Goodwood The Season 2013

A Daimler Brand

Sharp. The new E-Class.

Official government fuel consumption figures in mpg (litres per 100km) for the new E-Class range: urban 20.3 (13.9) – 68.9 E 220 CDI AMG Sport at £39,530.00 on-the-road including optional metallic paint at £645.00, 18" AMG Alloy Wheels at £365.00, LED Intelligent Light System at £1,280.00 and Driving not be available. Please contact your Mercedes-Benz Retailer for availability. Price correct at time of going to print.

(4.1), extra urban 36.2 (7.8) – 68.9 (4.1), combined 28.3 (10.0) – 68.9 (4.1). CO2 emissions: 234 – 109g/km. Model featured is an Assistance Package at £2,345.00 (price includes VAT, delivery, 12 months’ Road Fund Licence, number plates, first registration fee and fuel). Some combinations of features/options may

THE GOLDEN AGE OF MOTORING…

100 years ago, during the golden age of the ‘Grandes Routieres’ the Vauxhall 30-98 was known as ‘the finest of sporting cars’.

Not just for the brute force of its engine, but for the excellence of its engineering and the elegance of its styling.

vauxhall.co.uk/3098

THE CAR SUPEREXCELLENT

…HAS RETURNED

New CASCADA A century after the 30-98 appeared, we’ve returned to that classic territory with our first full-size convertible since the 1930s. The Cascada has inherited the elegance of its open top predecessors, while modern design has provided it with the rigidity and driveability of a hard top.

So you can appreciate an inspiring driving experience, rain or shine.

Summer is a state of mind. Visit vauxhall.co.uk/cascada Official Government Test Environmental Data. Fuel consumption figures mpg Start/Stop: Urban: 35.8 (7.9), Extra-urban: 51.4 (5.5), Combined: 44.8 (6.3). CO2 Model shown Cascada Elite 1.4i 16v VVT Turbo (140PS) Start/Stop £26,100 with 20” Alloy Wheels £1,000, Two-coat Metallic Paint £525, Front Parking Distance Warranty covers lifetime ownership of first registered keeper, 100,000 mile limit. Terms and conditions apply. Visit www.vauxhall.co.uk/warranty

Visit the Festival of Motoring Stand for more information.

WARRANTY 100,000 MILE

(litres/100km) and CO2 emissions (g/km). Cascada Elite 1.4i 16v VVT Turbo (140PS) emissions 149g/km.

Sensors £385, Premium Forward Lighting Pack £790. Total OTR cost £28,800. Prices and specifications correct at time of going to print. Vauxhall Lifetime

goodwood / 13 / the season

CONTENTS 16 l e t t H e S e A S O N c O m m e N c e How Glorious Goodwood became a summer highlight 19 f i N e l i N e S Automotive Art Deco at Cartier Style & Luxe 21 f l i g H t S O f f A N c y Soar over the South Downs in a historic Spitfire 23 p u r i t y O f p u r p O S e Stephen Bayley on the perfection of the Porsche 911 24 l O N g g A m e Golf at Goodwood’s plans for the sport’s new generation 27 l e m A N S , l e l e g e N d Why jealousy of Ferrari spawned the Ford GT40 {fig.1} 29 v i v e l e t O u r Tim Moore on the gore and glory of the greatest race

fig.1

33 W O m e N W i t H d r i v e Susie Wolff and the racing heroines who paved her way 37 B r i g H t y O u N g t H i N g S Belstaff’s fashion connection with Goodwood 40 e W A N m c g r e g O r The actor and biker on Hondas, Nortons and Triumphs 42 A c u t A B O v e Meat you can trust at Goodwood’s Home Farm Shop 44 d r e S S i N g - u p B O x Clare Coulson on this season’s fashion trends {fig.2} 46 A p A S S i O N f O r S p e e d Twenty years of the Festival of Speed remembered fig.3

50 iN fiNe fettle Race day at Goodwood: glamour on location 5 6 t H i N g S t O d O t O d Ay Our pick of exciting ways to enjoy a stay at Goodwood

fig.2

58 effOrtleSS clASS Lord March remembers the great Jim Clark {fig.3}

goodwood / 14 / the season

editor’s letter

on the cover: Ewan McGregor photographed

by Marcus Dodridge

‘Let the Season Commence’, the title of Eloise Napier’s article on Goodwood, is a fitting rallying cry for all that is taking place at Goodwood in 2013.

This year marks the 20th anniversary of the Festival of Speed (11–14 July) and we will be celebrating the greatest moments of the event since the first Festival took place in 1993. We will also be celebrating 50 years of the iconic Porsche 911 with a stunning central display in front of Goodwood House and the greatest collection of race and road-going 911s ever.

The highlight of the summer sporting and social calendar, Glorious Goodwood Race Week (30 July to 3 August) sees the third running of our Magnolia Cup on Ladies’ Day, with top designers creating silks for our celebrity women jockeys, in aid of two charities: The Haven and Best Beginnings.

To many people, Goodwood is inexorably linked with fashion. Our recent partnership with one of Britain’s great luxury clothing brands takes that to a new level with the Goodwood Sports & Racing Collection by Belstaff described in more detail in these pages.

The Goodwood Revival (13–15 September), the only major sporting event in the world with a period theme, will be, as ever, the ‘vintage’ fashion moment of the season, as well as a celebration of Jim Clark, one of the greatest drivers of all time and the Ford GT40 – one of my all-time favourite racing cars, which will have its very own race.

I do hope you might be able to join us for some special Goodwood moments during what I hope will be a memorable and beautiful English summer.

EDITORIAL Executive editor Earl of March & Kinrara Editor-in-chief Peter Howarth Editor Sarah Deeks-Osburn Chief copy editor Chris Madigan Deputy chief copy editor Gill Wing Copy editor Mary O’Sullivan Editorial director Joanne Glasbey DESIGN Art director Julia Allen Picture director Juliette Hedoin Creative director Ian Pendleton FASHION Stylist Grace Joel Stylist’s assistant Hugh Whelan Hair & make-up Melinda Davies MARKETING group sales & 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

G o o d w o o d T H E S E a S o n / daT E S f o r yo u r d i a r y 11–14 JuLy: FESTIvAL OF SPEED The largest motoring garden party in the world. A true celebration of all things automotive 30 JuLy TO 3 AuGuST: GLORIOuS GOODWOOD The world’s most attractive horse race meeting, hosted over five glamorous days on the Goodwood estate 13–15 SEPTEMbER: GOODWOOD REvIvAL A unique opportunity to experience autosport as it was in the golden era. The biggest and best historic motor racing party of the year

Printed by Wyndeham Peterborough (wyndeham.co.uk) Colour reproduction by fmg (wearefmg.com) Goodwood – The Season is designed and produced by SHOW MEDIA LTD for the Telegraph Media Group.

All material © Show Media Ltd and Telegraph Media Group.

Reproduction in whole or part without written permission is strictly prohibited. While every effort is made to ensure the accuracy of the information contained in this publication, no responsibility can be accepted for any errors or omissions.

The information contained in this publication is correct at the time of going to press.

goodwood / 16 / the season

let the season commence goodwood has established itself as the premier venue in the english social calendar – where past and present mingle delightfully Words eloise napier / PhotograPhy eMMa TeMpesT

goodwood / 17 / the season

d i n n e r f i n i s h e s and the guests, resplendent in Empire-line dresses and Regency tailcoats, make their way outside. It’s dark but hundreds of candles light the night; the crowd cheers as a flag is dropped and two jockeys on glimmering thoroughbreds thunder into the darkness for a moonlight race. It’s so unexpected, so visually stunning and romantic that you would be forgiven for assuming it’s a scene from a Hollywood movie.

However, this is no screenwriter’s imagination at work – it’s simply the highlight of Goodwood’s annual Regency Ball.

Held to celebrate the Glorious Goodwood race meeting in late July, the ball is a classic example of what insiders refer to as the ‘Goodwood Twist’ – a spectacular event created with a glittering element of surprise.

As with so much at Goodwood, it’s steeped in heritage; the Midnight Race is a re-run of a head-to-head contest held in 1802 between the 3rd Duke of Richmond’s horse, Cedar, and the Prince of Wales’ (later George IV) horse, Rebel. Who knows whether talent or etiquette prevailed, but, whatever the case, Rebel won.

Ever since, racing at Goodwood has played an important part in England’s social calendar – known as the Season – so much so that novelist PG Wodehouse’s peerless creation, the rather idle Bertie Wooster, complains at one point: ‘After Goodwood is over, I always feel rather restless.’

Pivotal to the success story is Goodwood House and its surrounding estate of almost 12,000 acres, which has been home to the Dukes of Richmond since 1695. As Lady Celestria Noel, the author of Debrett’s Guide to the Season, explains: ‘There are any number of rather nice stately piles dotted across the country that have nothing interesting about them. Goodwood, however, has a glamorous history going back to Charles II.’ The 1st Duke of Richmond (1672-1723) was one of Charles II’s illegitimate sons. Passionate about hunting, the young Duke bought Goodwood House as a base from which he could join the fashionable Charlton Hunt. He set a sporting precedent to which the successive generations have adhered and, as a result, today Goodwood boasts the country’s only privately owned top-class racecourse, a historic motor racing circuit, a PGA Championship golf course, an aerodrome with a flight training centre and a cricketing heritage dating back to the 1720s.

Goodwood reached a social apex during the Edwardian era when Edward VII, an avid race-goer, became a regular guest at the estate.

The 7th Duke of Richmond’s (1845-1928) subsequent houseparties were legendary, with the King cheerfully declaring that Glorious Goodwood was ‘a garden party with racing tacked on’.

However, the estate’s fortunes took a nosedive in the Twenties as a result of death duties and the 8th Duke was forced to sell 70,000 trees for £45,000 – about £2.2m in today’s money – to pay his debts. During World War II, Goodwood House was given over to help the war effort and was used as a military hospital. When the family took possession of it again in 1945, the damage caused to the interior of the building was valued at £21,000 – the equivalent of £730,000 now.

It was a huge task to bring the house back to its former glory, but also to make it more practical for the modern era. The current Duke

set about renovating it in the Sixties and, as James Peill, curator of Goodwood, explains: ‘They pulled down the north wing, because it was riddled with dry rot, decorated 56 rooms and had the builders on site for six years.’ The present incumbents of the house, the Earl of March and his family, have continued with the renovations by restoring the state rooms and improving the private side of the building.

The presence of the family at Goodwood is key to its success. Social commentator Lady Celestria Noel says, ‘The Marches are always involved in Goodwood’s events – it’s not left to their staff. They are very hands-on and very hard-working. That’s the difference between the way things work at Goodwood and how they work at a National Trust property, which will always be impersonal.’

