43, and a blueprint for the future had been drawn.

Chapman’s subsequent single-seater, the Lotus 18, embraced the new trend and scored several landmark victories. Innes Ireland gave Lotus its maiden F1 success with an 18, winning the 1960 Glover Trophy at Goodwood. A few weeks later, Moss, driving for Rob Walker’s privateer team, took a Lotus to the marque’s first world championship win, at the Monaco GP. One year later Moss repeated that success – and regarded it as his finest grand prix victory. ‘The race lasted 100 laps in those days,’ he recalls. ‘I’d managed to qualify Rob Walker’s privately entered Lotus 18, a one-year-old car, on pole. I was leading after about 12 laps, but the Ferrari drivers turned out

to be dominant that season and just sat behind me, applying tremendous pressure. I thought they were biding their time, because they had quite a bit more power, but I managed to keep them at bay. If I’d repeated my pole position time on every one of those 100 laps, I’d only have beaten myself by about 40 seconds. That underlines how hard I had to drive.’

Chapman had created another new car by then, the lower, more curvaceous 21, and Ireland used this to give the factory team its first world championship win in the season-closing United States GP at Watkins Glen.

In 1962 Chapman revolutionised F1 with the Lotus 25, the first modern grand prix car with a fully stressed monocoque (although customer teams were obliged to make do with the spaceframe 24). Lighter than its forebears, and significantly stiffer, the 25 became a formidable tool in the hands of Lotus talisman Jim Clark. Last-minute engine problems cost him world titles in 1962 and 1964, but he dominated in 1963, helping Lotus to the first of seven successes in the F1 world championship for constructors, and was still winning with it early in 1965 (when he took his second F1 title and even found time to skip the Monaco GP to win America’s showpiece race, the Indianapolis 500, in a Lotus 38). In the middle of all this, Clark also won the 1964 British Saloon Car Championship at the wheel of one of the wheel-waving Lotus Cortinas, developed in partnership with Ford – a potent accomplice on road or track.

After a short period of relative tranquillity in the mid-Sixties, Lotus bounced back with the 49, the first grand prix car successfully to incorporate the engine (in this instance the new Cosworth DFV, around which the chassis was designed) as a stress-bearing structural member.

The 49 won on its debut, in the 1967 Dutch GP, but teething problems cost Clark and teammate Graham Hill any chance of the title. Clark won the following year’s opening race, in South Africa, but his 25th world championship race victory (a record at the time) would be his last. The Scot was killed three months later in a Formula Two accident at Hockenheim in Germany, but Hill won the next two grands prix for the shattered team and went on to secure the championship.

The 49 remained in service until 1970 and served as one of the prototypes for F1’s first aerodynamic revolution – wings. Hill’s winning Lotus 49B featured neat nose fins and an upswept tail at Monaco in 1968 – and several teams, including Lotus, soon began experimenting with more ambitious structures, initially affixed to the suspension on spindly stilts. These proved frail, however, and triggered a series of accidents that led to a ban in 1969. Fresh ideas are rarely uninvented, though, and wings soon returned, albeit in sturdier, more sober form.

By this stage, the works Lotus 49s were no longer painted in their traditional green and yellow but sported the livery of Gold Leaf cigarettes: Chapman was not the first team owner to embrace sponsorship, but became the first to do so on such a scale. The door to a new, commercial age was open.

The wedge-shaped Lotus 72 followed and proved to be a race winner for five straight seasons, from 1970 (when Jochen

LEFT: Racing Scot Jim Clark, here in 1964, became something of a talisman for Lotus

43 / goodwood THE SEASoN

Rindt took the championship posthumously) until 1974.

Emerson Fittipaldi won the 1972 title in a 72 and Ronnie Peterson used one to establish himself as one of the most spectacular drivers to grace the world championship stage.

Introduced in 1974, the subsequent Lotus 76 was perceived as another technological milestone, with bi-plane rear wing and electronically operated clutch, but its advanced systems never translated into track performance and the 72 was dusted down once more. The next F1 breakthrough was, however, just a couple of Lotuses away.

