GOODWOOD | ISSUE 14 by Uncommonly

Cars Fashion Farming Design Dogs Horses Vintage Tech Food & living the life

ÂŁ10.00 ÂŁ10.00

Summer 2019 Winter Winter 2019/20 2019

Bowled over Natural Natural history history

Pilot’s Watch Chronograph Spitfire. Ref. 3879:

inspired by classic military standard watches such as the Mark XI navi-

Only rarely do form and function blend as magically as in the design of ven aircraft outstanding flying characteristics, but were also responsible

gation watch we started producing in 1948 for the British Royal Air Force. More than 80 years after its first flight, we are now sending the Spitfire on its longest-ever journey: Steve Boultbee Brooks and Matt

for its perfect silhouette. Like the Spitfire, our eponymous watch line

Jones are setting off on an adventurous circumnavigation of the globe in

the Spitfire. The elliptically shaped wings not only gave the propeller-dri-

makes no compromises when it comes to engineering and design. For

their Silver Spitfire. It will take the British airborne icon on a flight of

that reason, we equip all our Spitfire models with high-quality in-house

43,000 kilometres, touching down in 30 countries. There’s no dream too

movements from Schaffhausen. The puristic instrument-look design was

big to stop us living it.

London Boutique · 138 New Bond Street · W1S 2TJ · +44 (0) 203 618 3900 · www.iwc.com FOLLOW US ON:

IWC SPITFIRE. THE DREAM TAKES FLIGHT.

LETTER FROM THE DUKE OF RICHMOND

memorable moments Welcome to the winter edition of Goodwood Magazine. This is a time for most of us to reflect on the year that has passed, its high points and glory days – and we always have plenty of those here at Goodwood – as well as remembering sadder events in years gone by. In this issue we cover both. Our Curator, James Peill, tells the story of the tragic death of my great-uncle, Charles, Lord Settrington, 100 years ago. Charlie was just 21 when he died, full of high hopes for his future. This summer the family made a trip to Archangel in Russia to honour him. You can read about his life and death on p66. Five very different moments of remembrance are recounted in this issue, kicking off with the joyful triumph of Khadijah Mellah, the 18-year-old student from Peckham who won this year’s Magnolia Cup, our Ladies’ Day charity horse-race. As the first woman to race in a hijab, she prompted headlines across the world. You can read her story and those of four other people who had big Goodwood moments in 2019 on p74. Elsewhere, we talk to the director of the new film Le Mans ’66, which tells the dramatic tale of the battle between Ford and Ferrari (p36); curator Jonathan Black describes the life and work of an extraordinary family of artists, the Carlines (p42); Lucia van der Post hails the rise of a new wave of British perfume, with an emphasis on the local (p62); and we share some favourite seasonal recipes from our restaurant, Farmer, Butcher, Chef (p82). Best wishes for the festive season from everyone at Goodwood. We look forward to welcoming you back here in 2020.

The Duke of Richmond

TIME , A HE RMÈS OB JECT.

Arceau, L’heure de la lune Time flies to the moon.

CONTRIBUTORS

The front cover shows Aristolochia clematitis, a climbing plant pressed within the pages of one of Goodwood Library’s 18th-century herbaria. Cover, Start and Finish photographs by Lol Keegan

Erin Baker

James Peill

Formerly motoring editor of The Daily Telegraph, Erin has a love of speed – and a motorbike and race licence to prove it. Now editorial director of AutoTrader, she also writes about cars for Goodwood and Vanity Fair. As a member of Lamborghini’s Female Advisory Board, who better to write about the marque’s enduring appeal.

Author of The English Country House, James has been Curator of the Goodwood Collection since 2009, and this year published Glorious Goodwood. For this issue he travelled to Archangel in Russia with the Duke of Richmond to remember family members killed fighting there 100 years ago this year.

Peter Hall

Lucia van der Post

In the run-up to the upcoming movie Le Mans ’66, starring Matt Damon and Christian Bale, Peter speaks to the film’s director James Mangold and recounts the story of that celebrated race, which pitted Ford against Ferrari. A former motoring editor of The Daily Telegraph, Peter contributes to topgear.com and Octane.

As the founding editor of the FT’s How to Spend It, Lucia is one of the most renowned luxury journalists in the UK, and someone whose opinion on everything from travel and style to design and modern manners is as eagerly awaited as ever. For us, she enthuses about the new wave of innovative British perfumers.

Benjamin Madgwick

James Oses

Benjamin studied graphic design and illustration before falling in love with photography. He started out assisting Peter Lindbergh and Miles Aldridge and now shoots for Harper’s Bazaar and L’Officiel. For us, Benjamin captures the drama of this season’s flamboyant gowns and gems amid the grandeur of Goodwood House.

James is a London-based illustrator who works in watercolour, ink, collage and oil pastels. His clients include newspapers and cultural organisations, from The Daily Telegraph and The Guardian to Borough Market. In this issue, he brings to life seasonal recipes from Farmer, Butcher, Chef.

Editors Gill Morgan James Collard Art director Sara Redhead

Sub-editor Damon Syson

Picture editor Emma Hammar

Design Luke Gould Lesley Evans Ewa Dykas

Project director Sarah Glyde

Cars Cars Fashion Fashion Farming Farming Design Design Dogs Dogs Horses Horses Vintage Vintage Tech Tech Food Food living &&living thelife life the

Natural history

In-House Editor for Goodwood Catherine Peel catherine.peel@goodwood.com

£10.00 £10.00 £10.00

Winter 2019

Winter 2019 Summer2019 2019 Winter

Natural history Bowled over Natural history

Goodwood Magazine is published on behalf of The Goodwood Estate Company Ltd, Chichester, West Sussex PO18 0PX, by Uncommonly Ltd, Thomas House, 84 Eccleston Square, London SW1V 1PX, +44 (0) 20 3948 1506. For enquiries regarding Uncommonly, contact Sarah Glyde: sarah@uncommonly.co.uk

© Copyright 2019 Uncommonly Ltd. All rights reserved. No part of this publication may be reproduced without prior permission from the publisher. While every effort has been made to ensure the accuracy of the information contained in this publication, the publisher cannot accept responsibility for any errors it may contain.

CONTENTS

Shorts 14

Stroke of genius Remembering James Braid, the visionary designer of Goodwood’s Downs Course

Fifty shades of greyhound The charming new book that recounts historical moments from a canine perspective

Victorian values Sales of Christmas cards may be down, but tastemakers are embracing early examples of this unique artform

The best of the vest In praise of the gilet, the perfect way to stay warm without bulking up

Style thoroughbred Equestrian chic has always inspired fashion houses, like French brand Chloé, makers of Villanelle’s iconic horsethemed jacket in Killing Eve

Dancing into battle Why the Duchess of Richmond’s 1815 ball still inspires writers and directors

The rule breaker A new book celebrates the turbulent but triumphant history of Lamborghini

Good heavens Contemplating the sky is the key to a happy life, says cloudwatcher Gavin Pretor-Pinney

Say cheese Meet the dairy wizard behind Goodwood’s award-winning organic cheeses

START

All in good time Face to face with Goodwood’s fascinating clock collection

High art The Carline siblings, Sydney, Richard and Hilda, left behind a extraordinary body of work that spanned two world wars. We tell the fascinating story of their interwoven lives and creative achievements

BENJAMIN MADGWICK

From top: let your sartorial imagination run wild with our dramatic winter fashion special (p50); Damascus and the Lebanon Mountains from 10,000ft, by war artist Richard Carline (p42)

Features 36

Pistons at dawn Le Mans ’66, with Christian Bale and Matt Damon, traces the bitter rivalry between Ford and Ferrari. We spoke to its director, James Mangold

Notes from a small island Innovative British brands are making waves in the world of perfume-making, using surprising locally sourced ingredients such as seaweed and peat

In memoriam A century has passed since the tragic death of Charles, Lord Settrington. Goodwood’s curator James Peill looks back at a life full of laughter and promise, cut short in its prime

How does it feel to… Five remarkable people who helped make 2019 a very special year at Goodwood

A winter feast Your recipe for the ultimate festive meal, courtesy of the team at Goodwood’s Farmer, Butcher, Chef restaurant

Costume drama The grandeur of Goodwood House provides the perfect setting to showcase this season’s most seductively flamboyant party gowns

Calendar The unmissable events at Goodwood this winter, plus a look forward to 2020’s Members’ Meeting

Lap of honour Apple design legend Jony Ive on cars, art and bad haircuts

finish

ww w. ho l la n d a n dh o l la n d . co m

Start

The Cover, Start and Finish of this issue feature pages from the herbarium in Goodwoodâ&#x20AC;&#x2122;s Library. This is one of several volumes of pressed flowers and plants, probably created for the 2nd Duke of Richmond. The 18th century was a time of growing interest in natural history. Plant-hunters travelled the globe bringing back exotic specimens for the great estates of England, like the magnificent Cedars of Lebanon at Goodwood, planted in 1761. Meanwhile, closer to home, the first naturalists were starting to compile meticulous guides to the flora and fauna of their surroundings. Gilbert Whiteâ&#x20AC;&#x2122;s seminal The Natural History of Selborne, which focused on the village where he lived, just 20 miles from Goodwood, was published in 1789. The 2nd Duke of Richmond was similarly fascinated by science and a great patron of early natural-history publications. Many of these beautiful illustrated books are in the Goodwood Library, alongside the herbarium of Specimens of English Plants, carefully annotated with horticultural details.