It is Lord March’s passion for motorsport that has truly re-established Goodwood as the gem in the heart of the social Season. Celebrating its 20th anniversary this year, The Festival of Speed involves a series of hill races up the drive at Goodwood and attracts an audience of more than 185,000 people. In true eccentric English style, it is the only place on earth where supercars, dragsters and motorbikes hurtle through a park that for 50 weeks of the year is filled with sheep, along a road that has a camber originally designed for horses and carriages.

Gary Axon, Goodwood’s motorsports spokesman, says, ‘To compete, it’s strictly by invitation only – personally from Lord March.

It means we have the best drivers, the best cars and the best motorbikes from all the way round the world.’ The combination of exclusivity, glamour and danger is irresistible and explains why cohorts of high society come to mix with celebrities such as Courtney Love, Ewan McGregor, Sandra Bullock, Nick Mason, Chris Evans and Rowan Atkinson year after year.

Lady Noel adds, ‘The Festival of Speed has to have been one of the most successful recent additions to the canon of the social Season.’

A quick glance at the Debrett’s online list of what’s what in the Season shows that it’s a similar story with the Revival Meeting. Held at the Goodwood Motor Racing Circuit, it recreates the golden era of British motorsport, between 1948 and 1966. Everything – vehicles, guests’ costumes and infrastructure – is in keeping with the period and, as a result, it is like stepping back in time.

Throughout the centuries, Goodwood’s success has been dependent on being able to adapt to change. Lord March said in a recent documentary for Channel 4, ‘For me, unless things are changing, they’re not going to survive.’ Lady Noel agrees and highlights why Goodwood has reestablished itself as England’s pre-eminent social venue: ‘The Marches have built on the traditions of Goodwood, but have made them contemporary and very accessible.’

Poet Laureate Colley Cibber wrote in 1740, ‘Good God! How I will rejoice with you! For who can want spirits at Goodwood? Such a place, and such company!’ It was true then as now, nearly 300 years later.

Edward VII declared Glorious Goodwood was ‘a garden party with racing tacked on’

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

styling Michelle duguid Model Vera at select dress alberta Ferretti

BORN FROM ENDURANCE FOR THE MOST EXHILARATING DRIVE!

Michelin is proud to be a sponsor at the 2013 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 giveaways and promotions with some fabulous prizes to be won.

www.michelin.co.uk

goodwood / 19 / the season

f i n e li n e s The Goodwood Festival of Speed for the most part celebrates engineering power but, in one quiet corner, Cartier’s ‘Style & Luxe’ concours, the emphasis is on beauty in design Words mick walsh

streamlined automotive beauties from the Art Deco age have been the highlight of Cartier ‘Style & Luxe’ since its debut in 1995 at Goodwood’s Festival of Speed – the ultimate motoring pageant. As highoctane, historic motorsport icons roar up Lord March’s challenging drive, the peaceful concours d’elegance by the stables has attracted some of the greatest cars from all corners of the globe, including the sensational 1938 Dubonnet Hispano-Suiza H-6C Xenia {fig.1} which was shown at Goodwood in 2009.

A star of the Peter Mullin collection in California, the Xenia made its first UK appearance at Cartier, and not surprisingly stole the show. Long, sleek and massive, with an aviation-style cockpit, the Xenia evokes creator André Dubonnet’s vision of the future and showcases his pioneering suspension design.

The striking body design was the work of French aerodynamic specialist Jean Andreau. After being hidden away from the invading Third Reich forces during World War II, it did not reappear until 9 June 1946 when this futuristic wonder was used to open the Saint-Cloud Highway tunnel near Paris. The car was named after designer Dubonnet’s beautiful young wife Xenia Johnson, who had died soon after their marriage.

The automotive artistry of the Bugatti family is a consistent feature of Cartier, and unforgettable moments include the reunion of the magnificent Royales, which completely fixated Bryan Ferry when five of the six built appeared in 2007’s show.

The Roxy Music singer and fine-art connoisseur was on the ‘Style & Luxe’ jury that year, and Ferry was distracted by these coachbuilt behemoths, which he had only ever read about in books.

This year’s ‘Style & Luxe’ sees an even rarer Bugatti – one of the three beautiful Atlantic coupés { fig.2}, entered for the event. Rated as the most valuable car ever sold, an Atlantic is rarely seen in public. American fashion guru

fig.1

The car’s unique design is of such significance that one was displayed in the Louvre

fig.2

Ralph Lauren is one lucky owner, and the car’s unique design is of such significance that one was recently displayed in the Louvre, Paris.

The Atlantic scheduled for this year’s Cartier makes its UK premiere despite a dramatic and tragic history. A concours winner before World War II, this show-stopping coupé was acquired

by French clothing manufacturer René Chatard in 1952, but three years later, while Chatard was driving at night with his mistress Janine Vacheron, the car was involved in a horrific accident. On an unmanned railroad crossing near La Charité-sur-Loire, the Atlantic was hit by a train, killing both occupants.

Eight years after the accident, the Bugatti’s remains were saved from a scrapyard and, after several restorations, the Atlantic is now in stunning condition and a hot tip for ‘Best of Show.’

Not to be upstaged by the pre-war wonders, the 1954 Jaguar XK120 Ghia Supersonic will also be exhibited at this year’s event. Inspired by jet-age design trends, this Latin-bodied sensation was styled by Giovanni Savonuzzi and fascinating details include its afterburner-style tail lights.

Wherever this Anglo-Italian hand-built beauty has appeared, be it the 1954 Paris Salon or Cannes Concours d’Elegance, it has always been a winner.

Cartier has a superb tradition of concours exhibitions, with a new event in India now complementing the prestigious Goodwood fixture.

In February, a magnificent 1935 Rolls-Royce Phantom II { fig.3} with beautiful Wendover coachwork was selected by the judges as ‘Best of show’ at Mumbai’s Taj Land End Hotel. This July choosing the most beautiful design at Goodwood will be a daunting challenge for the distinguished panel, with a truly spectacular group of cars taking part to celebrate the 20th anniversary of the Goodwood Festival of Speed.

Mick Walsh is the editor-in-chief of Classic & sports Car magazine

fig.3

goodwood / 21 / the season

fligh t o f f a n c y Goodwood has brought the spitfire-flying experience of the Few to the many who admire them Words nick smith

t a k i n g t o t h e s k i e s with Goodwood Aerodrome’s Boultbee Flight Academy gives a new meaning to the expression ‘flight of fancy.’

Qualified pilots and beginners alike come to sample the nostalgia of the Battle of Britain.

‘Here at the Boultbee Flight Academy, we’re all about nostalgia and Britishness,’ says Matt Jones. His enthusiasm is undisguised. As he describes the Academy’s two-seater Spitfire, it’s like listening to Glenn Miller while watching a flickery black and white Pathé News cinema clip.

Jones is Managing Director and co-owner of the academy based at Goodwood’s historic aerodrome. But above all he’s a pilot. He may captain a Learjet 45 and a Squirrel helicopter, but it’s the World War II Spitfire that really gets his imagination going. He says that, at Goodwood, his team is paying a ‘caps off’ tribute to the men and machines that ‘kept us British in Britain’s darkest hour. And we want to make that available to as many people as possible.’

Creating the atmosphere of yesteryear is everything to Jones. ‘We have a crew room decorated in period style. With our leather armchairs and mahogany furniture, we fit in well with the overall Goodwood feeling.’ When Jones opens the aircraft hangar doors, there’s no concrete landing strip, just grass. This is a vista that hasn’t changed since the war and it is exactly what airmen would have seen in the Forties.

A three-minute flight from the English Channel and close to the scene of some of the

fiercest airborne fighting during the war, RAF Westhampnett, as it was then known, was a Battle of Britain station, home to 43, 129, 145, 602 and 610 Squadrons, operating Hawker Hurricanes, P-51 Mustangs, and Spitfires. ‘Douglas Bader made his last operational flight out of here,’ says Jones, proudly recalling the aerodrome’s past. Today, there is a bronze statue of Bader at Goodwood.

There are a few clever retro touches to make the experience ‘even more British’. It’s unlikely that Churchill’s ‘Few’ would have had a 1949 London bus as their operations desk, or a classic red telephone box to change in. But these recent extras, says Jones, add an extra layer of nostalgia that makes flying today at Goodwood special.

People come here to sample flying at its best.

If you are already a pilot, you can immediately

The pilots’ course mimics the training received

by Battle of Britain pilots

get stuck into Spitfire training. For those of us who aren’t pilots, there are opportunities to take part in Goodwood ‘experience flights’: swooping over the rolling splendour of the South Downs in a Cessna, or skirting the South Coast in a 1943 Harvard IIB. But the Spitfire remains closest to Jones’s heart, and it was his desire to bring the aircraft within the grasp of as many people as possible that led the academy to design ‘a course that would mimic the training the Battle of Britain pilots received during the war. It really emphasises just how much those young pilots had to learn so quickly.’

Jones says the emotional attachment has something to do with the Spitfire being ‘far too beautiful for what it did’. Unlike so many other warplanes, it seems to conjure up so many evocative memories: romantic pictures of those heroic young pilots that flew it, who fought and died so bravely, who became the spirit and essence of a bygone age. The sound of the Rolls-Royce Merlin engine at its heart is something that to this day makes people stop in their tracks, says Jones, while, ‘from a pilot’s perspective, it’s an utterly beautiful flying machine. There’s nothing like it.’ Jones tells me about Nigel Rose, a veteran pilot who flew Spitfires and Hurricanes out of Goodwood during the war. Today, Rose is 94 and Jones says, ‘Every time I come in to land here, seeing the same perimeter circuit around the airfield as he did, I think of Nigel.’

goodwood / 23 / the season

p u r it y o f p u r p os e the porsche 911 began life as a prosaic vehicle to take the driver from a to b and developed into one combining perfection of design with practical performance Words stephen bayley

‘ c l a s s i c ’ i s a d i f f i c u l t concept, especially when it’s applied to design. But if longevity is part of the definition, the Porsche 911 easily qualifies. Apart from the Coke bottle, Levi’s and Ray-Ban Wayfarers, it is difficult to think of anything older that is still in production.

At 50, the car still looks wonderful: an athletic racing beetle. But see photographs of the 1963 original and you sense not so much speed and sex as boring German suburbs of the Wirtschaftswunder. Indeed, the original brief for what became the ultimate sports car insisted it should have space for a bag of golf clubs.