Chapman had studied the way aircraft wings induced lift and became convinced the principle could be reversed to gum his cars to the track. He gave his technical team free rein to merge theory with practice and the result was the Lotus 78, introduced in 1977 as the first ‘ground-effect’ F1 car.

Non-finishes scotched its title chances, but Mario Andretti scored four victories – one more than champion Niki Lauda – and teammate Gunnar Nilsson won once. The 78 was still competitive when the following season commenced, Andretti and returnee Peterson taking a win apiece, but the Lotus 79 was just around the corner – and would be a bigger advance still. It triumphed in six of its first seven races and in the next, at Monza, Italy, Andretti won on the road before being penalised for jumping the start and relegated to sixth. That was still enough to secure the title – still Lotus’s most recent – but the race had a bitter aftermath. Peterson had been involved in a race-stopping multiple pile-up at the original start and later succumbed to his injuries. ‘Unhappily,’ Andretti said, ‘motor racing is also this…’

Rivals were swift to adopt the 79’s principles – and edged ahead when Lotus stumbled in its efforts to move the concept to a higher level yet.

By 1981 the authorities had tried to dilute the trend Chapman set, in a bid to cut cornering speeds, so he devised the twin-chassis Lotus 88. The inner part was independently sprung to cosset the driver, while external elements formed a sophisticated ground-effect system. Rivals cried ‘foul’ and, after a few practice outings, the car was outlawed. One of the affected drivers was recent recruit and future hero Nigel Mansell. Chapman granted him a limited race programme during the second half of 1980 and the newcomer impressed (not least on his debut in Austria,

OPPOSITE: Mario Andretti {fig.1}; Jim Clark on his way to the 1963 world championship in a Lotus 25 {fig.2}; Graham Hill {fig.3}; Colin Chapman at Hethel test track in a Lotus 38, 1965 {fig.4}; Lotus team manager Peter Warr and Ayrton Senna, 1985 {fig.5}; Jim Clark in a Lotus 49 at the Dutch grand prix, 1967 {fig.6}; Nigel Mansell and Elio de Angelis with a Lotus 94T, 1983 {fig.7}

when he pressed on for longer than was strictly advisable with his backside immersed in leaking fuel). Chapman’s trademark celebration was to toss his cap in the air whenever his cars won – and Elio de Angelis’s victory in the 1982 Austrian GP would be the last such opportunity. The company founder died four months later, struck down by a heart attack aged just 54.

Lotus remained a potent force, particularly during the mid-Eighties, when rising star Ayrton Senna arrived. The Brazilian scored his maiden F1 victory in only his second start for the team, in the rain-soaked 1985 Portuguese GP, and came to regard that victory as one of his finest – a masterclass in wet-weather driving before electronic aids stifled the art.

In 1987 Senna recorded back-toback victories in Monaco and Detroit.

It was hard to imagine that these might be the last for a team so accustomed to success, but his departure at the season’s end coincided with a gentle decline.

Lotus continued to be held in great affection, and occasionally showed flickers of bygone promise, particularly with rising young stars such as Mika Häkkinen and Johnny Herbert – but sponsorship was becoming ever more elusive and following a change of ownership at the end of 1994, the team quietly withdrew (although its name has been reintroduced to the sport’s top table in recent seasons).

There is much, much more to the Lotus story, though.

For many years the company was one of the most prolific suppliers of customer racing chassis – single-seaters and sports cars (take a look at a Lotus 23 for a lesson in proportional grace) – and we’ve barely mentioned the road cars, which began with the svelte Elite of 1957. As well as this being the 60th anniversary of Lotus, it is also 50 years since the launch of the first Elan, the compact roadster that fitted like a glove and handled like a single-seater, and 40 years since Italian designer Giorgetto Giugiaro revealed his first conceptual sketches for the low-line Lotus Esprit (albeit without the aftermarket submarine conversion favoured by 007 in The Spy Who Loved Me). Oh, and 20 years have elapsed since Chris Boardman struck gold in the Barcelona Olympics on the Type 108, a bicycle developed by Lotus.