SHORTS CLOUDS

GOOD HEAVENS Apart from spotting the odd deadringer for Donald Trump, most of us go through life without paying much attention to clouds. But for Gavin Pretor-Pinney, spending some time every day with your head in the clouds is the key to a happier life

SIM RICHARDSON

Words by Oliver Bennett

Many of us can recall our first aeroplane flight, soaring upwards through the semi-darkness with an anxious shudder – then that soothing moment of calm as we gaze down upon the fluffy clouds from above. It feels a bit like being in heaven, which is one of the reasons clouds hold a special place in our hearts – and one of the many reasons why Gavin Pretor-Pinney’s new book, A Cloud A Day, exhorts us to engage with the sky. You could say that Pretor-Pinney is the patron saint of celestial vapour. The author of three books about clouds, he founded the Cloud Appreciation Society 15 years ago, starting a steady but significant cloud craze. The Society now has over 47,000 members across the world and he knows cloud aficionados from Russia to South Korea – indeed, he’s just returned from Finland, where he discussed the spirits of the sky with Sami (Lapp) representatives. The Society arose from a gap in our appreciation of clouds. “Omnipresent and ever-changing, clouds are among the most beautiful parts of nature,” says Pretor-Pinney. “But I’d noticed – particularly in this country – that we just see them as bad weather. We’d become blind to their beauty.” He hopes that A Cloud A Day will be a daily reminder to look up. “We should all spend a few minutes a day with our heads in the clouds. It puts your feet on the ground. Cloud-spotting is good for the body, our creativity and most deeply, our souls.” It’s a route, he says, to the happiness that comes from finding beauty in the everyday. Since the Society began, mindfulness has become a huge trend. While this is welcome, Pretor-Pinney sees a twist. The sky, he says, is dynamic and evocative: it’s about engaging with something bigger than us, reminding us that

we’re not in control. There’s also a “trainspotting” aspect to it – cirrus, cumulonimbus, stratus and so on – which anyone who paid attention in geography lessons should understand. “Clouds were first classified in 1802 by Luke Howard, a British scientist, who was influenced by Carl Linnaeus’ system for plants,” says Pretor-Pinney. “By 1896 [with the publication of the International Cloud Atlas] ten classifications were official.” And here the Society has made history, updating this system in 2017. “We proposed the new ‘asperitas’ classification: turbulent, chaotic and wavelike.” It’s now officially part of the cloud-spotting fun. The book also celebrates the cloud’s cameo roles in culture, from Joni Mitchell songs to Wordsworth’s poems, paintings by Constable and (Pretor-Pinney’s favourite) Renaissance master Piero della Francesca. “Piero did a series of frescoes in Arezzo showing a lenticular cloud. It’s remarkable. He was clearly an early cloud-spotter.” To destroy the fun, we now have the brooding presence of climate change and man’s vainglorious attempts to influence weather. “There’s a long history of this, from appeasing the gods to the modern practices of ‘geoengineering’ and ‘cloud seeding’ where you encourage precipitation,” says Pretor-Pinney. “It’s never ended well.” Rather than trying to control clouds, he adds, we should enjoy their ineffable nature while we can – including at Goodwood: “Downland is great for cloud-spotting. Find some elevated ground, look out over the sky and you’ll see some great formations.” You may even see an asperitas.

A Cloud A Day – 365 Skies from the Cloud Appreciation Society by Gavin Pretor-Pinney is published by Batsford

SHORTS LAMBORGHINI

THE RULE BREAKER Founded in 1963 by a tractor manufacturer, Lamborghini has, over the years, been criticised and revered in equal measure. Now, a new book celebrates its turbulent but triumphant history Words by Erin Baker

Antonio Ghini, ebullient author of the glossy new tome titled simply Lamborghini: Where, Why, Who, When, What, says he decided he “would not make a book of cars, but a romance… where the reader could experience, first-hand, the magnificent and less-known history of Lamborghini”. And what a romance has ensued in the intervening decades since Ferruccio Lamborghini, successful tractor manufacturer, decided to stop complaining about the fragile clutch of his Ferrari 250 GT and instead build his own “perfect” supercar. It’s important to remember that Lamborghini has only been making cars since 1963. With the possible exception of McLaren, no other car brand has managed to create true venerability in such a short space of time. Yes, the brash upstart from Sant’Agata Bolognese remains, in the eyes of many, a gauche arriviste with box-of-frogs styling, but one cannot argue with the continuity of its success, nor with the equally venerable owners and drivers who have revered and adored the various outrageous models that have graced our roads since the 1960s. Ghini’s book is simultaneously a history and a beginner’s guide, a celebration and a study of the Raging Bull marque, full of bold photography and elegant fonts. It serves both as crib notes for those new to the cars and as a timely reminder for deep-rooted fans of some of the moments that have contributed to the glorious DNA of Lambo. For pub bores, there’s a fantastic Who’s Who of models to memorise and recall at opportune moments. Who remembers, for instance, that Lamborghini’s first car, the 350 GTV, had 362 horsepower – about 100 more than its nearest competitor? What a statement of intent that was, and one that successive boards of management have thankfully preserved with ever-increasing power, innovative engineering and disruptive design.

Unbelievably, against the background of oil crises, the Arab-Israeli war, industrial action, various international coups and a spell in receivership, all of which pushed Lamborghini to the brink of destruction many times during the Sixties and Seventies, the company produced the Miura, the Countach and the Diablo, three jaw-dropping supercars that remain important studies of Italian automotive culture and design more than 40 years on. Prices for the first are now exorbitant and for the last two merely eye-watering. Today, the company thrives. This autumn it unveiled one of the true stars of the Frankfurt motor show – the Sián, its first hybrid production car, with 808 brake horsepower and, crucially, still a V12 engine under the bonnet. As Stefano Domenicali, Lamborghini’s genial boss, said: “Lamborghini is, inherently, a rule breaker.” It is not, and has never been, afraid to look beyond the rules set by the competition. Recently it established a Female Advisory Board (FAB), to tell it what women from the worlds of finance, music, fashion and art think about luxury. It has recognised the rise of the female high-networth individual, and responded positively, well ahead of the pack. That attitude, ultimately, will be what saves this stunning brand for yet another generation.

Above and right: artwork from Antonio Ghini's new book; the cover depicts (from top) three iconic Lamborghini models: the Miura Jota, Countach 400 S and Gallardo

SHORTS CHLOE

STYLE THOROUGHBRED Equestrian chic has always been a rich source of inspiration for fashion houses like Chloé, creator of Villanelle’s cult velvet suit in Killing Eve Words by Laura Lovett

From Chanel to Ralph Lauren, designers have long found inspiration in the equine world – but none quite so successfully in recent years as Chloé. This season’s Autumn/ Winter 2019 show began and ended with the sound of galloping hooves as, under the watchful eye of designer Natacha Ramsay-Levi, a series of thoroughbred designs trotted down the catwalk. Among the subtly tweaked classics presented by Ramsay-Levi was an update on her signature skinny-fit trousers, the “peek-a-bootcut” – slim at the leg, pooling at the ankle, with a slit to show off your shoes – a modern take on the jodhpur. “It was a ride!” she declared after the show. Following in the footsteps of predecessors Stella McCartney and Phoebe Philo – both self-confessed horselovers – Ramsay-Levi has single-handedly resurrected the rearing horse, a significant house code, in all its majesty and grace. An iconic Chloé motif from the archives, it has emblazoned the now cult brown velvet suit, as worn by Jodie Comer’s Villanelle in Killing Eve, as well as the classic Marcie Saddle Bag and the bit-inspired hardware that decorates the coveted Tess, Marcie and Nile handbags. In ready-to-wear, the equine inspiration runs from the explicit (horse-emblazoned toile de jouy shirts and t-shirts) to the more subtle (dramatically sliced maxi-jumpers resembled Victorian riding coats). Even the sculpted door handles of the brand’s stores in Sloane Street, rue du Faubourg Saint-Honoré, and Avenue Montaigne sport an equine theme. Chloé is on a winning streak.

Above: Villenelle in the iconic Chloé horse design, as seen on the brand's velvet blouson (left)

SHORTS VINTAGE GREETING CARDS

victorian values Does anyone send Christmas cards any more? Yes, apparently – they’re back in vogue for digital-weary tastemakers, with 19th-century designs proving surprisingly collectible

MARY EVANS; GETTY IMAGES; ALAMY

Words by Bea Stevenson

For anyone under the age of 30, the idea of sending Christmas cards by post feels like a quaint ritual from another age, maintained either in a spirit of deliberate nostalgia, as an ironic act, or for the indulgence of older relatives. After all, in an age of constant self-broadcasting social media, there's scant need for the annual update missive. In one Hallmark Cards focus group, 52 per cent admitted to sending their season’s greetings via social media or messaging apps, so it’s hardly a surprise that sales of Christmas cards are in freefall. A rearguard action is underway, however. Just as in other areas of modern life, as the digital world takes grip, the desire to treasure a physical artefact resurfaces, and so we see a growing vogue for collecting – and even posting – beautiful, quirky or downright kitsch vintage Christmas cards. The first Christmas card as we would recognise it today was sent in 1843 when the popular arts patron Henry Cole faced

an overwhelming stack of personal correspondences, and had the brilliant idea of sending back a one-size-fits-all festive card with a salutation printed across its cover. He enlisted an artist friend, John Callcott Horsley, to design the card, which featured a family raising a toast to the holiday. A silky pink banner draped the bottom of the design, its golden lettering delivering the classic greeting: “A Merry Christmas and a Happy New Year to you”. After a few decades, the sending of such cards had become a tradition among the upper and middle classes of Britain and America. Queen Victoria herself was in the habit of sending cards to family and servants at Windsor and Osborne. These early cards were in line with the Victorian obsession with the natural world and sentimentalised children. Some of the most popular visual themes included flowers, robins and other anthropomorphised animals in the company of cherubic toddlers – picture a beaming child hand-in-hand with several

upright and frankly rather creepy creatures on a snowy eve. Some rarer examples may seem particularly strange to our contemporary eyes. As collectors and well-wishers have increasingly sought out sentimental Victorian-era cards, a parade of dead robins, warring frogs, anthropomorphised onions and oddly adult-looking infants has emerged, all accompanied by kindly sentiments of the season. Rarer still, you might come across cards containing the verses of iconic Victorian poets – Alfred, Lord Tennyson was reputedly offered up to a thousand guineas to pen a dozen or so short verses for Christmas cards. Other cards fold out into triptychs or slide apart to reveal grazing reindeers. One intricate Victoriana fold-out design sold for £ 135 on eBay in 2016, so you probably won't be sending that one to your friends, but a quick trawl through your nearest junk shop may well provide vintage cards for more modest sums. Season’s greetings!

say cheese Making great cheese is a form of alchemy, says Goodwood’s very own dairy wizard Bruce Rowan, who has won a clutch of awards for his delicious organic creations Words by Charlotte Hogarth-Jones

Goodwood's cheeses, made at Home Farm from the wonderfully creamy milk produced by the organic dairy herd, are rightly famous. Not many people realise, however, that the man in charge of the operation, Bruce Rowan, comes from the other side of the Atlantic – appropriately enough for a cheesemaker, from Philadelphia. Rowan, whose mother is British and who had stints living in Somerset as a child, moved to the UK when his wife got a job here. “We figured we’d stay for a year or two and ended up staying 15,” he laughs. His first foray into cheese was behind the counter at Neal’s Yard Dairy in Covent Garden: “I got interested in the maturation process, and cheesemakers seemed like an interesting bunch,” he says. “I began covering for people when they went on holiday, and then at last I went on a proper course.” Rowan then moved to a farm in Devon, where he honed his craft, before applying for the cheesemaker’s role at Goodwood. He drove over from

Devon for the interview, presented a selection of his cheeses for inspection, and fielded questions before heading home. Within two hours, he’d had a call offering him the job. Goodwood’s cheeses have won multiple awards: Levin Down is a rich and creamy soft white, Molecomb Blue is a full-bodied, veiny blue, and Charlton – voted Best Organic Cheese at the British Cheese Awards – is a tangy farmhouse cheese that lingers on the palate, similar in style to a cheddar. All are made on-site at Goodwood’s own organic Home Farm, a stone’s throw from where the cows munch away in the fields. Today, he’s responsible for producing all of the estate’s cheese, and has plans to develop the range further. “I’d love to do a beer-washed cheese using Goodwood ale, which would be very pungent, a bit like an Époisses,” he explains, “and I’m interested in territorial cheeses like Double Gloucester and Red Leicester, too – I’d like to try a Goodwood version. There aren’t many traditional Sussex cheeses.” The joy of cheesemaking is in “the alchemy of it all”, he says. “There are only four ingredients, but so much of what happens depends on the soil, the weather, a bit of luck – it’s simple to do, but it’s complex at the same time.” There’s a lot of trial and error involved, and he’ll often have to wait up to six weeks to know if his latest experiment has worked. “To be a cheesemaker, you really need to enjoy puzzles,” he explains, “and one of the hardest parts is that a lot of the ingredients you’re dealing with – yeast, mould, bacteria – are invisible.” Nevertheless, there’s nothing quite like the beginning of his working day, when fresh, just-pasteurised milk comes in from the farm. “I find it all very peaceful,” he explains, “and the milk is wonderful, so that makes my job very easy.” Would he trade places with others on the estate? “Never,” he responds, firmly. “Being a cheesemaker is just the best job I’ve ever had.” Goodwood cheese is available to buy from Home Farm by calling 01243 755153. Visit goodwood.com for more details

MATT SILLS

SHORTS "RED FIVE"

Make your own rules. Drive the Grand Tourer that defies convention.