The 911’s origins are even older. Dr Ferdinand Porsche was a design consultant to Hitler, creating the Kraft durch Freude Wagen (Strength Through Joy Car), which went on sale as the Volkswagen, intended to get the workers off their motorbikes and onto four wheels. Porsche also designed weapons for his sinister client, including tanks and flying bombs. The uncompromising functionalist ethic is still there. Anatole Lapine, a Porsche designer of the Eighties, told me, ‘We have the winning look that weapons have.’

Oh yes, you do.

The first car that would carry the Porsche name was the 356 – an inverted, bug-eyed bathtub

‘You find tactile precision and sensations in a 911: it steers and stops like no other car’

with the Volkswagen’s moving parts. Fifteen years later, the fully realised Porsche proposition appeared in 1963 at the Frankfurt Motor Show.

All Porsches have drawing-office numbers and this one was the 901. But Peugeot objected, claiming right to all three-digit car numbers with a zero in the middle, and so it became the ineffable Neunelfer (‘nine-eleventh’), as the Germans call it. Dr Porsche had been briefly imprisoned for war crimes and some suspect that Peugeot’s action was protracted revenge.

The car was drawn by the young Ferdinand Alexander Porsche, grandson of the great Doktor. Its history has been one of continuous improvement, both technical and aesthetic.

Today’s 911, which is in fact Porsche Type 991, has nothing, apart from memory, to connect it to the wheezing and puffing Volkswagen of the autobahn era. The rich cultural history would be irrelevant if the

Porsche was anything other than a superlative machine, the most complete demonstration of the German mastery of mechanical engineering.

But it was intended to be ‘driving in its purest form’ and this is what anchors its appeal.

You find special tactile precision and special sensations in a 911: it steers and stops like no other car. Alas, the distinctive sound of the air-cooled engine’s fan has now gone, killed by noise legislation. The rest of the car is rather like George Washington’s axe: completely renewed, but essentially the same.

When you see a new Porsche you sense ghosts of Hitler’s Volkswagen and of James Dean (whose fatal crash in the Californian desert confirmed Porsche’s association with speed and danger).

You might even recall those terrible people with striped shirts and braces who wanted their Big Bang bonuses to come painted Guards Red. But you also see one of the greatest car designs of all time. In fact, one of the greatest designs full stop. My guess is that people will still be writing this story 50 years hence.

Stephen Bayley is co-founder of the Design Museum London and author of Ugly: the aesthetics of everything, published by Goodman Fiell

goodwood / 24 / the season

lo n g g am e Golf At Goodwood may have two world-class courses, one of which is nearly 100 years old, but it is not resting on its putter. Its biggest priority is the sport’s next generation W o r d s D a n D a v i e s / i l l u s t r at i o n a l e x p e r e z

W h e n i t c o m e s t o bucking trends in golf, Goodwood has advantages: two differing but complementary championship courses (the Downs, consistently voted one of the UK’s top 100 courses, and the Park) and a luxurious Georgian Grade I-listed clubhouse, The Kennels, among them.

But equally important is a modern philosophy focussed on developing golf’s next generation.

‘We want to have the best junior programme in the UK and, in five years, the best in Europe,’ says Ryan Fenwick, Academy Development Manager.

‘Our commitment to junior golfers is very important to us and to have someone of Lord March’s stature backing the programme is incredible. I feel like the luckiest PGA professional in the UK right now.’

Fenwick, the current Sussex PGA champion, and holder of six course records nationwide, played top-level amateur golf alongside the likes of Luke Donald, Paul Casey and Justin Rose, Goodwood’s new touring professional and ambassador. He also works as a Regional EGU England coach and lead coach for the Sussex junior squad, so knows what is required to nurture talent at a young age.

Goodwood’s General Manager of Golf, Stuart Gillett, describes the programme as ‘creating a pathway’ for youngsters coming into the game – one they can follow whether their sights are set on emulating Rose one day or merely on being able to enjoy a regular game with friends or family.

‘At Goodwood, we take youngsters from the age

of five right through to adulthood,’ says Fenwick.

‘We track everything from technical ability to physical development. If we want to get them hitting the ball a long way, they need to be doing fundamental work at an early age so they’re able to do that when they hit their teenage growth.’

Fenwick has a team of five PGA teaching pros, as well as Steve Gent, the Olympic conditioning coach who trained sailing legend Ben Ainslie. But the junior programme is about more than producing elite players: ‘It’s about developing young golfers at their own pace. We want to keep the youngsters in the game as long as we can.’

That Justin Rose, the current world number four, has recently signed up as Goodwood’s touring professional and ambassador speaks

World number four Justin Rose has recently become Goodwood’s touring pro

volumes. Gillett reveals that the relationship is closely linked with the club’s commitment to encouraging more youngsters into the game: ‘Lord March wants us to be known as a home for junior golf and there is nobody better to embody that than someone who finished third in the Open as a 17-year-old amateur, having enjoyed a stellar junior career.’

Fenwick confirms that the ‘Rose Effect’ is already being felt at the club, with junior membership booming and excitement building about Justin spending time at Goodwood when he is in the UK this summer. He says, ‘Having Justin associated with the programme can only add credibility and help with all the exciting things we’re putting in place.’

Fenwick and his team are also taking the game into local schools. ‘We want children to enjoy a fun, safe environment with the best learning opportunities. I never want it to be elitist.’

Fenwick says he aims to have close to 100 junior members enrolled with the club by the end of the year, with around 50 taking part in the weekly academy tuition programmes.

Beyond that, the ultimate goal is developing a scholarship programme for young players.

If all goes according to plan, in 10 years’ time, Justin Rose could find himself going head to head in a major with one of the Goodwood youngsters he inspired.

goodwood / 27 / the season

le man s , l e l e g e n d Ferrari seemed untouchable in one of the world’s most arduous road races, says Charlie Teasdale – until Henry Ford II’s pique gave life to the indomitable GT40

corbis

p i c t u r e t h e S c e N e . It’s the early Sixties, Ferrari is dominating the world of Le Mans and shows no sign of stopping. After being vehemently rebuffed by Enzo Ferrari in his attempt to purchase the Italian’s company, Henry Ford II set out to demolish the Prancing Horse’s dominance in the iconic endurance race. In fact, the official mandate given to his engineers was to ‘kick Ferrari’s ass’. One could say the Ford GT40 was born out of spite, but that doesn’t really matter, because it is one of the most wonderful and successful road-race cars in history.

The Ford GT40 was originally developed in Britain by Ford Advanced Vehicles Ltd, under the stewardship of former Aston Martin team manager John Wyer. Ford had agreed to a year-long collaboration with Lola Cars, which included the acquisition of two Lola MKVI chassis, and it was these that would become the foundations of the first competitive GT40s.

The pair of MKIs made their debuts in 1964 at the Nürburgring, followed by starts at Le Mans.

Although the cars showed great potential, both

failed to finish either race. It was a devastating blow to the team, and frightfully embarrassing for Ford as a whole. Naturally, Ferrari finished first, second and third, and the result went the same way the following year, too.

Failure was no longer an option for Ford.

Carroll Shelby was drafted in to breathe some fire into the slightly underwhelming GT40s. He had achieved notable Le Mans success with his Cobras, claiming an admirable seventh overall, and third in the GT section in 1963. He replaced the 289 cubic-inch engine in the GT40 with a big-block 427ci V8, the same one that powered his Cobras. These lower-revving engines were able to withstand the gruelling longevity of Le

To this day, no other road-race car has won more prestigious events than the GT40

Mans a little better than the small-displacement systems used by Ferrari, putting the GT40 on the path to success. The rest, as they say, is history. In 1966, the Ford GT40 MKII powered to victory in the Le Mans 24 Hours, and repeated the feat in 1967, 1968 and 1969. The Italians had been humbled and, to this day, no other road-race car has won more prestigious events.

To give the Ford GT40 the recognition and platform it deserves, a special event at the 2013 Goodwood Revival has been organised. The world’s best collection of significant and authentic racing Ford GT40s will be gathered together for a unique one-model race; the first of its kind in automotive history. The Whitsun Trophy will feature a beautiful array of GT40s – some driven by professionals, others by enthusiasts – and will mark the 50th anniversary of their inception. GT40s have been racing in various capacities at Goodwood since 1998, so this is set to be a fitting tribute to one of the event’s favourite sports cars and one of motorsport’s most revered icons.

goodwood / 29 / the season

v iv e le to u r Despite the scandals, the Tour de France goes into its centenary race gaining new followers, especially in Britain – in fact, it has become part of the sporting Season. One fan explains why Words tim moore

getty images

fig.1

t o w a t c h w i m b l e d o n or the World Cup is to admire the artistry of supreme technicians blessed with talents beyond understanding.

But anyone can ride a push bike. We all know what it is to toil agonisingly up a steep hill and freewheel madly down the other side. What makes the Tour de France such a compelling spectacle is that it requires competitors to do something we’ve all done, but to do it to an appalling, inhuman extreme.

It’s about hurling yourself headlong at the pain barrier for long, broiled hours, then waking up and doing it all over again, day after day after day.

This is why the Tour is the world’s hugest sporting event, and why a billion of us will be watching as its 100th edition rolls colourfully away from the Corsican town of Porto Vecchio on 29 June. It’s why the race still thrives despite the rolling dope scandal of the past 15 years, and why provincial French towns still bid six-figure sums just to be included on the Tour route, to grab their 15 seconds of fame as the peloton flashes through.

And it’s why, in refreshing contrast to rival events of global renown, the Tour is genuinely more about taking part than winning. Just make it back to Paris and you’re declared an honorary ‘Giant of the Road’. Wobble up the Champs-Élysées as the Tour’s final finisher – the lanterne rouge – and you can look forward to an especially rousing hero’s reception, along with a year of lucrative race offers and sponsorship. A huge cheer and large cash sums for coming last – that’s a race we all want to start.

The Tour is a battle, a struggle to the death against gravity, the elements and human frailty. Completing the event is the equivalent of riding from London to Bristol every day for three weeks, except with Swindon on top of an Alp. And, obviously, with Swindon not being Swindon, but somewhere rather more appealing. For those of us putting in the hard sofa hours in the company of Eurosport HD, a full stage sometimes feels less like televised sport than a beautiful, if frenetic, continental road trip: a glorious background of sunflowers, chateaux and rolling Alpine pastures, and an often inglorious foreground of waywardly encroaching flag-faced spectators.

There’s a peculiar disconnect between sunburnt roisterers who are so emphatically on holiday, bellowing at death-masked martyrs who so definitely are not.

Tawdry, glamorous, captivating, capricious – the Tour de France is the only sporting event with its own personality, a bundle of very Gallic contradictions of the sort that inspired Charles Aznavour to write ‘She’.

The Tour is a beauty and a beast, a famine and a feast: a neat amalgamation of the disparate characters who have shaped the event, and an even neater example of the majestically overblown rhetoric it has dependably procured from the home nation’s sporting philosophers for over a century.