Once a young gun in its own right, Lotus’s broad engineering canvas has enabled many others of similar ilk to succeed. The company never stopped building road cars, of course, and retains a wide range of ambitions both on and off the track. Fresh chapters have still to be added, then, to the many already scripted with pride and distinction.

TO P T I PS FO R T H E F ES T I va l O F S PEEd 2 012 BOY R ACERS First pit stop has to be the Formula One paddock, which this year boasts seven current F1 teams, as well as F1 world champion Sebastian Vettel, who is attending Goodwood for the first time.

Previous world champions Jenson Button and Lewis Hamilton will also be making an appearance

DIAMOND CELEBR ATION The Cartier ‘Style et Luxe’ celebrates the Queen’s Diamond Jubilee with a neverseen-before collection of vehicles that have been owned and used by Her Majesty. Stars of the show include a 1961 Rolls-Royce Phantom V, a Royal Midland carriage from The Royal Train and a Fifties De Havilland Chipmunk aircraft

DARE DEVILS GAS (Goodwood Action Sports) is back for a second year and is better than ever.

See World Champions and action sports legends performing gravity-defying stunts and midair tricks in exhilarating displays

SUPREME SUPERCARS And it wouldn’t be a Festival of Speed without the famous Supercar Run, featuring the latest and fasted models from Ferrari, Lamborghini, McLaren, Lotus, Bugatti and Jaguar

Simon Arron is the Formula One correspondent for Motorsport News

44 / goodwood THE SEASoN

BETTMAN/CORBIS

Senna scored his maiden F1 victory in only his second start for Lotus

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richlY subversive It's time to strike out in sumptuous gowns, diaphanous fabrics and shimmering sequins for a season of wild designs and show-stopping embellishment with a rebellious edge

P H O TO G R A P H Y R A FA E L S TA H E L I N / F A S H I O N E D I TO R M I C H E L L E D U G U I D

RIGHT: Embellished dress in silk tulle embroidered with Swarovski coloured stones, ÂŁ3,240, Emilio Pucci

ABOVE: Silk tulle embroidered floral dress, £9,815, Valentino. Suede highheeled sandals with chain T-straps and cage heels, £990, Gucci RIGHT: Embroidered tulle dress with sequin and glass detail, £14,475, Roberto Cavalli. Lambskin sandals, £595, Lanvin

RIGHT: Sequin embroidered and zipped jacket; sequin embroidered trousers with satin detail; and nappa leather and salmonskin stiletto heel sandals, all price on application, all Givenchy by Riccardo Tisci

ABOVE: Tulle and organza plastic and glass cr ystal top, ÂŁ7,975, made to order, and organza embroidered mini skirt with glass and plastic beading, ÂŁ5,485, both Christopher Kane. Thin cr ystal and silk ribbon choker, ÂŁ690, Lanvin

THIS PAGE: Embroidered and appliqué leather dress, £15,700, Balmain. Lace-up high-heeled shoes, £345, Dolce & Gabbana

LEFT: Georgette and tulle beaded and zebra sequin dress, £5,400, and suede high-heeled sandals with chain T-straps and cage heels, £990, both Gucci. Thin cr ystal and silk ribbon choker, £690, Lanvin

MaKe-up anita Keeling at Jed Root using Dior Summer Look HaIR Teiji utsumi MODeL Samantha Gradoville at IMG pHOTOGRapHeR’S aSSISTanTS Rob Oades, Matthew Healy FaSHIOn aSSISTanT Grace Joel DIGITaL aSSISTanT Freddie Lee STOCKISTS Balmain at harrods.com Christopher Kane 020 7241 7690 (studio) and at harveynichols.com Dolce & Gabbana dolceandgabbana.it Emilio Pucci emiliopucci.com Givenchy by Riccardo Tisci at selfridges.com Gucci gucci.com Lanvin lanvin.com Roberto Cavalli robertocavalli.com Valentino valentino.com

Oh, tO be in england From the roar of classic racing cars on a country estate to the pageantry of a regatta on the Thames, nowhere does summer festivals, or exclusive rural retreats, better…

Words Nick Smith

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w h e n T h e q u i n T e s s e n T i a l l y English poet Robert Browning wrote the words ‘Oh to be in England,’ the eminent Victorian admittedly had springtime in mind. But there’s something about an English summer that you can’t quite put your finger on.