New GT Official fuel consumption figures in UK L/100km (CO2 grams per km) for the McLaren Super Series 4.0L (3,994cc) petrol, 7-speed Seamless Shift Dual Clutch Gearbox (SSG): Low 23.3 (528), Medium: 12.9 (293), High, 9.2 (209), Extra-High, 10.2 (230), Combined 12.2 (276). The efficiency figures quoted are derived from official WLTP test results, are provided for comparability purposes only, and might not reflect actual driving experience.

cars.mclaren.com

SHORTS THE DUCHESS OF RICHMONDâ&#x20AC;&#x2122;S BALL

DANCING INTO BATTLE Described as “the most famous ball in history”, the 1815 gathering held in Brussels by the Duchess of Richmond, shortly before the battle of Waterloo, continues to inspire film-makers, authors and artists – like Downton Abbey creator Julian Fellowes, who used it as the starting point for his new TV series Words by James Collard

“That gentleman will spoil the dancing,” says Charlotte, Duchess of Richmond to her dance partner, Arthur Wellesley, Duke of Wellington. Or rather, Virginia McKenna says it to Christopher Plummer, mid-waltz, in the scenes depicting the Duchess of Richmond’s Ball in Brussels in Waterloo, the 1970s epic movie charting Napoleon’s “100 days”. That was the period (actually 111 days) in 1815 between Bonaparte’s escape from his rather genteel confinement on Elba to reclaim his throne and his ultimate defeat by an allied army led by Wellington. And while we all know that Napoleon was about to meet his Waterloo, at this precise point – towards midnight on June 15 – it was far from obvious, especially as “that gentleman” was in fact a messenger bringing the news to Wellington that Napoleon had quite literally stolen a march on him. This moment and the touching scenes that followed – as dashing officers, still in their dress uniforms, bade farewell to wives or sweethearts before heading out to battle, where many would meet their deaths – has been like catnip to authors, painters, poets and film-makers who can’t resist the drama of this juxtaposition of glamour and war, revelry and carnage. The latest of these is Julian Fellowes of Downton Abbey fame, whose novel Belgravia, which has just been adapted for television, opens with a chapter set at the ball, entitled Dancing Into Battle. “Ah! then and there was hurrying to and fro, / And gathering tears, and tremblings of distress,” wrote Lord Byron in Childe Harold’s Pilgrimage. “And cheeks all pale, which but an hour ago / Blushed at the praise of their own loveliness”. Thackeray worked the ball into Vanity Fair, and some 120 years after the ball took place it would appear in a film adaptation of his novel, retitled Becky Sharp – the first ever full-length Technicolor movie, with the departing officers’ redcoats filling the frame in a dramatic portent of the slaughter to follow at the battles of Quatre Bras and Waterloo, which would take place over the next three days. Fellowes’ saga is mostly set in the 1840s, when the mansions and leafy squares of Belgravia were being developed by master builder Thomas Cubitt and the Grosvenor family. For if Downton dramatised the social change of the early 20th century, Belgravia depicts the

ALAMY

SHORTS THE DUCHESS OF RICHMOND’S BALL

jostling for position in society of the new rich and old money in early Victorian London. But the plotline hinges on a decades-old scandal that bubbles to the surface – a scandal from 1815 in Brussels where, needless to say, Fellowes has placed his protagonists at that famous ball. The author Georgette Heyer did the same in her 1937 novel An Infamous Army, widely agreed to be the finest fictional account of both the ball and the ensuing fighting; as did Bernard Cornwell, who, in his book, Sharpe’s Waterloo, places the eponymous Sharpe as the very man arriving at the ball with alarming news from the front. The sight of the well-heeled all dressed up to have fun generally makes for a great spectacle – and great drama – which is why so many novelists have deployed balls as a plot device, from Jane Austen’s Pride and Prejudice (published just two years before the Duchess of Richmond’s fateful gathering) to Tolstoy’s War and Peace or Lampedusa’s The Leopard. A ball brings protagonists together. And the way the dance-steps of a minuet bring love interests together – momentarily, only to part them – makes them perfect for a love story, or for a TV costume drama. And then there’s the waltz. In 1815 the waltz was a daring continental innovation, as partners actually held each other for the duration of the dance, which was very shocking. The 4th Duke of Richmond – one of Wellington’s generals – had initially banned it when he’d brought his wife and children with him to Brussels, where two of his sons were among Wellington’s ADCs, while another was an ADC to the Prince of Orange. But in the end he had to give in, and waltzes were danced at the ball. Four sergeants from the Gordon Highlanders also charmed this cosmopolitan audience with a performance of a reel and a sword dance. The setting for all this was a former coach-house beside the Richmonds’ rented temporary home in Brussels rather than the splendid ballrooms typically depicted on screen. Yet we know it must have been a glamorous occasion from

the guest list, which is now in the collection at Goodwood. Born a Gordon of Gordon Castle – which her son would ultimately inherit – the Duchess of Richmond was a leading figure in the cosmopolitan high society that found itself in Brussels that spring. Other guests included the newly minted Dutch royals, Belgian aristocrats, ambassadors and gallant officers aplenty. And we know Wellington insisted that his “family” of ADCs were sociable, stylish young men who could hold their own in a ballroom as well as on a battlefield. There were many balls given in Brussels at this time, but we know the Duchess had been nervous about the timing of hers, given that Napoleon’s armies were known to be massing on the border. When asked, Wellington is said to have replied: “Duchess, you may give your ball with the greatest safety without fear of interruption.” But of course the ball would be interrupted by that messenger. Wellington pocketed the note for a few minutes before opening it discreetly – a display of sang-froid designed to calm civilian nerves and keep the Duchess’s party going. Then he quietly asked his host if he had a good map of the area, which they then withdrew to consult in the Duke of Richmond’s dressing room, where they spread the map across a bed. But word of the military situation soon got out, the music stopped mid-bar and the military men began saying their farewells – despite the Duchess’s pleas to stay just a little while longer. Some of the civilian guests stayed up to witness the army marching out of Brussels at 4am. Ultimately, Wellington would win his famous, if bloody victory – and present the Richmonds with a notable trophy of the battle, Napoleon’s campaign chair, which now resides at Goodwood. In one sense, the Duchess’s ball was ruined. In another sense, it’s worth pointing out that very few parties are still talked about – or indeed re-enacted for television – more than two centuries after the candles have been snuffed and the hour for carriages has passed.

Opening pages: Robert Alexander Hillingford’s painting The Duchess of Richmond’s Ball (1870s), which is part of the Goodwood collection. Above, from left: Millais’ The Black Brunswicker (1870) depicting a German soldier at the ball leaving for battle; Christopher Plummer and Virginia McKenna in Waterloo

performance meets art

Turn heads with the style of Premium Touch velour sidewall detailing. Available on larger MICHELIN Pilot Sport 4S fitments (21â&#x20AC;? and above). michelin.co.uk

#Ps4s

SHORTS THE GILET

Fashion, in all its quixotic glory, has recently reappointed the gilet as A Thing. A piece of clothing designed to serve the oddest dilemma – the requirements of cool arms but a warm body – the garment is a layering godsend that combats frustrating trans-seasonal weather, but has recently morphed into something of a men’s style essential, not just for hearty country types but for sartorially astute chaps about town. Admittedly, the gilet has had a chequered past. In the mid-2000s, there was a period when a puffer vest, worn with a lumberjack shirt, signified a certain outdoorsy virility that was originally adopted by Hoxton hipsters before going mainstream. Seen in bars and pubs across the land, it became the Going Out look of Middle England. The nail in its coffin. In its newest guise, however, the gilet serves to dress down the formality of tailoring and dress up the informality of casualwear. Worn as a waistcoat under suits, or as a coat alternative over knitwear, its USP is a certain urbane nonchalance. Nowhere is this more clearly demonstrated than at Pitti Uomo in Milan each year, where the combo of tailored separates and a gilet worn beneath a peak-lapelled blazer has become an unspoken uniform. Premium outerwear brands Moncler and Canada Goose have included gilets in every collection, designed to be as practical on the ski slopes as for a chilly day of meetings in town. Options vary from traditional quilted Arctic down to City-appropriate lacquered shell versions that add edge to the office uniform. British brand N.Peal has signature cashmere and silk, fine-gauge versions, ideal for pairing with suiting, Connolly has a classic merino wool version, while Italian super-luxe label Brunello Cucinelli takes the look to new heights with versatile slim-fit models in wool, cashmere and corduroy. Sleeves, it seems, are so last year.