So, when Maurice Garin led home the field in the first Tour in 1903, he didn’t just win a bike race, but ‘completed a trial adapted from classical mythology’, and indeed ‘erected a bastion of romanticism to resist the

above: Corsica, which, since 2010, has been the venue for the Critérium International, pictured, will host Tour de France stages for the first time in 2013

goodwood / 30 / the season

squalid forces of progress’ while he was about it. Garin embodied the core attributes necessary to triumph in this monumental contest: the determination and stamina to keep going when the daily challenge probed the limits of human endurance, and the rather less poetic willingness to cheat when it went beyond them – he was disqualified from the next Tour for the unimaginative but devastatingly effective ruse of tackling some of the more demanding stages by train.

To understand why so many indefatigable Tour heroes are also dirty rotten scoundrels, consider the case of Eugene Christophe. Leading the 1913 Tour as it toiled up the Pyrenees, Christophe sideswiped a wall of scree and snapped his front forks. Mindful that regulations at the time forbade any outside assistance, he shouldered his stricken mount and staggered six miles to the nearest blacksmith, followed by grim-faced Tour snoops. By the time he’d singlehandedly fabricated a new set of forks, he was four hours down and in last place but, as he tearfully remounted, an official stepped forward. In allowing the seven-year-old blacksmith’s boy to pump the bellows, he explained, Christophe had accepted indirect third-party help: a further 10-minute penalty. It was this sort of thing that drove so many Tour riders to drugs or the nearest railway station.

Part of the Tour’s complicated appeal lies in this facility for bringing out a man’s Corinthian best, as well as the horrid worst of his inner Armstrong.

Finessed over more than a century, the Tour’s code of honour forbids seeking advantage if the yellow jersey stops for a call of nature or suffers a mechanical failure. Attacking the leader on the final stage into Paris is an unthinkable transgression on a par with swallowing your opponent’s golf ball. Yet you can uphold all these chivalric traditions and still have a hidden cow’s lung implanted under your helmet.

But with the Lance now boiled, so to speak, the Tour’s future seems very much rosier. Giant strides in testing and a mentality reboot mean that doping will never again be as rife or ruinous as it was in the Nineties and 2000s – in fact, there’s every reason to believe that cycling is now among the cleanest big-bucks professional sports. The Tour is at last becoming a level playing field, though you wouldn’t want to tell that to the riders on this year’s 18th stage, when they have to climb Alpe d’Huez twice.

In this climate, the French probably won’t have to wait another 28 years for a homegrown winner – quiet at the back – and with Chris Froome, as well as 2012 champion Bradley Wiggins among the favourites, the UK might not have to wait at all.

Isle of Man sprinter Mark Cavendish is odds-on to bag the three stages he needs to move into third place in the list of total stage-winners, homing in remorselessly on table-topper Eddy Merckx. There’s no point pretending our growing fascination with the Tour de France is unconnected to the unparalleled recent achievements of its British entrants. We were only seduced by this epic event, with its stirring heroism and continental glitz, when daily TV coverage began in the Eighties. Though perhaps it helped that we weren’t watching in 1976, when runner-up Joop Zoetemelk silenced a press conference and the viewing millions by hoicking up his shorts to display a saddle sore the size of a Scotch egg, nor indeed in 1958 when champion Charly ‘Pi-Pi’ Gaul earned his nickname.

To celebrate the 100th Tour, the Goodwood Revival will have a daily peloton of cyclists on period bikes and a suitably French cavalcade of support vehicles.

There’s reason to believe cycling is now among the cleanest big-bucks sports

FRoM LeFt: The first Tour winner, Maurice Garin; the peloton winds through stunning Alpine scenery; 2012 winner Bradley Wiggins in his speciality discipline, the time trial

getty images

Tim Moore’s books include French Revolutions: Cycling the Tour de France and his latest, You Are Awful (But I Like You): Travels Through Unloved Britain

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Fig. 4: Good vision points to a bright future.

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Fig. 5: A firm footing for stability.

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Ankle

Fig. 3: A sturdy bone structure with no hidden weaknesses.

Toes

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goodwood / 33 / the season

wo m e n w ith d r iv e the British women racing drivers’ club, formed after Mary wheeler discovered the thrill of speed at the Goodwood circuit, paved the way. now susie wolff is knocking on the door of f1 W o r d s k a r e n k ay

Peter elinskas/associated newsPaPers/rex features

fig.1

w h e n m a r y w h e e l e r { fig.1}, then a recently widowed 49-year-old grandmother, discovered the thrill of racing her Triumph TR2 around the Goodwood circuit, her newfound passion for speed led her to form the British Women Racing Drivers’ Club. That was in 1962 and the 30 founding members were invited to join in order to give them a collective voice and a platform to participate in a sport dominated by men.

Today, the BWRDC membership has swelled to 150, of which 97 are actively racing in different categories, including karting (12 members), rallying (15), speed (including hillclimb – 20) and race (50), with the remaining membership consisting of officials and wheelers (former racers).

That some of those women are making serious inroads in the maledominated world of motorsport is a tribute to their steely determination to challenge the notion that their sport is a niche sideshow.

‘When I’m behind the wheel, with my helmet on, no one knows it is a woman driving,’ says 30-year-old Susie Wolff, currently the only female driver on the Formula One circuit and, The Fastest Woman in the World, according to the title of a recent BBC documentary.

Currently testing Williams’ FW35 (but likely to be moving to Mercedes soon), Wolff is widely tipped to gain her coveted Super Licence some time soon, putting her in the position of official reserve driver to her Williams

teammates, Pastor Maldonado and Valtteri Bottas. And she’s following in some illustrious footsteps: Grand Prix legends including Nelson Piquet, Nigel Mansell, Alain Prost, Damon Hill and Jacques Villeneuve have all won world championships for the Grove-based team. But she is not yet satisfied. In the 63 years since the World Championship began, only five women have entered a Grand Prix race, compared to some 822 men over the same period.

Since she first sat on a three-wheeler ATV (similar to a quad bike) at just three years old, Wolff has relentlessly pursued her dream of becoming a professional racing driver, with the ultimate goal being to secure one of the 22 places on a Grand Prix grid.

‘For me, it’s just a coincidence the sport I fell in love with and am passionate about is a male-dominated one,’ says the Scot, who now calls Switzerland home but spends her life between there, Williams’ HQ in Oxford and ‘on tour’ with the behemoth that is the FIA F1 Championship.

‘I’m not crusading as a feminist; I’m crusading as a competitive sportsperson determined to succeed. I was very clear early on that I am racing because I love it as much as anyone else in the sport, and I’m aware I need to earn the respect of the team, and those I race against. I’m fortunate that I’m in a sport that is performance-based, so I’m not being judged by opinion:

goodwood / 34 / the season

fig.2

respected for her prowess behind the wheel.

Her glamorous parallel life, which has included two appearances in the Sports Illustrated Swimwear Issue, does not detract from her desire to beat the men at their own game.

‘Once we’re in the car, all that matters is the racing,’ says Wolff. ‘And we are just as capable as the men. But like any elite sportsperson, we have to be in peak condition, regardless of gender. People don’t generally understand just how physical racing is, because we’re sitting down, strapped into a seat for the duration of the race. F1 drivers are not big, bulky, muscly guys, because they have to keep their weight down. I need to stay lean, but be in peak physical condition, so I do cardiovascular training, and eat carefully. It’s as much about avoiding viruses and getting run down with all the long-haul travel: we can’t afford to get the flu.’

Of course, Wolff is not the first female to make in-roads in motor racing, but she’s certainly one of the highest-profile to do so, largely thanks to our multimedia, socially networked society. In 1975, Lella Lombardi from Italy became the first – and as yet only – woman to score a World Championship point, in the Spanish Grand Prix, while South Africa’s Desiré Wilson (also at Williams) became the only

I’m in a sport that is performancebased: the time on the stopwatch speaks for itself

woman to win a Formula 1 race of any kind when she topped the podium at Brands Hatch in the British Aurora F1 series in 1980.

Spaniard Maria de Villota, who worked as a test driver for Marussia in 2012, was also tipped for greatness before she tragically lost her right eye in an accident during testing at Duxford Airfield in July.

Looking at the younger drivers making their way through the ranks, it is perhaps now a given rather than a possibility that we will see, in our lifetime, women pulling into the pits at Monte Carlo, Monza and Malaysia. Bernie Ecclestone, the influential businessman who runs Formula One Management, says his sport is ready for a woman on the grid, and Christian Horner, head of the Red Bull team, says it is only a matter of time before we see another female F1 driver.

While Susie Wolff is staking her claim on that role, Alice Powell is determined that she will be the ‘first female to take the podium in the F1 Championship’.

In 2010, at just 18, Powell was the first female to win the BARC Formula Renault Championship and last year, she was awarded the BWRDC’s prestigious Gabriel Konig Cup (named in honour of another founding member of the BWRDC) for an outstanding performance at international level, as the first female points scorer in the GP3 series. She has certainly got the talent, but the competition is hotting up, as more and more girls take up karting and work their way through the ranks.

For these women, who dare to take the wheel on some of the world’s fastest tracks, it’s not a matter of whether they can compete with men in F1 on an equal footing, but a race against their female peers to be the first to bring down the chequered flag.

fig.3

getty images for nascar, sutton images/corbis

the time on the stopwatch speaks for itself. But it’s not without its trials, because there are still stereotypes about female drivers and some stigma about the idea of a woman behind the wheel: my (male) teammates definitely consider it a bad day if I beat them on the circuit.’

Prior to signing with Williams last year, Wolff { fig.3} drove a pink car in the German Touring Car Series (DTM) and, though she claims to have hated the gender stereotyping, she readily acknowledges that the combination of a feisty female and a Barbie-esque livery dramatically raised the profile of women in motorsport. ‘We suddenly started to see lots of young girls coming to watch “the pink car”, and cheering me on. They were seeing me as a woman at the wheel, on a grid full of men.

A generation of young girls is growing up knowing it’s possible, and that has changed the mindset, without a doubt.’

Like many other elite athletes – think Victoria Pendleton and Maria Sharapova – who happen to have a pair of X chromosomes, Wolff has not been afraid to exploit her feminine appeal in her bid to raise her profile and that of her sport. In fact, a recent issue of British Vogue features an interview with the driver, who confesses, without shame, to a predilection for manicures, heels and lipgloss. Yet, unlike other top sportswomen, Wolff is directly competing with men on a level playing field – or racetrack.

In this, motorsport is rare, yet the women rising to the top are happy to do it on their terms, proudly flying the flag for female talent.