Long lazy days of champagne and strawberries, drinking in the nation’s arts and literature, classic sports and country houses, is simply so nostalgic. We reflect on a leafier and more genteel era, when garden parties, village cricket and afternoons messing about on the river were about as strenuous as life could ever be. A time when ours really was a green and pleasant land.

And let’s face it, nothing could be more pleasant than ticking off those events in the calendar, those unmissable moments in the season, when you’ve simply got to be ‘there’. The

problem is that great minds think alike, and today more and more people want a bigger slice of the great British summer. And so there’s always that need to keep one step ahead of the game, to keep your experience of summer, well, a little more exclusive.

Maybe you need to find somewhere to stay that’s a little special. It helps if your somewhere ‘far from the madding crowd’ is grand and reassuringly expensive. But sometimes, a touch of the quirky can make your English summer simply unforgettable. The opposite page features six of the best festival retreats; the choice is yours…

Nick Smith’s acclaimed Travels in the World of Books, describes his adventures from the North Pole to Damascus. He is a member of New York’s exclusive Explorer’s Club yet he often gets lost in his native England, ‘while trying to find the best bits’

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Blue Bell TenTs Best for the hay Festival of Literature and Arts (31 may to 10 June)

TaT Ton Park Best for the RhS Flower Show, tatton Park (18 to 22 July)

Of course, the Hay Festival has always been a bit of a Bohemian affair, and so elegantly ‘roughing it’ is definitely the order of the day.

For the discerning literary buff, the best way to really indulge your bibliophilic wanderlust is by ‘glamping’. Glamorous camping does not get any better than the sumptuous accommodation offered by Blue Bell Tents, who instinctively seem to understand that dressing for dinner, drinking champagne in a field full of wild flowers and sleeping under canvas do, in fact, go hand in hand. For the Hay Festival this year their encampment will occupy a prime spot next to the river, a mere five-minute walk from all the action. {fig.1} Blue Bell Tents, 4 Oakwood, Berkhamsted, Hertfordshire HP4 3NQ; 07500 899369; bluebelltents.com

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— CoworTh Park hoTel Best for Royal Ascot (19 to 23 June)

For almost 250 years Royal Ascot has been the centrepiece of the British social calendar. A national institution, Ascot is all about fashion, pageantry, tradition, and, of course, some of the best horse racing the flat season can provide.

Set in the most glorious English countryside Ascot is simply a five-day unashamed celebration of the best of British. And so you’ll want to stay in a hotel that matches the occasion, making the nearby Coworth Park Hotel the natural choice. Set in 240 acres of stunning parkland, bordering on Windsor Great Park, this late 18th-century country house has both an equestrian and polo centre, making it ideal for Ascot-goers. {fig.2} Coworth Park, Blacknest Road, Ascot, Berkshire SL5 7SE; 01344 876600; coworthpark.com

RHS Flower Show aficionados already know that the Tatton Park Estate is home to one of the loveliest gardens in England. Taking up some 50 acres, the gardens pay homage to over two centuries of fashion and style in landscaping and garden design. The glasshouses are terrific and the Japanese Garden is deemed the best of its type in Europe. There are over 100 events held at Tatton each year – including car shows, classical concerts and antique fairs – but the undisputed highlight is the Flower Show. If you’re lucky, you won’t even have to stay off-site.