Above: men's blue Merino Wool gilet by Connolly

THE BEST OF THE VEST Once the preserve of lumberjacks and virility-seeking hipsters, the gilet has matured into a versatile sartorial staple beloved by stylish men-about-town Words by Laura Lovett

SHORTS JAMES BRAID

Left: Legendary golfer and golf course architect James Braid (pictured with his club aloft) plays the newly designed Downs Course with Edward “Ted” Ray on 30 May 1914

STROKE OF GENIUS James Braid, creator of Goodwood’s iconic Downs Course, was a giant in the field of golf course architecture – and his design philosophy of risk and reward remains as compelling today as it was a century ago

Words by Alex Moore

James Braid was one of the most successful golfers of the early 20th century, winning the Open Championship five times in the space of 10 years, but it was his writings on golfing fundamentals and his subsequent course designs – including Goodwood’s Downs Course, which he created in 1914 – that really carved his name into the sport’s history books. “Keep on hitting it straight until the wee ball goes in the hole,” was the great man’s injunction. But as every golfer knows, there’s nothing straightforward about playing a Braid course, because they’re designed not just to test a player’s skills but their nerves too. He always envisaged, for example, “at least two possible alternative methods of playing the hole – an easy one, a difficult one – and there should be a chance of gaining a stroke when the latter one is chosen”. After all, what is any game without risk and reward – or indeed, penalty? Braid’s guiding principles still hold true, but over the years

his Downs Course has undergone some changes. Howard Swan was working under the late, great golf course architect Fred Hawtree when the course was given a makeover in the 1970s. Swan is something of a Braid apostle, with an encyclopaedic knowledge of the Scotsman’s oeuvre, and admits that some of those alterations didn’t feel very Braidlike. But in 2004, Swan – by now a well-known golf course architect in his own right – was commissioned to renovate the same course, giving him the opportunity to return it to something closer to Braid’s original vision. “It had been tinkered with so much over the years, it had rather lost its flow – and to some extent its excitement – because it’s a wonderfully scenic bit of land,” says Swan. “I’d like to think we took the best of Braid and enhanced it, but never forgot about the spirit of his design – the shape, size and contour of the greens; the doglegging of some holes, with strategic bunkering to suit.” Swan’s £2.5m renovation has largely stood the test of time, but in 2014, Goodwood commissioned international golf course architects Mackenzie & Ebert to refurbish the bunkers. “One thing we did was reinstate the 14th hole as a sporty par 5, which I believe is how it was back in the Braid layout,” says Tom Mackenzie. “Now, more people walk off with a par or a birdie and a smile on their face, rather than the grimace that came with the par 4. And of course, all of Braid’s courses had a signature par 3 with a necklace of bunkers around the green. The 12th hole on the Downs is our version of that.” Would Braid approve? Well, as long as the course is an emotional roller coaster, offering players the chance to make or break a round on each and every hole – which it certainly still does – we think he’d give it the thumbs-up.

1922 BUGATTI TYPE 23 Coachwork by Widerkehr

Owned for over 55 years by the legendary British Bugatti connoisseur, the late Geoﬀrey St John The ex-Guy Bouriat/Louis Chiron 1931 Le Mans 24-Hour race, works-entered 1931 BUGATTI TYPE 55 ROADSTER Coachwork by Figoni

One of the very last pre-war Bugattis produced before the outbreak of WWII, only 45,708 kilometers from new 1939 BUGATTI TYPE 57C CABRIOLET Coachwork by Gangloﬀ

Entries now invited Important Collectors’ Cars and Fine Automobilia Paris, France | 6 February 2020

ENQUIRIES Europe + 32 (0)476 879 471 eurocars@bonhams.com

UK +44 (0) 20 7468 5801 ukcars@bonhams.com bonhams.com/motorcars

1935 DELAGE D8S CABRIOLET SPECIAL Coachwork by Chapron

Words by Bea Stevenson

Taking in everything from Ancient Egypt to the English Civil War, a new book for children takes a light-hearted look at major historical events – from a canine perspective

Fifty Shades of Greyhound What do Kafka, Chekhov, Virginia Woolf and Paul Auster have in common? They all wrote stories about dogs, of course. And now, joining their illustrious number comes American children’s writer Mackenzi Lee, whose latest book, The History of the World in 50 Dogs, takes us on an amusing and enlightening (dog) walk through time with some of history's unsung canine heroes. Lee says she is always looking for new ways to present history that will engage her young readers. “Taking a dog’s point of view adds a human element to people we generally only think of as monolithic figures from the past, rather than actual people,” she explains, adding that her love of history started as a child, so “I always feel like I'm writing for my younger self”. Her playful, often tongue-in-cheek approach is clear from the chapter titles, such as “Conquistadogs! In Which Dogs Are Forced to Be Complicit in Colonialism”. Taking in everything from foiled royal assassinations to famous archeological discoveries, Lee relies on the chirpy innocence of dogs to underscore our own potential to be cruel, and our responsibility to be kind. She makes it clear that all too often we have expected our innocent dogs to fight our battles – literally – as she sets out to recount the complex details of events such as the English Civil War through a perspective that makes the heroes and villains of history seem hilarious, irrational and at times downright odd. At the same time, she celebrates the canine co-stars within and behind each story, reminding us to adore them as much as she tells us Lord Byron adored his dog Boatswain, who was laid to rest in a lavish tomb larger than Byron’s own. Asked for her personal favourite story, and dog, Lee struggles. “Oh gosh, this is the most impossible question! There is a particular story from World War I

about a messenger dog who helped save the city of Verdun, that really affected me when I first read it. But it’s hard to compare that sort of incredible story with learning the charming details of the lifestyles of the Royal corgis. If reincarnation exists, I’d like to come back as a Royal corgi.” She tracked down her “star dogs” in a variety of ways – some stories she already knew about, like the tale of Greyfriars Bobby, a Skye Terrier who found fame in 19th-century Edinburgh for spending 14 years guarding the grave of his owner – until he died himself. For others she pinpointed a historical event first – such as the sinking of the Titanic – "and then started digging around to find out if there were any dogs on board. There were!" Lee has always loved dogs. She grew up with them as a child and made an active decision to welcome them back into her life after struggles with depression in adulthood. She realised that in tough times, petting a dog was one of the few things that brought comfort. “It became a balm – something I could find happiness in when everything else seemed pointless.” Now she shares her home with Queenie, her St Bernard. “She drinks from the bathtub, snores loudly, loves peanut butter and watermelon and looking out of the window at the world passing by. I love her to pieces.” Lee’s book closes with an homage to the now-extinct dog breeds of the past. Beginning with the Turnspit dog, employed in nearly every kitchen in 16th-century Britain as a glorified utensil to turn a spit above the fireplace, a troubling trend reveals itself: each dog goes into extinction when its human purpose becomes defunct. The Turnspit, amusingly nicknamed the “dizzy dog”, Lee tells us, was replaced by a machine that performed the very same function – and the breed died out. The book leaves us with an impression of the power we have as breeders and buyers of the adorable domesticated creatures who love us unconditionally. Lee reminds us not to take them for granted. Who knows, your dog could save you from assassination or make you rich with its next excavation.

Name that dog: a selection of illustrations from Mackenzi Lee’s The History of the World in 50 Dogs (Abrams), depicting famous canines

SHORTS DOGS

ALL IN GOOD TIME Goodwood House’s treasures include an important collection of antique clocks. Meet the person whose job it is to make sure they’re all in perfect working order Words by Gill Morgan

It's not just at the Racecourse and Motor Circuit that timekeeping is taken seriously at Goodwood. The House is home to an impressive collection of 29 English and French clocks, dating from the 17th to the 19th century – and they all need winding. The woman responsible for looking after this treasure trove is Su Fullwood, a former museum director who began specialising in clocks after taking a job at Goodwood’s neighbour, West Dean College, and sitting in on aspects of its clock conservation course. “I became interested in clocks as a child,” she says. “My father, who was an engineer, had made one as part of his apprenticeship and it always sat by his bedside. It was a skeleton clock, which meant you could see all the movements. I was fascinated by it.” While Fullwood stresses that she is not an horologist, she is the person entrusted with overseeing the timekeeping of all the clocks. She arranges for their cleaning, overhaul and repair, usually carried out by JE Allnutt & Son in Midhurst, or by West Dean's horologists. The Goodwood collection contains a mix of longcase, table and mantel clocks. Longcase is the correct term for what we think of as a “grandfather clock”, although Fullwood points out that “the term has only been used since the song Grandfather’s Clock was written in 1876 by Henry Clay Work”. Additional to these are a workman’s timepiece – “a kind of clocking-in clock” – and a clock with an alarm hand by Breguet. Like many of the pieces at Goodwood, the latter has a fascinating story. “It was given by the 2nd Duke of Wellington to Algernon Greville, father of the 6th Duchess of Richmond. Algernon had been ADC and private secretary to his father, the famous 1st Duke of Wellington.” The collection also includes two regulators made by Pendleton and Shelton – precision clocks by which all the other clocks in the house were set – and a precious mantel clock by star clockmaker Daniel Quare. “Quare was one of the movers and shakers of the Golden Age of clockmaking,” says Fullwood. The Goodwood clock dates from 1715 and is signed by Quare, with beautiful engraving on the back plates. Ensuring the clocks keep time is quite an undertaking, as Fullwood explains: “All the clocks at Goodwood will run for a week when fully wound. We do it all at the same time, early in the morning before everyone else arrives. The regulation is done slightly differently for each movement so a clockwinder needs to know their clocks inside out. And every five to seven years a mechanical clock will need a complete overhaul, where it’s taken apart, cleaned and oiled by an experienced clockmaker – a rare breed now.” Many of the clocks keep surprisingly good time. The Vulliamy longcase, for example, only loses a minute a week, despite being over 200 years old. Another Vulliamy piece – a mantel clock – was a gift from King Edward VII to the Duke of Richmond and Gordon in 1904. Asked to name her favourite piece, Fullwood is diplomatic: “I’m attached to them all, as they all have their own personalities and foibles, but if I had to choose one, it would be the clock that sits on the mantel in the Red Hall. It dates from about 1705 and has a beautiful ebonised case. It is signed by Johnson, who was a clockmaker based in Chichester. As I was curator at the museum there for ten years, the connection makes it all the more special to me.”

Left: Goodwood's Shelton regulator (circa 1770s) a highly accurate longcase clock with a specialised dial

ALEX BENNELL

SHORTS CLOCKS

D O N â&#x20AC;&#x2122; T G O Q U I E T LY

Model shown is a New Mustang GT 5.0 V8 Fastback Manual Petrol with optional Large Rear Spoiler. Fuel economy mpg ( l/100km): Combined 23.7 ( 11.9). * CO 2 emissions 277g/km. Figures shown are for comparability purposes; only compare fuel consumption and CO 2 figures with other cars tested to the same technical procedures. These figures may not reflect real life driving results, which will depend upon a number of factors including the accessories fitted (post-registration), variations in weather, driving styles and vehicle load. * There is a new test used for fuel consumption and CO 2 figures. The CO 2 figures shown, however, are based on the outgoing test cycle and will be used to calculate vehicle tax on first registration.