Danica Patrick { fig.2}, the 31 year-old driver who, in 2008, made history as the only woman to win a race in North America’s IndyCar series, and has the highest finish by a woman – third – in the Indianapolis 500, is renowned and

“Victoria is evolving into a real fashion hub. For me, working here is perfect because I’m close to so many fashion houses, especially now that Jimmy Choo, Tom Ford and Burberry have set up their headquarters here.”

Daniela agnelli Daniela agnelli is Fashion Director at the Telegraph Magazine

At Land Securities, we believe a place is defined by its people. Together we are creating a vibrant new destination for Londoners to enjoy, people from across the world to visit and somewhere that businesses and individuals are proud to call home To watch interviews with the creative people in our list of eminent ‘New Victorians’, visit our website

goodwood / 37 / the season

B r i g h t Yo u n g t h i n g s Belstaff’s chief creative officer Martin Cooper talks about how the Goodwood Sports & Racing Collection has reinterpreted the romanticism of motorsports for the modern man

T h e y s a y T h e b i r T h of British motor racing coincided with that of Goodwood and Belstaff. It was a period when man and machine became one – developments that were very much ahead of the curve. I think this translates into a language that young people really understand, regardless of time or place. It’s the language of the excitement of speed,

of daring and risk-taking – a universal language that appeals to the romantic mindset of the cool, modern young man.

I was first introduced to Lord March through mutual friends and we hit it off immediately. Obviously, motorsport is the strongest link between Belstaff and Goodwood, but it was like a meeting of the minds. We began discussing the

possibility of a collaboration on a fashion collection – we thought it would be a match made in heaven and that we had the right personalites to develop the project.

When I first went to Goodwood, Lord March showed me numerous family photo albums – they’re so charming – with page after page of images from the Twenties, Thirties and Fifties.

I found a beautiful black and white image of Lord March’s grandfather Freddie, standing next to an aeroplane in front of Goodwood House in 1935, particularly inspiring. Freddie was one of the pioneers at the birth of British motorsports and knew absolutely everyone – Sterling Moss, Sammy Miller – he was the connection to all the racing icons. I felt a really strong kinship with him. We wanted to reinterpret the allure of motorsports, represented by Freddie and these other legends, for a new generation.

We spent a great deal of time at Goodwood, which is such an enchanting place. Lord March has been incredibly involved and he opened up the entire Goodwood archive for us to work with. We found so much inspiration for the new collection there and original pieces harking back to the romantic time when the racing

A man might ride a bike or not, but he understands what it means to be adventurous drivers were like modern-day gladiators. We’ve lifted these references and superimposed them onto the Sports & Racing Collection { fig.1&2}, creating garments you could wear on your bike or in the city today. Trousers have a racing, moto feel, with corrugated knees so they ergonomically fit the body, with buckles or latches at the bottom.

Then you have even more direct references, such as our Ecurie overalls, which are the same as the ones the mechanics servicing the cars and bikes

wore back then. Belstaff became the outfitter for the lifestyle – and it started with the outerwear, so it was natural for us to start here with the Goodwood collection.

We’ve taken our heritage icon silhouette, the Trialmaster jacket with its four-patch pockets and stand-up collar, and reinvented it for Goodwood in wax cotton with a burnished finish, which gives a lived-in appearance, and decorated it with Goodwood badges and hardware – studs, buckles and zipper pulls.

Next, we created a waxed-cotton Trialmaster in Gordon tartan – that’s Lord March’s family tartan – which has become one of the key items in the collection.

I think the Goodwood Sport and Racing Collection by Belstaff is about designing something that appeals to young, cool guys – although, while our offerings are gender-specific right now, I do think a lot of women will buy from the collection, too – the outerwear and shirts. A man might ride a bike or he might not, but he understands what it means to be daring or adventurous. My job, of course, is to translate that into clothing. belstaff.com

IntervIew: rosIe steer

goodwood / 38 / the season

www.PauLsmiTH.cO.uk

TELEPHONE: 0800 023 4006

goodwood / 40 / the season

e wa n m c g r eg o r Ewan McGregor led the Belstaff racing team for the opening parade lap of the Barry Sheene Memorial Trophy Race at the Goodwood Revival. Here he talks of his passion for motorbikes Words pETER HowaRTH / PHoToGrAPHY MaRcuS dodRidGE

Ewan McGregor at Goodwood Revival 2012 on a 1954 Manx Norton

goodwood / 41 / the season

e w a n m c g r e g o r was photographed, memorably, at Goodwood for this year’s Belstaff advertising campaign. The pictures featured the actor in the house, accompanied by a beautiful young model, dressed in leathers to match his, and an equally attractive older one– a Fifties Velocette motorcycle. Following that experience, he came to the Goodwood Revival, where he rode a vintage 1954 Manx Norton around the race circuit for the opening parade lap of the Barry Sheene Memorial Trophy Race. If there was any doubt about the actor’s passion for motorbikes, guests that day discovered it is entirely genuine.

He bought his first bike when he was around 20 and had just left drama school. ‘I’d always wanted one,’ he recalls. ‘I remember when I was 15, standing outside a shop in Perth looking at a 50cc. I immediately knew that my life would be better if I had one.’ But his parents were not keen, so he had to wait until he moved away from home, to London, before he could fulfil his teenage fantasy.

‘It was a 100cc four-stroke Honda, and whenever my parents came down from Scotland I’d hide my helmet and stuff with the girl upstairs,’ he says. Since then, he has owned a whole variety of the machines, but currently is in a love affair with old bikes. One of them is a 1956 Sunbeam S7. ‘I was getting ready to do the MOT and looking at the silhouette – it’s beautiful,’ he muses. ‘It was sold as the “gentleman’s touring bike”. It’s more beautiful than any other bike.’

The actor now has a collection, mostly vintage. He likes the old ones, he says, because he can ‘wonder who might have owned it, where it had been...’ Indeed, the romance of travel is

‘I have a romance with motorcycles; I don’t know where it comes from – maybe Elvis movies?’ something McGregor knows all about, having undertaken two well-documented epic motorcycle journeys around the world with his good friend and fellow actor, Charley Boorman. ‘There’s something essential about the experiences of travelling,’ says McGregor.

But as well as a motorbike’s function as a mode of transport, McGregor just loves these two-wheeled machines as pieces of kit. ‘I have a romance with motorcycles; I don’t know where it comes from – maybe Elvis movies?’ Which, inevitably, leads us on to Steve McQueen. ‘It doesn’t get much better than The Great Escape,’ he says, referencing the famous scene where McQueen steals a Triumph Trophy TR6 from the Germans and tries to jump a barbed-wire fence.

McGregor says he has books on McQueen.

‘I met his widow, Barbara, at the first Legend of the Motorcycle rally near San Francisco,’ he explains. ‘The rally organisers asked me, Barbara

and Peter Fonda to judge the best bike.’ She later wrote to him. ‘She’d just watched Long Way Round on DVD, and she wrote, “If Steve had been alive he would have been riding along with you.”’ With the letter was her late husband’s copy of Jupiter’s Travels, Ted Simon’s classic tale of his journey around the world on a Triumph Tiger bike. A wonderful and apt gift, since it was the book that had inspired McGregor and Boorman’s adventure – 20,000 miles across 12 countries and 19 time zones – in the first place.

It is, says McGregor, ‘exhilarating riding into the unknown,’ and that thrill certainly captured people’s imaginations. The DVD and book of their journey from London to New York in 2004, Long Way Round, have been bestsellers, as have those of their second trip, 2007’s Long Way Down – this time travelling through 18 countries in 85 days.

‘There’s something [about motorcycling] that lends itself to meeting people,’ says McGregor. ‘You arrive in their environment; you’re already in it. In a car, you step out of your environment into another.’ Wherever they went they were met with ‘incredible kindness’.

These days a very busy schedule means that McGregor doesn’t get to ride motorcycles as much as he’d like. But when he goes home to his parents’, there’s a rare 1929 Rex-Acme waiting for him. ‘I keep it in Scotland, in Crieff, and whenever I go up there, I take it out and go out for a ride with my dad. He rides his old bike and I ride mine. It’s nice.’

Ewan McGregor appears in August: Osage County, the film of Tracy Letts’ Pulitzer Prizewinning play, later this year

goodwood / 42 / the season

a cut

above In a period when trust is at a premium in food production, goodwood’s home Farm meat offers utter reassurance, impeccable quality and wonderful flavour

Words sophie denning / PHoToGrAPHy ChRis BRooKs

photographer’s assistant: emma ercolani

goodwood / 43 / the season

t h e c o n t e n t s of every Goodwood hamper unbuckled this summer, and of every burger wolfed down during the Festival of Speed, will not only be deliciously fresh and genuinely organic, but also traceable to a fault, thanks to the estate’s own Goodwood Home Farm and the produce sold in its excellent farm shop. One of the biggest lowland organic farms in Europe, the farm at the heart of the 12,000-acre Sussex estate produces meat, dairy and cereal crops, all of it certified organic. Indeed, the Duchess of Richmond, who was behind the farm’s progress towards organic status between 1996 and 2004, was a founding member of the Soil Association back in the Fifties.

The beef, lamb and pork stocked in the Home Farm Shop, an attractive, traditional Sussex building of red brick and wooden boarding, is the result of careful, ethical animal husbandry, expertise in native breeds and traditional farming methods that allow indigenous flora and fauna to benefit the entire system.

‘Organics is much like farming used to be, pre-World War II,’ says Tim Hassell, general manager of Home Farm. ‘We employ specialist staff to look after the cattle, sheep and pigs, keep away from intensive farming methods, and favour traditional breeds that are native to this downland area.’ Those breeds include 250 free-range Gloucester Old Spot and Saddleback crosses, hardy and well-tempered pigs that thrive outdoors, foraging and feeding on cereal crops, and yielding juicy meat with famously good flavour and fat levels. They snuffle around within sight of the farm shop, and are a sight to see with their distinctive Hogarthian silhouettes.

The Dukes of Richmond have been patrons of the Southdown Sheep Society for generations: Nick Page is their award-winning shepherd, in charge of Goodwood’s flock of pedigree sheep, the same kind that have grazed here on the estate since the 1800s, bred specifically to do well on the free-draining chalklands of the South Downs. The lambs – 12,000 breeding females this spring – are slaughtered when they are at least nine weeks old; the meat becomes gourmet hogget (as championed by HRH the Prince the Wales) between 18 months and two years, and stronger-flavoured mutton, best for braising, at older than two years.