Among Tatton Park’s best-kept secrets are two glorious holiday apartments tucked away in the 1,000 acres of parkland. {fig.4} Tatton Park, Knutsford, Cheshire WA16 6QN; 01625 374400; tattonpark.org.uk

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well CoT TaGe Best for Port Eliot Festival (19 to 22 July) Port Eliot, St Germans, cornwall

Jarvis Cocker called Port Eliot the ‘festival of ideas’. But, if the very word ‘festival’ puts you in mind of muddy fields and loud guitars then it’s time to think again, because Port Eliot is an eclectic mix of literature, arts and music set in the dignified and beautiful grounds of the Earl of St Germans’ Cornish Estate at Port Eliot in Cornwall. With a line-up for 2012 that is looking tantalisingly cool and exclusive (think Tracy Chevalier or The Bees), Port Eliot really is this year’s hot ticket. Those preferring to camp on site will find it much more pleasant than most festivals, and splashing out on a yurt will make life almost worthwhile. But by far the best thing to do is to rent a luxury bolt-hole, such as Well Cottage, in the gorgeous Cornish countryside. {fig.5} Well Cottage, Herodsfoot, Nr Looe, Cornwall PL14 4RS; 01579 320147; wellcottagecornwall.co.uk

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Cliveden house, TaPlow Best for henley Royal Regatta (27 June to 1 July)

The Goodwood hoTel Best for Glorious Goodwood (31 July to 4 August)

The question is, how can you visit the Henley Regatta and get away from it all at the same time? The answer is the extraordinary country seat, Cliveden House, just a few miles up the road from the hustle and bustle. If you want exclusive then look no further, as for more than three centuries Cliveden House played host to British prime ministers, American presidents and every reigning monarch since George I. Its stately extravagance, breathtaking views of the River Thames and Pavilion Spa do, however, mean that you run a serious risk of never leaving the Estate for a glass of Pimm’s No 1 Cup at the Regatta. With 376 acres of National Trust formal gardens and parkland, this is the ultimate respite from Henley. {fig.3} Cliveden House, Taplow, Berkshire SL6 0JF; 01628 668561; clivedenhouse.co.uk

If it’s champagne, strawberries, fashion and the very best of British horse racing you’re after then there really is only one date you need to keep free in your diary this summer – any summer for that matter – and that’s Glorious Goodwood, the highlight of the flat racing calendar. And if you’re going to Goodwood there’s naturally only one place to stay – The Goodwood Hotel. Set in the heart of the estate this is the perfect base from which to sample all the delights of the festival. With its award-winning dining, stylish rooms and a generous helping of 21st-century technology to keep you in touch with the outside world, The Goodwood Hotel is a perfect complement to the ‘Goodwood Experience’. {fig.6} The Goodwood Hotel, The Goodwood Estate, Chichester, West Sussex PO18 0PX; 01243 775537; goodwood.co.uk

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Racing Style Fashion photographer Koto Bolofo remembers supermodel Helena Christensen bringing timeless beauty and true grit to Goodwood’s racetrack

I t w a s 2 0 0 3 and I was shooting for Italian Vogue, looking for an idea. I had always thought of the world of motor racing being a very masculine thing. Then I heard about these female drivers… I needed a retro racing track to make it work and, when I discovered Goodwood, I knew the circuit and buildings were perfect. A lot of my work is influenced by architecture and I could see this shoot taking shape. Next I needed the right model: someone so famous that she would have stature as a sportswoman, a modern woman who had that nostalgic but timeless look. Hence Helena Christensen.

The beauty of Helena is her mind. She gets what you’re trying to achieve on a shoot. She is not a model who thinks, ‘I’ve got to wear the clothes and throw my hips this way.’ She understands photography – indeed, these days she is a photographer herself. So you don’t have to give her instructions.

She is like a semi-trained actor. It’s like you’re doing a mini movie; she brings that kind of energy to a shoot. When she saw the classic racing Jaguar, she responded to the shape and form like a real racing driver. It was not a situation where you have a beautiful girl propped against a car, feminine beauty against masculine object. That can look trashy and cheap.

On the contrary, you feel Helena has the kind of grit it would take to drive. She got into it – the track, the exhaust fumes; this beautiful woman who was going to climb in and drive this ferocious car. When you look at the pictures I shot that day, you can feel the spirit, you can hear the engines.

Lord March was so impressed he invited me to do a reportage shoot of the Goodwood Revival, which became a book, Racing Style, a project I am very proud of. And it’s all thanks to Helena’s great performance that June day.

58 / goodwood the season

wiTH THanKs TO www.unsiGnedmGmT.COm

P H OTO G R A P H KOTO B O LO F O

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