SHORTS RULES OF CRICKET

Pistons at ESTATE OF CYRIL POWER/BRIDGEMAN IMAGES; ABOVE: © THE ESTATE OF CYRIL POWER

OPENING SPREAD: © THE ESTATE OF WILLIAM GREENGRASS, DACS 2019; LEFT © THE

Dawn Words by Peter Hall

For motorsport fans, the new Hollywood film about the lead-up to 1966’s 24 Hours of Le Mans is a must-see. More than half a century on, the fierce rivalry it depicts between Ford and Ferrari remains a fascinating duel of wills – but what really happened at the end of the race? 37

GETTY IMAGES

DIRECTED BY JAMES MANGOLD and starring Christian Bale and Matt Damon, Le Mans ’66 is a thrilling evocation of Ford’s legendary battle with Ferrari at the world’s greatest motor race. Naturally the movie focuses on the American experience, albeit with a British-born hero, but the real story was rather more complicated. It began in early 1963, when Henry Ford II was persuaded that his company could acquire sporting prestige by buying Ferrari. Enzo Ferrari was open to offers, but when he examined Ford’s $10 million proposal he spotted a clause that gave control of his precious racing division to the Americans. Unleashing a tirade of insults at Ford emissary Don Frey, he got up and walked out. Back in Michigan, Ford was not impressed: “All right, if that’s the way he wants it, we’ll go out and whip his ass.” Frey suggested building a mid-engined GT. It was a sign of things to come that Ford took five minutes to approve the car and 55 minutes on the marketing strategy. Seeking motorsport expertise, British-born engineer Roy Lunn was despatched to England, where he hired John Wyer, manager of the Aston Martin team that had won Le Mans in 1959. Wyer had been recommended by winning driver Carroll Shelby, a wily Texan who was also committed to beating Ferrari, developing the Ford V8engined Cobra roadster and Daytona Coupe at his Los Angeles speed shop, Shelby American. Lunn then visited Lola Cars of Bromley, whose Mk6 GT had shown promise at Le Mans. Powered by a midmounted 4.2-litre Ford V8, it was just what he was looking for, so he purchased two and brought Lola boss Eric Broadley into the new Ford GT project based in Slough. While Ford set about modifying the Lola Mk6, Broadley struggled with its corporate approach. He left

the project and, sure enough, in testing at Goodwood and Monza the car demonstrated both a tendency to lift at speed and chronic braking problems due to its weight. Nevertheless, now with a 4.7-litre engine, the Ford GT was unveiled in Slough on April 1 1964 before appearing at the New York Auto Show. A few weeks later the GT crashed in trials for Le Mans. On its German race debut it retired, as did all three entries at Le Mans, where Ferrari enjoyed a seventh victory. A new nose helped the aerodynamics, but after two cars again failed to finish at Nassau in November they were packed off to Shelby American with orders to make winners of them, at any cost. Shelby’s chief asset was 46-year old engineer Ken Miles. The son of a Sutton Coldfield tea and coffee merchant, he drove tanks in World War II then took up motor racing before emigrating to California, where he found success in self-built sports cars. With his sardonic English wit he was the antithesis of Shelby’s West Coast hot-rodders, but he was central to the development of the Cobra, Daytona Coupe and Mustang GT350. Miles made the Ford GT work, winning at Daytona in February 1965. While Slough produced the MkI GT40 (as it was now called, referring to its height in inches) Shelby set about installing a 7.0-litre V8 engine. Two of these formidable 215mph “MkII” GT40s were entered for Le Mans, driven by Ken Miles/Bruce McLaren and Phil Hill/Chris Amon. European entries brought the number of GT40s up to six but all of them retired, handing yet another victory to Ferrari, live on US TV. For 1966, it was win or bust. Encouragingly, Ken Miles won at Daytona and Sebring. For Le Mans, Ford entered 15 MkIIs, of which eight were accepted: three from Shelby

Opening pages: Christian Bale as racing driver Ken Miles in the movie Le Mans '66, which recalls the legendary Ford versus Ferrari clash of that year. Above: Ken Miles and Carroll Shelby at the 24 Hours of Le Mans in 1966. Miles was on course for the first triple crown in sports car racing until fate, and Ford, intervened

LE MANS ’66

American (for Ken Miles/Denny Hulme, Dan Gurney/ Jerry Grant and Bruce McLaren/Chris Amon), three from NASCAR race team Holman-Moody, and two Sloughprepared cars run by Alan Mann Racing. Ever conscious of marketing angles, each car was painted in a different colour from the Mustang range. Six more GT40s were entered by customer teams. After qualifying, the race appeared to be Ford’s for the taking and, carrying a card from Henry Ford II with the message “You’d better win”, race-team manager Leo Beebe took no chances, allocating lap times to each car: Gurney/Grant would aim for 3m37s, Miles/Hulme 3m39s and McLaren/Amon 3m41s. It was spitting with rain as Henry Ford II himself dropped the Tricolour flag at 4pm and the drivers sprinted to their cars; Graham Hill was first away in one of the Alan Mann GT40s, followed by Gurney. As Miles jumped into his car he damaged the door, forcing a pit stop. Racing back to the front, he set a new lap record of 3m33s. McLaren and Amon fell behind, struggling with their Firestone tyres. Having switched to Goodyears, Amon recalled that “Bruce put his head through the car door and said, ‘Go like hell!’” Overnight rain favoured the Ferraris, but they didn’t last, and by daybreak Ford held the top six places. However, there were more retirements to come; the Shelby drivers were racing each other, and at 9am

Director’s Cut

James Mangold on fact versus fiction What attracted you to this particular story? I loved the interdependence of the characters, that each of them needs something that someone else possesses. Ferrari needs Ford for a cash infusion and Ford needs Ferrari for a cool infusion. And Carroll is a driver who can no longer drive for health reasons, while Ken is a driver who can hardly get a drive because he’s so difficult. So they have a kind of understanding that lashes them together. How did you and Christian Bale come to understand Ken Miles? He hasn’t been written about very much. Peter Miles, his son, helped and advised us. And Carroll Shelby was still alive when the screenwriters started work, so they spoke with him. Many people told us that one of the great regrets of Shelby’s life was asking Ken to slow down for Ford. Of course he didn’t know Ken was going to die. But it was something he wished he’d never done. Below: the poster for Le Mans ’66, a thrilling evocation of Ford's legendary battle with Ferrari at the world's greatest motor race

You’ve said you looked at two great racing movies, John Frankenheimer’s Grand Prix and Steve McQueen’s Le Mans. As a director, which do you rate more highly? I think Grand Prix works more as a film, and the footage is a little more exciting. There’s some great stuff in Le Mans as well, but I think it’s a little flabbier in the narrative. The race footage in both is miraculous, frankly. Where did your race cars come from? They had to be replicas – because we were going to be driving them hard, day in and day out. In Ferrari’s garage we had real Ferraris, because they just had to sit there, but unlike at Goodwood, no one was going to let us put a $30m Ferrari on the track. The only time we shot cars of that value, we had the owners putting velvet ropes around them between takes to keep the crew from touching them.

OPENING SPREAD, AND RIGHT: COURTESY OF FOX

There’s a certain amount of dramatic invention in the film. For example, Ken Miles actually raced at Le Mans in 1965, but the film has him listening to it on the radio. You’re right, there’s a cheat in the movie there: we skipped ’65. But when I cut it from the script I saved $8m from the budget, so you can see how expensive the racing was. And you have Ferrari watching in ’66, but he rarely travelled. Yes. But I couldn’t imagine the end of the film without Enzo present. Also, frankly, I carry a certain scepticism about legends. I mean, in his whole life he never once set foot at Le Mans? I don’t believe it. I just don’t believe he spent his whole life preparing for a race that he would never see. So there’s a part of me that thinks maybe he wore a hat and dark sunglasses or grew a beard. I just couldn’t conceive that he was sitting at home with the radio or the telephone. You also achieved a tidier photo finish than Ford did in 1966. Yes, I wanted to make sure it made sense to the audience, so I wanted Ken in front, because in the end he didn’t lose because he was behind at the finish, he lost because of his position at the start. I felt I’d confuse the audience if Ken was behind when they crossed the line. Honestly, I’m amazed audiences understand the end of the movie as it is!

montblanc.com

GETTY IMAGES

LE MANS ’66

As Carroll Shelby said, “The GT40s would never have reached the pinnacle they reached without Ken Miles”

Above: Carroll Shelby (centre) with his Cobra drivers (left to right), Jo Schlesser, Ken Miles, Bruce McLaren and Phil Hill at 12 Hours of Sebring in 1965

Gurney’s car overheated. With several hours remaining and three surviving Fords running 1-2-3, the leaders were told to slow down. Amon, by now almost a lap ahead, complied. Miles had other ideas and built a four-lap lead, although some of that was lost to brake problems when the McLaren/Amon crew used his spares. Beebe now hatched an infamous plan. As Shelby recalled, “They came up to me and said, ‘Who do you think should win the race?’ I thought, ‘Well, hell, Ken’s been leading for all these hours – he should win.’ I looked at Leo Beebe and said, ‘What do you think ought to happen, Leo?’ He said, ‘I don’t know, I’d kind of like to see all three of them cross the line together.’ So I said, ‘Oh hell, let’s do it that way then.’” Receiving his orders at the final pit stop, Miles was furious: “So ends my contribution to this motor race.” Nevertheless he obeyed, slowing while McLaren and the Bucknum/Hutcherson Holman-Moody car caught up. They crossed the finish line side by side with McLaren easing ahead slightly at the chequered flag. However, the regulations made a dead heat impossible. The McLaren/Amon car had started the race eight metres behind the Miles/Hulme machine and having covered a greater distance, it would be the winner. Miles and Hulme were held back while a bemused McLaren and Amon joined Henry Ford II on the podium. “I think I’ve been f***ed,” declared Miles, bitterly. After all, he was Shelby’s lead driver, he had done the lion’s share of MkII development and, having won Daytona and Sebring, he could have entered the history books by taking the first “triple crown” of sports car racing. Was Beebe really unaware of the distance rule? It’s often said that it was mentioned too late to change the

team orders (in the absence of radios), although as they were a dozen laps ahead, the leaders could have been called in again. Alternatively, had McLaren been asked to slow down while Miles continued unhindered, the photo finish could have been staged with Miles one lap ahead. It has even been suggested that Miles was indeed ahead, but that the lap chart was altered. Miles’ remarks at the final pit stop, and his attempt to enter the winners’ circle, could sustain several theories. Beebe later confessed: “I had some real difficulties over that. But [Miles] was a daredevil… I held him back because I was afraid the drivers would knock one another off. All you need is one good accident and you lose all your investment.” Sadly, Miles didn’t get another chance. In August he was killed testing Ford’s J-car, an all-American successor to the GT40 MkII with an unstable “breadvan”-shaped rear section and a bonded alloy chassis. For Ford, all was not lost; a redesign produced the GT40 MkIV that won Le Mans in 1967, prompting winner Dan Gurney to spray Henry Ford II with champagne. Mission accomplished, albeit at enormous cost (perhaps $500 million, and a man’s life), Ford cancelled its programme, although new engine rules permitted Le Mans victories for John Wyer’s lightweight MkI in 1968 and 1969. The Ford was now more famous than any Ferrari. Yet as Carroll Shelby said, “The GT40s would never have reached the pinnacle they reached without Ken Miles. He was not only a friend, he was a good engineer, he was a good test driver and as good a race driver as I ever knew… I can’t say what a void I felt when we lost him.” Le Mans ’66 has just been released in cinemas nationwide