At the 2012 Great Taste Awards, organised by the Guild of Fine Foods, Goodwood’s leg of

Sales of the farm’s meat have surged as customers put their faith in true traceability lamb, and fillet and sirloin of beef were awarded gold; and, in the wake of the horse-meat scandal, sales of all its products have surged as local residents and restaurants alike put their trust in true traceability and the shortest supply chain imaginable.

‘Every animal has to be born and bred at Goodwood,’ says Tim Hassell. ‘We want full control, from birth to slaughter. We never buy in livestock from elsewhere and then raise it – it’s vitally important that consumers can be confident they know exactly where their meat has come from.’

Beef accounts for a quarter of farm income.

Again, the cattle are outdoor reared and a local breed: the red-headed Sussex, which gives delicious meat with superb marbling. Slowmaturing and hardy, they graze on the prime grassland around Home Farm, ensuring natural health, and top up on an estate-cultivated mix of clover, oats, barley, beans and silage.

The beef is hung on the bone for 28 days; even the burgers and hindquarters are aged for four weeks. ‘In comparison with supermarket beef, one of our sirloin steaks can take three years to come to the table,’ says Sam Newton, farm wholesale manager. Four years ago, Goodwood also began to produce humanely reared rose veal from its male dairy calves, sold not only in the shop at Goodwood, but also at Fortnum & Mason in London.

‘We sell a range of cuts,’ says Hassell.

‘Customers can be quite specific about what they want. If you fancy a 4lb rib of beef, or anything right down to offal for your dog, we can do it.’

Cuts that used to be seen as less desirable have come back into fashion: pig’s cheeks, shin of

beef, oxtail etc. ‘And,’ adds Hassell, ‘our mince is out of this world.’

He points out that the number of outlets selling themselves as farm shops has risen sharply over the past 10 to 15 years. ‘Some of them have lost their way a bit, or they’ve jumped on the bandwagon, and don’t really produce anything themselves. Our shop is right here on the farm and we’ve recently been bringing it back almost entirely to goods produced here, so most of what we sell is meat, milk, cream, cheese and ales.’

The clientele is a broad spectrum, from locals doing the weekly shop, to shoppers from a bit further afield who come to buy unpasteurised milk, as well as summer-season visitors and passing trade.

Goodwood’s cheese, milk and cream are also worth shouting about: this was the first 100 per cent organically fed dairy in the UK. The herd of 200 milking cows are Dairy Shorthorn, a breed dating back to the 16th century, and all the milk is unhomogenised, so it tastes truly creamy.

Cheeses are made by hand, using slow-maturing natural cultures: hard, Cheddar-style Charlton, sold at three levels of maturity; Brie-style Levin Down; and the buttery blue Molecomb.

The estate’s ales and lagers are produced by an independent local brewer using malted Goodwood barley, then bottle-conditioned or kept in casks.

Much of the farm produce is sold to or at Goodwood events, underscoring the Richmond family’s dedication to organics and sustainability.

The farm is 95 per cent self-sufficient in terms of animal feed, and no pesticide or fertiliser is used, in order to protect wildlife and the natural ecosystem. Traditional rotation is employed to reduce risk of crop failure, and keep the soil rich in nutrients, which in turn contributes towards the fantastic flavour of Goodwood meat.

‘The meat products are fundamental to what we do,’ concludes Hassell. ‘Everything is interlocked because of the type of land we’ve got. Over the past five years, we’ve worked hard to develop the Goodwood brand and we want to celebrate what we do.’

Goodwood Farm Shop, Chichester, West Sussex PO18 0QF (goodwood.com). Open Monday to Saturday, 9.30am–4.30pm. A range of hampers is available, including a bespoke service

goodwood / 44 / the season

d r e ss i n g - u p box choosing what to wear to the season could take time this year. designers have referenced a gorgeous array of retro themes… you may need to try them all on Words clare coulson

FRoM leFt to RIght: Spring/summer collections tapped into the past for inspiration. Factory Girl: Dior, Louis Vuitton; New Bohemian: Gucci, DVF; Asia Major: Etro, Pucci; 3D Florals: Oscar de la Renta, Sass & Bide; Future Perfect: Burberry Prorsum, Hussein Chalayan

p a r t o f t h e fun of summer’s festivals is the chance to play another role – well, at least sartorially speaking. This season, designers have served up plenty of larger-than-life characters – they’ve been inspired by the glamorous Italian sirens of the Fifties, the mini-wearing Mods of the Sixties and the fabulous jet-setters of the early Seventies, displaying a rich Asiatic influence and some traditional feminine tropes. But these are not mere copy-cat looks – rather, they are nostalgic trends giving the nod to eras past while keeping one foot firmly in the here and now and an eye on the future.

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factory girl

new bohemian

When Marc Jacobs heads in a new direction, as he has a tendency to do every six months, the fashion world takes note. Both via his own label and at Louis Vuitton, he decrees this summer will be all about the Swinging Sixties, with Op Art patterns from very short checked tunics to ankle-skimming maxis in bold stripes.

Raf Simons gave a nod to the look in his debut at Christian Dior – his candy-coloured striped mini-dresses may be sugary sweet but they have real bite. Look to two of the icons of the era for inspiration – channel Andy Warhol muse Edie Sedgwick and add oversized earrings and lashings of eyeliner and fake lashes, or model Peggy Moffitt, whose glossy, asymmetric bowl-cut will instantly transport you back to the era. The only other must-have? A pair of low-heeled pumps in super-shiny black.

If you fantasise about swanning around a palazzo, elegant in a silk tunic and flared pants, dripping costume jewellery, then this could be just the look for you. It’s part Seventies jet set – think Marisa Berenson or Marella Agnelli living it up with Yves Saint Laurent in Marrakech, circa 1973 – and part Italian principessa. Frida Giannini sums up the look in her spring pieces for Gucci: billowy trouser suits and dramatic column dresses in bright colours. For more inspiration still, look to the woman who actually lived the life: Diane von Furstenberg. She has recreated the clothes of her youth – printed jumpsuits and kaftan-inspired dresses accessorised with statement jewels – for her DVF collection.

The message here is that there’s no such thing as over the top. As Giannini put it post-show, the jewels should look ‘like fake Liz Taylor’.

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

goodwood / 45 / the season

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asia major

3D florals

future perfect

Fashion is indulging in a major love affair with all things Asiatic right now. For Veronica Etro, it’s the hand-painted florals of Japan reproduced on Japanese-influenced silhouettes, such as kimono-inspired jackets or obi-wrapped tops.

Peter Dundas cited Indochina as the inspiration behind his current collection for Pucci, which includes satin jackets and silky trousers swirling with dragons and exotic motifs and dresses in patchworks of Asian silks. A similar theme was explored by the Olsen twins for their label, The Row – the duo had been looking at the work of the 18th-century painter Ito ¯ Jakushu¯ and their collection is packed with flowing silk layers. Perhaps this languid nod to Japonism is the most elegant way to wear this look, topped with an embroidered piano shawl – light and feminine but opulent enough for event dressing.

For some women – and some designers – summer is all about romantic florals. This season, designers are taking florals to the extreme by adding 3D embellishments in sequins, beads and appliqués.

Sass & Bide trimmed the necklines of their mini-dresses with life-size roses (a trick that is easy to mimic with some delicate organza, silk or velvet flowers from haberdashers such as VV Rouleaux). Dolce & Gabbana has done a similar thing, decorating its striped summer dress with sprigs of pretty silk flowers, while Oscar de la Renta covered entire tops with blooms.

The floral print is still very much on show and perhaps the most British interpretation is at Bottega Veneta, where Tomas Maier has created exquisitely pretty Forties tea dresses and topped them with contrasting flower appliqués or, in some cases, added a matching cashmere knit.

For all the blatant nostalgia in fashion, there is always a contrast and this time around it comes in the form of futuristic pieces in PVC, plastic and stark white. There’s a Courrèges feeling to some of these looks – in the spacey white plastic-coated tunics at Eudon Choi or the plastic capelets that Christopher Bailey put on the models’ shoulders at the Burberry Prorsum show. Hussein Chalayan takes a similar path with his stark white shorts suits and dresses crowned with sculptural hats with clear PVC panels, as does Jil Sander with bright white mini-dresses and Courrèges-style white bootees. Topped with one of spring’s clear plastic macs or capes this could just be the perfect British summer look.

Clare Coulson writes about fashion for Harper’s Bazaar and The Sunday Telegraph

goodwood / 46 / the season

a passion

for speed two decades ago, Lord March launched the goodwood Festival of speed, hoping a few thousand hardcore enthusiasts might attend. In fact, 25,000 people turned up – and 20 years on, it is a high point of the British summer W o r d s s i m o n d e b u r to n

goodwood / 47 / the season

i t w a s w a y b a c k i n 1 9 3 6 that the sloping estate road that passes in front of Goodwood House first revealed itself as perfect for automobile competition. That was when Freddie March, ninth Duke of Richmond, invited the Lancia Car Club to use it for a hill climb meeting – in which he duly set the fastest time of the day in his 1200cc Augusta cabriolet.

But it was not until 1993, four years after Freddie’s death, that the grounds of Goodwood House were to truly blossom as a Nirvana for petrolheads thanks to his grandson Charles March, whose visionary Festival of Speed has come to be regarded as one of the most important happenings on the international motorsport calendar.

Celebrating its landmark 20th anniversary this year, the Festival of Speed has been instrumental in giving a new lease of life to the once relatively niche world of classic cars, in which gatherings could often be rather static affairs. The Festival’s remarkable success, however, belies the fact that it came about almost by accident.

Having inherited his grandfather’s passion for cars and motorcycles, Lord March initially sought to return motor racing to the nearby Goodwood circuit, built by Freddie in 1948 on the site of the former Westhampnett RAF base. For 18 years it was the scene of top-level competition before being put into semi-hibernation when the cars became too fast for the track.

Lord March’s early attempts to reinstate the circuit stalled at the planning stage (he finally succeeded in 1998 when the Goodwood Revival began), prompting him to look to the 1.16-mile stretch of Tarmac running directly in front of Goodwood House.

He had already tested out its suitability for hill climbing when, as a schoolboy, he had thrashed his mother’s MG1100 along its length before eventually losing control on a patch of gravel, crashing and hospitalising himself for several months.

It clearly didn’t put off the indomitable Lord March, who launched the Festival of Speed with an investment of little more than £50,000, a small army of volunteers and an enormous helping of enthusiasm. Initial research into the feasibility of such an event suggested it might well prove popular, and that spectator numbers could reach as many as 2,500. In fact, by the end of proceedings, 25,000 had been through the turnstiles.