THE CARLINES

Born at the end of the 19th century, artist siblings Sydney, Hilda and Richard Carline not only left a remarkable body of work – including some of the First World War’s finest aerial paintings – they also led extraordinary lives, filled with success and sadness in equal measure

HIGH ART Words by Jonathan Black

Many families share an artistic path. Not many possess such a powerfully interwoven creative heritage as the remarkable Carline siblings, Sydney, Hilda and Richard, born towards the end of the 19th century in Oxford. All three of this strikingly gifted trio became artists, but with very different life stories. In their early adulthood they travelled, studied and painted together, but war, an early death (Sydney, the eldest, born in 1888, died tragically of pneumonia at just 40) and an unhappy marriage (Hilda’s union with fellow artist Stanley Spencer led to great distress) took them on vastly different paths. Left behind is an impressive but little-known body of work, much of it made by the two brothers during and immediately after the First World War. Especially striking are the aerial paintings shown here, many painted by Sydney during his time as a pilot. The family’s artistic roots went deep. The siblings’ father, George Francis Carline, was a respected late-Victorian painter in oils and a leading member of the Royal Society of British Artists, while his wife Annie was a talented watercolourist. The boys were educated at public school (Repton and the Dragon), while Hilda had private tutors. There wasn’t enough money to allow them to further their artistic studies, but Sydney was

not to be deterred and paid his own way to study at the Slade School of Art before going on with his brother in 1912 to study in Paris at the academy at 69 Rue d’Assas in Montparnasse, under eccentric Canadian painter Percyval Tudor-Hart. This was the Paris of Picasso and Gertrude Stein, Matisse and Braque, with cubism in the ascendancy. It must have been a thrilling time for the brothers, ending when the academy relocated to Hampstead early in 1914, with war looming. The Carline family moved close by, to 47 Downshire Hill, NW3. In August 1914 Britain declared war on Germany. Richard wasn’t keen to volunteer, but his older brother Sydney – the most politically conservative of the siblings – felt increasingly uneasy walking around London surrounded by men his age in uniform. In the late summer of 1914 he bought a second-hand

twin-cylinder Douglas motorbike for £15 with the intention of learning how to drive the machine and becoming a British Army despatch rider at the Front. His father noted with alarm his son roaring up and down Haverstock Hill at a “dizzying” 40mph with Richard clinging on the back. Sydney volunteered for military service abroad late in January 1916 and was accepted as temporary Second Lieutenant with the Royal Flying Corps (RFC), with help from Churchill’s Private Secretary, Edward Marsh, and art historian the Hon Evan Charteris. On 20 July 1916 he was awarded his wings with 20.5 hours of flying time. The next month he was posted to France and just a fortnight later, on his third mission for 19th Squadron RFC, he was shot down over the Somme, flying an obsolescent BE12 fighter, and badly wounded in his

OPENING SPREAD: © IWM. LEFT: © CALDERDALE BOROUGH COUNCIL. TOP RIGHT: © FERENS ART GALLERY, HULL MUSEUMS, UK / BRIDGEMAN IMAGES; BOTTOM RIGHT: COURTESY OF THE CARLINE FAMILY

THE CARLINES

Richard produced psychologically perceptive group portraits and vivid images of exotic locales

left leg. After three months recovering from his injury, Sydney went to work on an experimental camouflage project for the RFC with his brother and their old tutor, Percyval Tudor-Hart, in the depths of rural Hampshire. Richard had volunteered as a private in the Middlesex Regiment early in 1916. Sydney then recommended he transfer to the RFC and train as an OfficerObserver and wireless operator. In the autumn of 1917 Sydney retrained as a fighter pilot in the fearsome Sopwith Camel F1 – the most successful British fighter plane of the First World War. It was a move that would affect not just his life but his art. In January 1918 he was posted to a fighter squadron in the newly formed RAF, supporting the expeditionary force that Britain had sent to Italy after the Italian army was routed at the Battle of Caporetto. He spent three months as an operational fighter pilot with 28th Squadron, flying over 120 missions against the Imperial Austro-Hungarian Air Service over the Alps and in the frequently stormy skies of north-east Italy. This produced some of his best work. The CO of his squadron, Canadian ace William “Billy” Barker, thought Sydney was a gifted pilot but that he lacked “the killing edge”. He enjoyed flying in Italian skies so much that he often forgot to try to shoot down the enemy. Sydney did in fact succeed in shooting down three enemy reconnaissance aircraft. In a letter to his brother early in March 1918 he described his first “kill” in suitably clinical language: “On patrol with two others I saw a Hun two-seater taking photos 5,000 feet below us (we at 10,000) and on our side of the line. We dived on him. He put up no show, the pilot was shot and the observer leaning over tried to dive for home but he was also shot and the machine crashed in the river…” This incident inspired his impressive 1919 oil painting The Destruction of an Austrian Machine in the Gorge of the Brenta Valley, Italy. Towards the end of July 1918, Sydney was appointed an official British war artist attached to the RAF, working for the British Ministry of Information. That he was offered this post

Previous pages: Sydney Carline’s British Scouts leaving their Aerodrome on Patrol over the Asiago Plateau, Italy, 1918. These pages, clockwise from left: Sydney’s The Bridge at Mostar, 1922; Richard’s Gathering on the Terrace at 47 Downshire Hill, Hampstead, 1924-25; the siblings in Balkan attire

THE CARLINES

Initially Sydney made quick watercolour sketches while trying to fly his Sopwith Camel with its joystick between his knees

THE CARLINES

at all was largely the work of his younger brother, Richard, who always appeared to have more “get-up-and-go”. Richard had managed to make an overture to the RAF section of the Ministry of Information via influential art critics PG Konody and Robert Ross. Just before Sydney began his duties as a war artist, flying from an airfield north of Vicenza in mid-August 1918, Richard was sent to France to paint key positions from sketches he made in the observer’s seat of an RAF reconnaissance aircraft, such as the stunningly evocative Mine Craters at Albert Seen From an Aeroplane, 1918. Initially Sydney tried to make quick watercolour sketches over the Alps while attempting to fly his Sopwith Camel with its joystick between his knees – hardly ideal with the notoriously unstable Camel. He then tried sketching from the back of a twoseater RE8 recon aircraft and a Bristol F2 fighter-bomber but his watercolours froze at 20,000 feet and his face was peppered with razor-sharp fragments of ice flying upwards from the surface of his drawing board. He eventually discovered that he obtained his best efforts making quick sketches in the air and then using them as the basis for a composition to be painted within half an hour of returning to base. Sydney returned to London late in 1918 to be informed by the RAF section of the Ministry of Information that he and his brother were to undertake a tour of the Middle East, recording episodes where the RAF had made a significant contribution to the defeat of the Ottoman Empire in 1916-18. The brothers travelled to Egypt, Palestine, Syria, Lebanon, then from Port Said to Bombay, Karachi, Basra, Baghdad, Mosul, Kurdistan, Teheran, then back to the UK via Basra. Richard focused on producing a series of impressive images of major cities sketched from the air. Sydney was more interested in evoking dramatic incidents from September 1918 when RAF aircraft on ground attack missions had transformed the retreat of Ottoman Turkish armies into an utter rout. He also produced more generalised yet extremely evocative images of flying in Middle Eastern skies, such as Flying Over the Desert at Sunset, Mesopotamia, 1919. Sydney and Richard returned to London early in October 1919 to paint full-sized works from some of their sketches made in the field for inclusion in the huge “The Nation’s War Paintings” exhibition held at the Royal Academy in Burlington House from December 1919 to February 1920. Their contributions were singled out for critical approval, and they cemented their reputation as Britain’s leading “intrepid aerial artists” with a joint exhibition at London’s Goupil Gallery in March-April 1920. The show went on tour in the US and Canada to considerable acclaim, all of which helped Sydney to be appointed Master of Drawing at Oxford University’s prestigious Ruskin School of Art in January 1922. In July 1928, Sydney married the Hon Gwendoline Hayter, a specialist in “antique Greek dance” who was considerably younger than him (on first meeting him she’d apparently been impressed by his interpretation of the Charleston). This was a happy time for Sydney: he was sufficiently successful to indulge his love for fast roadsters, which he drove with élan down the narrow lanes of Drayton St Leonard in Oxfordshire, where he settled with Gwendoline. His first solo exhibition opened at the Goupil Gallery in February 1929, and was a considerable success, both critically and financially. It included beguiling and evocative portraits of his wife, such as The Eiderdown (1928), now held at Manchester Art Gallery. However, he attended the private view with a heavy cold, which developed

into pneumonia, to which he succumbed on 14 February 1929, aged 40. In his obituary, The Times declared: “British art of the younger generation has suffered a very severe loss.” Ironically, despite his critical success, Sydney always believed that his younger sister Hilda – whose striking 1923 selfportrait is in Tate Britain – was the most talented of the three. After working in the Women’s Land Army in Suffolk during the First World War she studied at the Slade under Henry Tonks, where she was joined by her younger brother, Richard. But her career was interrupted by marriage to Stanley Spencer in 1925 and motherhood. The family had their doubts about the match; Sydney admired Spencer as an artist but found his religious obsession unsettling. To begin with, the couple lived in Hampstead and soon had a daughter, Shirin. Two years later they moved first to Hampshire and then to Spencer’s native Berkshire. In 1930 Hilda had a second daughter, Unity. But the relationship was doomed: Spencer eventually asked for a divorce in order to marry their lesbian neighbour Patricia Preece. The divorce was finalised in 1937. For a young woman of such promise, Hilda’s was a tragic story: she experienced a series of nervous breakdowns and died from breast cancer in Hampstead in 1950 – though her artistic career did see a late flowering in the years following the Second World War. As for Richard, he had exhibited work from an early age. Precocious and mercurial in temperament, he produced psychologically perceptive group portraits, like the remarkable 1925 painting Gathering on the Terrace at 47 Downshire Hill, Hampstead, as well as vibrant landscapes and vivid images of exotic locales, which attracted much admiration between the wars. After his part-time study at the Slade, he had a wellreceived solo show in 1931 at the Goupil Gallery. Critics were impressed by a series of works based on a visit Richard had made to South America during which he explored the mouth of the Orinoco River. In the early 1930s he was a founder member of the Artists International Association [AIA] and in 1935 published a pioneering study, Arts of West Africa. After tours of the US and Mexico in the late 1930s he produced an impressive series of landscapes. During the Second World War he created innovative camouflage designs for the Ministry of Aircraft Production and in 1944 was a founder member of the Hampstead Refugee Artists Committee. Travel remained a constant in his artistic career: after the war he worked for UNESCO and for many years served as vice president of the AIA. In 1950 he married the artist Nancy Higgins and they had two children. A longtime and much-respected resident of Hampstead, Richard died there in November 1980 after a distinguished career in arts administration and education. One photograph captures the interwoven lives of these three remarkable artists. In 1922, before taking up his post at the Ruskin, Sydney joined Richard and Hilda on a trip to the recently created Kingdom of Yugoslavia and the adjacent Kingdom of Albania. The siblings travelled, explored and sketched, returning to Downshire Hill with complete sets of exotic attire for themselves. Sydney enjoyed dressing up as an Albanian bandit chief à la Byron and fancied himself a fine player of a challenging Balkan stringed instrument. Hilda thought he simply made an appalling din. Their lives were about to take very different paths, but here they are, young, creative forces, full of promise. Success and sadness lay ahead, but their work remains a testimony to their enormous talents. Dr Jonathan Black is an art historian who has curated shows on the Carline siblings

Previous: Sydney Carline’s A British Pilot in a BE2C approaching Hit along the course of the River Euphrates, 1919. Above, from top: self-portraits by Sydney, 1922, and Richard, 1918

PREVIOUS SPREAD AND LEFT: © IMPERIAL WAR MUSEUMS

THE CARLINES

Everyone needs help to protect themselves against a rainy day At Charles Stanley, we think the benefits of financial security shouldn’t just be reserved for the privileged few. The rain falls on us all. That’s why we have been providing approachable tailored advice to individuals at every stage of their financial journey for more than 200 years. Whether you’d like us to manage your investments today, or help you devise a more secure financial future, we are here to help you. 020 3813 3856 www.charles-stanley.co.uk

The value of investments can fall as well as rise. Investors may get back less than invested. Charles Stanley & Co. Limited is authorised and regulated by the Financial Conduct Authority.

COSTUME DR AMA The seasonâ&#x20AC;&#x2122;s most covetable gowns mix extravagant shapes and gem-like shades for the ultimate party entrance. You shall go to the ball!

Stylist Florrie Thomas

Photographer Benjamin Madgwick

Art direction Lyndsey Price

Fantastical frocks in nature-inspired fabrics transform Goodwoodâ&#x20AC;&#x2122;s woodlands into a midsummer dayâ&#x20AC;&#x2122;s dream

Stylist Florrie Thomas

First spread (right): Leonie gown, £1,995, by Huishan Zhang, huishanzhang.com; Waterfall earrings, £14,500, by Boodles, boodles.com; Plume ring in 18K white gold, £5,100, by Chanel Fine Jewellery, chanel.com; Desert Bloom ring, £POA, by Messika, messika.com Second spread: Radiant yellow gold and diamond earrings, £13,220, by Fernando Jorge, fernandojorge.co.uk; silk and polyester dress, £1,850, by Bora Aksu, boraaksu.com; Peridot Trumpet ring, £6,200, by Theo Fennell, theofennell.com Third spread (left): tulle black and silver dress, £2,430, by Alberta Ferretti, albertaferretti.com; Knot diamond necklace, £POA, by Boodles, boodles.com; (right) satin dress, £1,905, velvet high-neck top, £475, and velvet tights, £334, all by Richard Quinn, richardquinn.london; Dakota boots, £645, by Malone Souliers, malonesouliers.com; Pearl Deco hoops, £29,000, by David Morris, davidmorris.com Fourth spread: satin dress, £1,390, by Alexis Mabille, alexismabille.com; Liens Séduction ring in white gold with brilliant-cut diamonds, £14,600, by Chaumet, chaumet.com; Chrysanthemum drop earrings, £37,000, by Theo Fennell, theofennell.com Fifth spread (left): embroidered lace dress, £19,110, by Chanel, chanel.com; Plume ring, £5,100, and Plume earrings, £8,000, both by Chanel Fine Jewellery, chanel.com; (right) Alisso silk cotton taffeta dress, £POA, by Roksanda, roksanda.com; Honey sandals, £495, by Malone Souliers, malonesouliers.com; Laurier ring in white gold with brilliant-cut diamonds, £26,600, by Chaumet, chaumet.com Sixth spread: (left) black nylon dress, £7,000, by Dior, dior.com; Phoenix diamond drop earrings, £POA, by David Morris, davidmorris.com Opening pages (left) and above: detail from the carpet in the Yellow Drawing Room at Goodwood House, specially commissioned in 2017 to perfectly replicate the vivid colours of the room’s original 1830s carpet

Hair STEPHEN BEAVER, Make-up SHAMA SAHZAYASIN, First assistant JACK STORER, Second assistant JAMIE SINCLAIR Fashion assistant CRYSTALLE COX, Model BIBI at STORM. Shot on location at Goodwood House

BRITISH PERFUME

NOTES F ROM A SM ALL ISLAND

The history of fragrance may be dominated by French names, but if you’re looking for true innovation, British perfume brands are leading the way, using surprising local ingredients such as seaweed and peat

FLEUR ALSTON

Words by Lucia van der Post

WHEN MOST PEOPLE think of fine scents they instinctively feel the French have the upper hand. There are of course all those wonderful old classic houses that flourished in the early 20th century – Coty, Patou, Poiret, Guerlain (ah, Shalimar, Mitsouko, L’Heure Bleue swoon the fans) – as well as stellar perfumers like Ernest Daltroff at Caron and Ernest Beaux, whose partnership with Coco Chanel led to the creation of the world’s best-selling perfume, Chanel No 5. Nobody can deny that between them these great pioneers came up with some of the finest, most elegant, most desirable scents the world has ever known. But speak to experts such as James Craven, perfume archivist at niche fragrance boutique Les Senteurs, or Michael Donovan, who runs Roullier White, another purveyor of niche perfumes, and they both feel that much of the innovation in the world of scent is coming out of Britain these days. Not that this has happened overnight. Way back in the 18th century Juan Famenias Floris, a barber and perfumer based in St James’s, came up with the notion of scented talcum powder and after him came those classic English names, Yardley, Cussons, Pears, Atkinsons and Grossmith. In recent times Jo Malone, Miller Harris, Clive Christian and Roja Dove have all made waves and collected fans. Today, though, a new generation of younger perfumers is breaking new ground. What makes them special is the fact that they bring to their craft a willingness to do things differently. Because many of them are not classically trained they approach the matter of creating artful eaux in an entirely original way. Michael Donovan has long been a champion of British perfume and sells several from his Roullier White base. He thinks that “we have something unique to offer the olfactory world. Firstly we are rule breakers and are quite anarchic in our approach, for example, [British brand] Union’s use of peat – clearly inspired by the whisky tradition – in their scent Celtic Fire is a first in perfumery.” They are also more willing to take risks and move the industry forward. Donovan’s own St Giles range has five fragrances that are designed to make the potential customer understand immediately how each of his perfumes should make them feel: The Tycoon, The Actress, The Mechanic, The Stylist and The Writer, each original, strong and unlike anything else on the market.

GETTY IMAGES

Previous pages, and left: the new wave of artisanal British scent-makers are experimenting with ingredients such as seaweed and thistle

The idea is to show that British soil can provide essential oils as fine as any from Grasse As with the contemporary food scene, there is also an emphasis on the local, and the provenance of ingredients. Donovan believes that “we hail from a rather bucolic culture that loves animals and plants and our landscapes, which in turn provide a wide range of inspiration”. Anastasia Brozler, the “nose” behind Union, for instance, turned to the moorlands of Yorkshire, the mountains of Snowdonia, the damp fens of County Derry and the windswept heathlands of Scotland to gather her bog myrtle, blue ground ivy, watermint, quince, pine, peat and birch. She only uses ingredients grown in the British Isles and one of her fragrances, the aforementioned Celtic Fire, even has a dash of Marmite complementing the peat. Most sought-after of all is her Gothic Bluebell, said to be the only fragrance in the world to use real English bluebells. Caldey Island, a tiny but much-loved perfumery off the coast of Pembrokeshire in Wales, produces the highly acclaimed Island Lavender Water, described by Luca Turin in his book Perfumes: The Guide as “the best lavender soliflore on Earth”. It is made by monks, who combine local herbs with an excellent lavender oil, resulting in something pure and exceptional.

Up at Castle Forbes in Scotland, meanwhile, Lady Forbes runs the smallest haute parfumerie in the world, and its scents, created together with Andrew French, are often inspired by Scottish pine and oakmoss, precious woods and green herbs. British Master Perfumer Ruth Mastenbroek launched her first fragrance in 2010 but she has already established herself as one to watch. With her Oxford Eau de Parfum – based round basil, rosemary and vetivert – she has attempted to capture the essence of golden stone buildings, grassy quads and the excitement of undergraduates taking their first steps into adulthood. Her latest, Dagian (the Old English word for dawn) uses lime, lemon and mint to capture English exuberance but has a seductive heart of jasmine and sandalwood. Down in Dorset, Julia and David Bridger have planted some 50 acres of land around the River Stour with more than a thousand different plants – lavender, bergamot, vetiver, mint, wild flowers, herbs and shrubs – all of which are used to create a small range of limited-edition fine and intense scents that make up what they call Parterre Fragrances. Jacques Chabert, the “nose” behind Guerlain’s Samsara and Chanel’s Cristalle, helped them create this exquisite little collection. Their first eau, Run of the River, was inspired by Keyneston Mill, which is on their estate, and is a sparkling citrus with fresh notes of bergamot mint, clary sage and lemon thyme – all home-grown. The idea is to show that British soil can provide essential oils and essences as fine as any from Grasse. Meanwhile, at Mitchell and Peach in Kent, another Frenchtrained nose, Jeanne-Marie Faugier, has helped the Mitchells come up with a small range of clean and fresh English fragrances, making beautiful use of the special lavender grown on their farm (famous for its sweet, peachy scent – hence the “peach” in the name). English Leaf is probably its most soughtafter fragrance but it also produces a range of body and beauty products, one of which, Flora No 1 Fine Radiance Face Oil, uses home-grown Kent cobnuts to create this cult beauty oil. Haeckels is another of the new breed of British companies inspired by the immediate world around it and a desire to somehow encapsulate something very British and very natural. Based in Margate, with the sea on its doorstep, and moved by a desire to create products that are pure and effective, it has gradually developed a range of skincare products along with some fine fragrances. The names alone – Botany Bay, Pegwell Bay, Dreamland, Blean Woods – speak of a certain sort of Englishness. Take Blean Woods – it’s inspired by an undisturbed ancient forest, the sound of a stream, ferns and purple orchids, silver birch, hornbeam and crab apple trees, as well as the smell of charred wood and ashes. Other fragrances feature local seaweed, which gives some idea of how deeply immersed in the world of the sea and forests around Margate Haeckels is. It has a very special place in the world of fragrances. British perfumery, it seems, is gaining a newfound confidence and developing a path of its own – more locally focused, quirkier, more oriented towards the natural and the home-grown but every bit as fascinating as that of its peers across the Channel. It’s a story that still has a long way to go.