That first Festival consisted almost entirely of classic cars and motorcycles, with the emphasis being on the sort of machinery that had competed at the motor circuit during the Forties, Fifties and Sixties – so it was the evocative sight, sound and smell of Alfa Romeos, BRMs, Coopers and Lotuses that set the scene in 1993, with fans finding themselves up close to cars such as the ex-Mike Hawthorn Ferrari ‘Thin Wall Special’ and the ex-Juan-Manuel Fangio Maserati 250F.

LEFT: Nino Farina wins the Daily Graphic Trophy race at Goodwood circuit, 1951

Also in the paddock and roaring up the hill were no fewer than four Ferrari 250 GTOs (now the most valuable classic car in the world) including one owned by fanatical collector Sir Anthony Bamford, which had been raced at Goodwood by stars such as Graham Hill, Innes Ireland and that mainstay of motor sport for the past 60 years, John Surtees – a founding patron of the Festival along with Sir Stirling Moss. One of the greatest motoring events in the world had been born…

— 19 94

The runaway success of the inaugural Festival meant the 1994 event would run across two full days and take on a truly international feel, thanks to the inclusion of several rare cars from the United States. It also saw the inauguration of the annual theme – in 1994’s case, ‘100 Years of Motorsport’. Cars dating back to 1894 took part, contrasting dramatically with the McLaren-Peugeot F1 car which Martin Brundle drove up the hill in a record time of 47 seconds.

— 19 95

The theme of ‘Great Racing Battles’ provided all the excuse that was needed to reunite some of the famous machines of the past, with Moss and his former co-driver Denis Jenkinson getting back together to run up the driveway in the MercedesBenz 300 SLR in which they won the 1955 Mille Miglia in record time. 1995 also saw the inaugural Cartier ‘Style et Luxe’ concours event (a cornerstone of the Festival ever since) as well as the first staging of the Supercar Run and the opening of the off-road rally course.

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popper foto/getty images

19 9 6

Now embracing three days, the 1996 Festival was dedicated to ‘Dream Teams’ and saw Eddie Irvine scream up the hill in Ferrari's 1995 F1 car {pictured overleaf, fig.1}. Spectators were equally amazed by the 1916 ‘Golden Submarine’, one of the first streamlined racing cars, and the triple Indianapolis 500-winning Blue Crown Special, which had not run in public for more than 40 years. Two-wheeled racing history was also brought to life with Giacomo Agostini turning out to ride the MV Agustas that were almost unbeatable in their heyday, while Thrust SSC was also on show, in advance of setting a new world land speed record of 763mph the following year.

— 19 97

For the first time, torrential rain threatened to mar the Festival – but it failed to prevent the appearance of remarkable cars such as a pre-War Auto Union D-type, a Mercedes-Benz

goodwood / 48 / the season

fig.1

fig.3

fig.2

Seven F1 teams took part in 2001’s Festival ahead of the British GP

19 98

The most powerful World Rally Championship car ever built, Audi’s fire-breathing Quattro S1, thrilled the Goodwood crowds as it howled past, driven by former works driver Michèle Mouton – the only woman to win a round of the Championship when she took the laurels in the 1981 San Remo Rally. The sight of Mario Andretti driving the black and gold-liveried John Player Special Lotus 79 from 20 years before also brought a lump to many a throat, while Porsche marked its 50th birthday by showing its earliest surviving car.

— 19 9 9

up the driveway and, at the opposite end of the speed scale, the first running of the Soapbox Challenge, in which gravity-powered cars raced one another down the hill at speeds of up to 70mph.

— 2001

This is the year best remembered for the recordsetting run by German driver Nick Heidfeld, who scorched up the hill at the wheel of a McLarenMercedes MP4/13 in 41.6 seconds – a time which is still unbeaten. There was also a celebration of the Le Mans 24 Hours race, with 84 cars that had taken part over the years making an appearance.

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Seven F1 teams took part in 2001’s Festival in advance of the British Grand Prix the following week, while the centenary of Mercedes-Benz saw a line-up of the marque’s most historic models, worth tens of millions of pounds. For true spectacle, however, Sixties drag racing star Bob Riggle proved hard to beat by driving his monstrously powerful Plymouth up the hill on its rear wheels.

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2000

2002

Notable firsts at the 2000 festival included Johnny Herbert establishing the tradition among F1 drivers for performing crowd-pleasing burn-outs halfway

Renault marked its return to F1 racing with a central feature, designed by artist Gerry Judah, bedecked with its cars, while road-racing cars

and drivers from the golden years of the Mille Miglia celebrated the Italian race’s 75th anniversary. They included Stirling Moss and his record-breaking Mercedes-Benz 300 SLR, as well as the Ferrari 340 America that won in 1951.

— 2003

The 10th year of the Festival was also the centenary of Ford and the 50th anniversary of that legendary American sports car, the Chevrolet Corvette.

Mercedes-Benz displayed its 1954 W196 streamliner for the first time since the completion of a painstaking, six-year restoration. And the Cartier ‘Style & Luxe’ concours included a mock beach – in keeping with the theme of one of its classes ‘beach buggy design and culture’.

— 2004

The Soapbox Challenge gravity race was run for the last time in 2004, after the prodigious speeds achieved by ever more sophisticated designs resulted in three major crashes, while this year’s crowds were treated to some of the wildest-looking wheels in the Festival’s history, including Lady Penelope’s pink FAB1 limousine, John Lennon’s psychedelic Rolls-Royce Phantom { fig.3} and an amazing array of Sixties ‘fuel-altered’ dragsters.

— 2005

A brand new forest rally stage proved to be one of the great attractions of the 2005 Festival – not least when its designer, Finnish rally legend Hannu Mikkola, tackled it in an Audi to help celebrate 25 years of the all-conquering Quattro.

gamma rapha via getty images, bill zygmaat/rex features, jonathan hordle/rex features, lat photographiC, getty images

Stromlinienrennwagen and the two Vanwall F1 cars that were driven in the 1957 British Grand Prix by Stirling Moss { fig.2} and Tony Brooks.

British motorcycling hero Barry Sheene made the first of several Festival appearances, and Ferrari’s 50 years in GP racing was marked with a vast ‘Ferrari arch’ sculpture outside Goodwood House.

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goodwood / 49 / the season

fig.4

It was also 50 years since Jaguar’s D-Type first won at Le Mans, an event marked by the appearance of two of the rarest and most valuable D-Types surviving. Bikers, meanwhile, were inspired by Ewan McGregor and Charley Boorman { fig.4} who attended the Festival having just completed their 19,000-mile Long Way Round odyssey.

— 2006

fig.5

2010

To mark 100 years of Grand Prix racing, the 2006 Festival welcomed GP cars from every era of the sport, including a recreation of the Renault { fig.5} driven to victory in the inaugural 1906 race by Hungarian Ferenc Szisz. The Festival also marked 40 years of Can-Am racing, with Lord March himself driving a Lola T70 up the hill to celebrate the occasion. The Supercar Run, meanwhile, saw the much-hyped Bugatti Veyron make its UK debut.

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Now extending to four days, the Festival included the so-called ‘Moving Motor Show’, in which members of the public get the chance to be driven up the hill in the latest exotica. Few people wanted to travel in an innocuous-looking Ford Transit in Goodwood Estate livery – until they discovered it featured Jaguar XJ220 running gear. The 60th anniversary of Mexico’s madcap Carrera Panamericana road race was also celebrated with a special 10-car class.

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2007

Motorcycles enjoyed more of the limelight than usual in 2007 when the Festival marked a century of the Isle of Man’s famous TT races. Highlights included an exact replica of the Norton ridden by the first TT winner, Harry Rembrandt Fowler, and an array of racing bikes from Honda’s museum.

There was also an impressive display of streamlined cars that had set speed records on the salt flats of Bonneville. The Cartier ‘Style & Luxe’, meanwhile, fielded five of the six Bugatti Royales ever made.

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fig.6

2008

Lewis Hamilton { fig.6} was the undoubted star of 2008’s Festival, making an appearance just a week after winning the British Grand Prix.

There was also a special class for the many famous cars to have raced in the distinctive blue and orange livery of Gulf Oil, ranging from the Ford GT40 that won Le Mans in 1968 and 1969 to the contemporary Aston Martin DBR9. But it was 12-time World Motorcycle Trials champion Dougie Lampkin who produced the real surprise of the year’s Festival by riding up the stairs and on to the roof of Goodwood House.

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racing cars made by Auto Union and MercedesBenz. Audi’s then-new R8 Supercar was perched on the top of a towering sculpture to mark the firm’s centenary. A few rally fans with strong constitutions, meanwhile, were treated to a lap of the forest stage – driven by Sebastien Loeb, who was at the time on the way to the sixth of his (so-far) nine World Championships.

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fig.7

2 0 11

Another year, another raft of anniversaries – this time the 50th of two truly iconic cars, the Jaguar E-Type and the Mini Cooper. A century of the Indianapolis 500 was also marked by the appearance of 40 cars that had taken part in the race, together with several legendary Indy 500 drivers including Emerson Fittipaldi, Parnelli Jones and Bobby Unser. And, as if the highoctane excitement of some of the world’s fastest cars wasn’t enough, Goodwood inaugurated the Action Sports Arena { fig.8} to showcase the skills of freestyle motocross and BMX riders.

— 2012

2009

A royal train carriage and an aircraft featured in 2012’s Cartier ‘Style & Luxe’ in a nod to the Queen’s Diamond Jubilee, which was also marked by the appearance of a military band and a parade of royal cars. Elsewhere, the annual Bonhams auction, which has been staged at the festival every year since the start, saw the car collection of the late English watchmaker Dr George Daniels fetch a total of £10m and the crowds were treated to the world debut of Jaguar’s F-Type two-seater sports car.

Movie fans were amazed to see Peter Fonda cruise up the hill on the ‘Captain America’ chopper { fig.7} he rode in 1969’s Easy Rider, while historic GP addicts were treated to the sight of no fewer than 14 ‘Silver Arrows’

The Goodwood Road Racing Company has produced a book to mark the 20th anniversary of the Festival of Speed. It costs £45 and can be bought from the online shop at goodwood.com

fig.8

in fine fettle On the first day of the Season at Goodwood, fashionable racegoers prove that, in the style stakes, a photo finish is not just for the horses

‘I come to admire the horses – they’re so elegant. And it’s a great excuse for people-watching, too’ AbiGAil WilsOn, FAsHiOn sTudenT And mOdel

p h o t o g r a p h e r ’ s a s s i s t a n t: d a v i d l a u

P H O TO G R A P H Y p h i l l tay lo r

Rachael: ‘I love seeing all the men dressed up in their best suits and Panama hats.

They’re so dapper’ JAck minsHAW, e-cOmmeRce execuTive, And RAcHAel ZAPOlski, PHilOsOPHY sTudenT

OPPOSITE: Dress, Alice + Olivia.

Shoes, LK Bennett THIS PAGE: He wears suit, Alexander McQueen; shirt, Hardy Amies; shoes, Jimmy Choo; and panama hat, Bates. She wears dress, Peter Pilotto; shoes, Jimmy Choo; hat, Robyn Coles; and bag, Rupert Sanderson

‘I like to experiment with fashion at Goodwood – it’s a great excuse to wear something brighter and cooler than the usual traditional tweed’ Luke brandon FieLd, actor

THIS PAGE: Suit, Paul Smith; shirt, Burberry; shoes, Joseph Cheaney & Sons; sunglasses, Hardy Amies; and pocket square, Gieves & Hawkes OPPOSITE: Dress, Mulberry; shoes, LK Bennett; hat, Karen Henriksen; and bag,Rupert Sanderson

‘The sound of the horses’ hooves is quite incredible – although it’s almost drowned out by the crowd cheering!’

Gaby Wood, Literary editor, The Telegraph

Will: ‘I really enjoy the ceremony of the occasion. And the grounds are beautifully, quintessentially British’ Sara greaveS , Copy editor, and Will greaveS , trainee SoliCitor

‘A race day at Goodwood is a very colourful affair – I love admiring all the hats, and it’s a great excuse to wear one myself’ Selina JoneS, artS pr manager

opposIte: she wears dress, Roland Mouret; coat, Burberr y prorsum; shoes and bag, both Jimmy Choo; and headpiece, Rachel Black.

He wears suit and shirt, both Gieves & Hawkes; tie, Goodwood; and shoes, Jimmy Choo tHIs pAGe: Dress, Roksanda Ilincic; shoes, preen by thornton Bregazzi; headpiece, sarah Cant; and bag,Asprey

goodwood / 56 / the season

things to do today...

Ever wanted to fly a plane or drive a classic car? Goodwood offers these truly memorable experiences, plus favourites such as golf and spa days, all set in the same stunning location on the South Downs Words laura ivill

fig.1

g l o r i o u s ! There is no other word that sums up Goodwood so well. The classic cars, the racehorses, the frocks, the fascinators – all are part of the English Season celebrated in style at this vast country estate. The top-line events grab most of the headlines: Goodwood Festival of Speed, Goodwood Revival and Glorious Goodwood, that cornerstone of the British social calendar. But there is much more to discover.

The estate has 12,000 acres of stunning parkland to explore and a working farm that supplies fresh produce to the restaurants and

farm shop. What makes this destination unique, though, is its collection of venues – racecourse, airfield, spa and sculpture park to name a few.

It is located on the edge of the South Downs, near Chichester, so you have the National Park and the cathedral city on your doorstep. The cathedral was built over ancient remains and a Roman mosaic can be seen preserved through the floor. Philip Larkin found inspiration among these tombs, penning his poem ‘An Arundel Tomb’ after a visit.

Then, leaving the candlelit gloom, fig.1 head out for lungfuls of fresh air at Chichester

Harbour, an expansive natural waterway where tidal flats attract flocks of wildfowl and waders.

An ideal base from which to explore this green and pleasant land is the refurbished Goodwood Hotel – it combines award-winning dining and elegant interiors with 21st-century technology.

From adrenaline-fuelled thrills to restorative pampering therapies, here are five unforgettable experiences to try during your stay.

Visit goodwood.com/experiences for more information. To book, call 01243 775537 or email reservations@goodwood.com

goodwood / 57 / the season

a l f r e s c o a r t g a l l e r y {fig.1} —

the flight

Enjoy gorgeous views of the countryside and coast from a Cessna 172 training aircraft, equipped with the latest avionics. Beware: if you like this, you might love Goodwood’s extreme aerobatics, too. Only for the fearless.

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the experience

If you go down to the woods today, you’re in for a big surprise. Among the bluebells and the mature parkland trees stand 80 monumental sculptures. In this bucolic setting, the witty and contemporary artworks, curated by the Cass Sculpture Foundation, appear otherworldly. Oversized and extraordinary, these curious pieces are revealed as you wind your way through atmospheric woodland.

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the deal

fig.2

the artworks

As all of the artworks are for sale, the exhibition is constantly evolving as pieces find new homes across the world. Viktor Timofeev’s ‘X’ is made from rusted Corten steel on the outside and polished stainless steel on the inside. You are invited to walk into the giant perforated X, where you sense an unexpected harmony between its raw industrial construction and the verdant surrounding countryside. Tony Cragg’s towering organic ‘Current Version’ is three tons of fibreglass, 3.4m high, that appears to represent movement frozen in time.

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t h e g r e e n s p a r t y {fig.4} — the experience

fig.3

the deal

Overnight stay from £170 for two in a Signature king or twin room, with breakfast, two tickets to the Cass Sculpture Foundation and the exhibition book (or from £221, including dinner for two in the hotel’s Richmond Arms restaurant). t h e d r i v e o f y o u r l i f e {fig.2} — the experience

Hire a classic car for the day and heads will turn as you cruise the lanes of the South Downs.

How admirers will feast on all that glistening bodywork, walnut interior, sumptuous leather upholstery and an engine that has more va-va-voom than a spin with Bond. On a warm summer’s day, throw a hamper in the back, take the top down and enjoy the freedom of the road.

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What makes Goodwood unique is its collection of venues

fig.4

f u n f o r h i g h - f l y e r s {fig.3} —

Both of Goodwood’s exacting courses will provide a scenic and challenging round – the Downs Course has tricky dog-legs and long, sweeping fairways with expansive views; the Park Course has tree-lined fairways with shots onto small greens demanding accuracy.

— the deal

From £210 per person per night, including an hour’s golf tuition for a group of four, accommodation based on two sharing (golfing widows will thank you for a spa treat) and breakfast. Additional coaching costs £100 per hour, based on a group of four. You can follow your coaching session with nine holes with your golf pro for £150, or 18 holes for £300, per group.

Relax, unwind and slow down – you deserve a bit of pampering. This is where The Waterbeach spa comes in. Switch off in the sauna, feel cleansed in the steam room, let the Jacuzzi jets gently massage tired muscles and then give yourself over to the healing touch of a therapist, after which you might be ready for a swim in the pool.

Worked up an appetite? Feast on mouthwatering dishes in any of the three restaurants before sinking into crisp white sheets. Bliss.

— t h e t r e at m e n t s

Decisions, decisions... a rejuvenating facial for renewed get-up-and-glow, or will you surrender to expert hands for a deep-tissue massage? Can’t decide? Then go for the best of both worlds.

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the experience

Take to the skies in a light aircraft over the Sussex countryside and feel the thrill of piloting this bird yourself. Your passenger hops in the back as you sit in the cockpit alongside a Goodwood flying instructor, ready for take-off.

The propeller roars into life, you taxi along the runway and at full throttle the plane lifts off.

With dual controls, you are totally hands-on as you fly over the patchwork of fields below.

t h e f a i r w ay s

the experience

You could choose a sumptuous E-Type or a sporty Austin-Healey, or feel like a racing ace in an AC Cobra. If your style is more classic elegance, you could be behind the wheel of a Roller.

— From £198 for two, including an overnight stay with breakfast, hire of a classic car for the day (10am–5pm), with 100 miles of fuel.

Need to improve your swing or perfect your stance? Most golfers just need an expert’s eye to coach them to the next level. Get a group together and book a pro to up your game. With no more than four students to one PGA pro, group tuition targets common problems, while one-to-one time will iron out specifics.

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p a m p e r e d p e r f e c t i o n {fig.5} —

the cars

the deal

A package for two people is £149, including a 30-minute flight, a delicious lunch in the Goodwood Bar and Grill (£15pp food allocation) and full use of the Health Club for the day, with pool, sauna, steam room, gym and tennis courts.

the deal

fig.5

From £244 per night for two people, including breakfast and dinner, full use of the Health Club and two treatments: choose from a tailored mini facial; shoulder, back and neck massage; mini manicure or luxurious pedicure.

goodwood / 58 / the season

e f fo r tle ss c l ass

w e a l w a y s u s e d t o have a cocktail party for the drivers at Goodwood on the Saturday preceding the Easter Monday meeting – they didn’t race on Sunday back in the Sixties. In the Long Hall at the house I went round as an eight-year-old getting everyone’s signatures. Jim Clark and Jackie Stewart were there and I remember my grandfather pointed them out to me as a World Champion and one in the making. Jim was nice to me – quiet, charming, a thoroughly good guy; not brash like a lot of them.

Jimmy drove several of his early races at Goodwood – and test drove on the circuit as well, before becoming the acknowledged standard-setter of his time and achieving concrete success.

He was an absolutely world-class driver. ‘Effortless’ is a very good way to describe his ability. He could sit in any car and squeeze a performance out of it, whether it was a monstrous Lotus sports racing car or a NASCAR Ford Galaxie, IndyCar, Lotus Cortina rally car, Le Mans Aston Martin DBR1 or a touring car. I’d see him on Easter Monday at the Goodwood track racing all of those types of cars. And winning in all of them.

In 1960, Jimmy was the new boy in Colin Chapman’s Team Lotus squad of new Formula Junior Type 18 cars. The opening members’ meeting of 1960 at Goodwood saw the first round of the FJ Championship. Jimmy in the Lotus 18 won, ahead of John Surtees in an unpainted Tyrrell-entered

Cooper, making his four-wheeled racing debut. After that, Jimmy was quickly into Team Lotus’s F2 and F1 cars. At the time of his death, in a Formula Two accident at Hockenheim in 1968, he had won more Grands Prix, 25, and reached more Grand Prix pole positions, 33, than any other driver. He had also won both the F1 World Championship (twice) and the Indianapolis 500 (the first non-American to triumph in almost half a century). And he’s still the only driver to this day to win both the F1 Championship and Indy 500 in the same year, 1965.

Many regard Jimmy as the most gifted driver of all time, even if he was statistically not the most successful. I remember him fondly, and he will always be associated with Goodwood. In 1965, he started from P3 on the outside of the front row for the Sunday Mirror Trophy F1 feature race at Goodwood on Easter Monday and won it again, sharing fastest lap with Jackie Stewart’s BRM at 1:20.4, as every schoolboy knows. It was the last F1 race held on the circuit and I still have the trophy listing that lap record.

In 2010, triple world champion and fellow Scot Jackie Stewart drove his Indy-winning Lotus 38 and wore Jimmy’s helmet in homage. Certainly, this son of a farmer from Fife is still a hero to many today, and that is why he is the worthy featured driver at this year’s Goodwood Revival.

Jim Clark, 1936-1968

LAT PhoTogrAPhic

Lord March remembers Jim Clark fondly, as a world class driver and ‘good guy’