STEP INTO PROVENCE

Immerse yourself in L’OCCITANE’s new Art De Vivre Home range. A collection proven to evoke feelings of well-being, this essential oil blend encourages moments of indulgence for your home body and soul. DISCOVER MORE AT LOCCITANE.CO.UK

SIR JACKIE STEWART

IN MEMORIAM Words by James Peill

A century has passed since the tragic death of Charles, Lord Settrington. Goodwood’s Curator recalls a life full of laughter and promise, cut short in its prime

ON 26 JANUARY 1899, HILDA, Countess of March, gave birth to a healthy baby boy who was christened Charles. There was much rejoicing in the Richmond family as he was the longed-for heir who would one day succeed his grandfather and father as Duke of Richmond. For Hilda, a strong-willed woman who was not afraid to speak her mind, it had been a long wait. Three years earlier, she had given birth prematurely to a boy who had died tragically

a few weeks later. Hilda blamed her father-in-law, the 7th Duke of Richmond, claiming the premature birth had been caused by a row she had had with him over her husband’s career. The relationship never fully recovered. Perhaps because of this background, Charlie – as he was known – was the apple of his mother’s eye and could do no wrong. He enjoyed a happy childhood spent at Molecomb, the house on the Goodwood Estate where his

LORD SETTRINGTON

parents lived. He and his younger brother, Freddie, shared a love of all things mechanical, with Charlie sending copies of The Motor Cycle magazine to Freddie at school. Idyllic summers were spent in Scotland participating in the many field sports on offer (he caught his first salmon aged 11) and roaming over the wild hills. However, this bucolic scene of happiness was not to last. The growing horrors of the First World War cast a shadow over Charlie’s final years at Eton. On leaving school, he joined the army and went straight to Sandhurst, where he remained until he joined his regiment, the Irish Guards, at the end of October 1916. Being stationed in Essex, he was able to drive up to London for the evening in his Morgan three-wheeler motor car and enjoy some of the nightlife. The lure of the pretty chorus girls on the stage proved irresistible and Charlie would often enlist the help of the liftman at the relevant theatre. His girlfriends included Joyce Barbour and Faith Celli who both became wellknown actresses. Freddie remembered Charlie smuggling Faith into his parents’ London house late at night, after the theatre, with only his sister Doris in the know. Had Hilda found out, she would have been horrified, as it was frowned upon for members of the upper class to step out with actresses. On one occasion, when Freddie expressed horror that Charlie and Faith were caught in the capital

Above: Charlie’s leaver’s portrait from Eton, which was recently discovered, hidden behind a later photograph of him

Right: pages from Charlie’s game book with a poignant inscription by his mother, passing it over to his younger brother, Freddie (later 9th Duke of Richmond)

during a Zeppelin raid, Charlie remarked, “Not at all – it was lovely. Faith clung so beautifully!” In the spring of 1918, the 19-year-old Charlie went off to war. He had hardly been in France for two weeks before his company took the full brunt of the German Spring Offensive and Charlie ended up as a prisoner of war at Karlsruhe in Germany. After the Armistice, Charlie returned home to a hero’s welcome in time for Christmas 1918. On Christmas morning, the plan was that everyone would attend the 8am Holy Communion service at Boxgrove. Unfortunately, Charlie overslept and missed his lift. Grabbing one of the housemaid’s bicycles, he pedalled furiously along a back route until his way was blocked by some heavilypadlocked doors in the wall at the Home Farm. Throwing the bicycle over the wall, he made swift work of climbing over, only to discover that he had buckled the front wheel. Realising there was not enough time to make his divine appointment, he returned home defeated. Missing church was the least of his worries. How would he explain his absence to Hilda, who was looking forward to showing off her hero son to the entire congregation? “Darling!” she exclaimed in a funereal tone, “you have broken my heart.” To which he replied, “Well, I don’t know about your heart, but I’ve certainly broken the housemaid’s bicycle.”

Previous pages (left): Charles, Lord Settrington, who would have become the 9th Duke of Richmond had he not been tragically killed in 1919 Previous pages (right): Charlie’s last letter home, wistfully recalling days spent fishing in Scotland

Am I ready for the passenger seat?

Simon Kidston. Classic car collector and broker.

When you’ve built and led a successful business, stepping down or stepping aside isn’t easy. Whatever your decision, we can help your current and long-term financial goals reflect this personal shift in gear. For some of life’s questions, you’re not alone. Together we can find an answer.

PRIVATE BANKING

ubs.com/mygoals

The value of investments may fall as well as rise and you may not get back the amount originally invested. © UBS 2019. All rights reserved. UBS Financial Services Inc. is a subsidiary of UBS AG. Member FINRA/SIPC.

GETTY IMAGES

SIR JACKIE STEWART

The army was looking for an officer to accompany the Royal Fusiliers to the remote city of Archangel, supporting the White Russians in their fight against the Bolsheviks. Charlie leapt at the opportunity Above: White Russian soldiers march through an occupied city on a recruitment drive to gain more troops for their fight against the Bolsheviks

Peacetime life in the army did not suit Charlie. He was bored and toyed with the idea of joining the newly formed Royal Air Force. Shortly after his Christmas leave, he was seconded from the Irish Guards to do a course in Wireless Telegraphy at the Army Signals School, where he did very well. Always at the back of his mind was a nagging sense of guilt that he had done nothing in the war and had somehow failed by being taken a prisoner of war. Finally, a chance meeting with an ex-army pal set his career off in a new direction. He heard that the army was looking for a new brigade signals officer to accompany the Royal Fusiliers to the remote Russian city of Archangel. They were to be part of the Allied Intervention in Russia, supporting the White Russians in their fight against the Bolsheviks. Charlie leapt at the opportunity. In late May 1919, Freddie was allowed out of school to see his elder brother off from London. The memory of that departure was to remain forever in Freddie’s memory: “I last saw brother Charles, serenely happy in the open back of a Landaulet taxi, leaving that entrance eating strawberries from a punnet we had bought off a street seller. Exit my hero, my guide.” Among the other young officers who had volunteered to serve with the Royal Fusiliers in the conflict was Lieutenant Alister Pearse. Like Charlie, he had gone straight to Sandhurst from school and then served with the Middlesex Regiment in France, where he was awarded

the Military Cross. Both Charlie and Alister were attached to the 45th Battalion, Royal Fusiliers. Later that August, the 45th Battalion arrived at the Dvina front in northern Russia. The battalion was there to relieve the original 1918 expeditionary force and that day launched an attack to aid their final evacuation. During the attack, Charlie’s platoon – who had been fighting a rear-guard action – had become cut off. Now they were desperately trying to make their way back to the British lines. As they ran full-tilt, dodging bullets, they came to a precarious bridge of planks across the swamp. There was no alternative but to cross it, leaving them even more vulnerable to the constant gunfire. In less than no time, Charlie and three others fell into the deep swamp of the Sheika river, either hit or trying to avoid being hit. Not wasting a second, Corporal Arthur Sullivan dived in after them. Despite the incessant gunfire, he hauled Charlie to safety and then did the same thing for the three others, thereby saving their lives. Charlie had been badly wounded in the stomach by machine-gun fire and half of his right hand had been shot off. Only days before, Charlie had written to his father, jokily telling him: “I have at last discovered a swamp possessing some duck. Unfortunately, any systematic shooting over it is only interfered with by the fact that it is a portion of ‘No Man’s Land’. However, we hope to include it among our preserves before long. I wonder where the

LORD SETTRINGTON

summer hols are being spent this year – also if you have any prospects of Scotland – I’d give all I have got (Phew!!) to be on the banks of the Blackwater at this moment instead of the Dvina – however, I do see prospects of being back before the leaves are off the trees. Love to all, Charlie.” Now, instead of fishing on the banks of the Blackwater, he was dying on the banks of Sheika, thousands of miles away. Charlie was rushed to a hospital barge. Despite the gravity of his wound, he was able to play chess and dictate letters home. But there were times when the pain became unbearable and, after some days, he sank into a coma from which he never recovered. On August 24, Charlie died. He was only 20 years old. His body was taken to Archangel where he was given a military funeral and buried in the Allied Cemetery, according to his family’s wishes. On September 26, Corporal Sullivan, an Australian by birth, was awarded the Victoria Cross for his actions on that fateful August day. Hilda took the news badly, trying to control her hysterical temperament. The telegram informing them of Charlie’s death had arrived at Gordon Castle on the eve of a huge gathering of the entire Scottish tenantry. In a supreme show of fortitude, Hilda’s father-in-law, the 7th Duke of Richmond, went through with the occasion and a letter from Hilda was read out. Her resilience in the face of adversity shines through: “Our loss is so great that for the moment we feel stunned, but we shall soon pull ourselves together and come out amongst everybody again.” Thereafter, she plunged herself into charity work. Just over three weeks after Charlie had died, Alister Pearse was involved in the evacuation of Chamovo. Returning upriver, the barge he was aboard was subjected to machine-gun fire. Alister, asleep in the wheelhouse, was shot through the lung and leg. He was removed to a hospital barge where he died almost immediately. His body was sent to a monastery at Siskoe, and was buried with two others. He was 21 and had only recently been awarded a bar to his MC for leading a daring raid and capturing 170 prisoners. On 24 August 2019, on the 100th anniversary of Charlie’s death, the Duke and Duchess of Richmond travelled with three of their children to Archangel. I accompanied them, not just in my role as Curator of Goodwood, but for more personal reasons. Earlier this year, while looking through my great-grandmother’s writing case, I made the most surprising discovery – the death notice of a young family member. His name: Alister Pearse, my grandfather’s first cousin. Despite having worked at Goodwood for 10 years, I had no idea of this coincidence, a sad intertwining of our families’ lives a century earlier. Together, we stood at Charlie’s grave in Archangel and held a small service of remembrance. We said prayers and sprinkled earth from Goodwood and holy water, before laying wreaths. Nearby, in the same cemetery, I laid a wreath by Alister’s memorial. We then walked from the well-tended cemetery to the Russian Orthodox Church nearby. The beautiful chants of a four-part choir resonated around the church and our guide informed us it was a service for the memory of the dead. As we lit candles in memory of our relatives, it seemed we were meant to be there. James Peill is the Curator of the Goodwood Collection and the author of “Glorious Goodwood, A Biography of England’s Greatest Sporting Estate”

Above, from top: a photograph of Charlie’s grave in the Allied Cemetery at Archangel taken on the 100th anniversary of his passing; the death notice for Alister Pearse, who was involved in the evacuation of Chamovo

INNOVATION NEVER STOPS Since the very first Ferrari emerged from the historic factory entrance on Via Abetone Inferiore in Maranello, to the latest V8 GT; the Ferrari Portofino, our designers and engineers have strived to push the boundaries of innovation and luxury. Your Official Ferrari Dealer invites you to visit its showroom and start your journey of the extraordinary. Exeter Carrs Ferrari

Belfast Charles Hurst

Swindon Dick Lovett Swindon

Solihull Graypaul Birmingham

Tel. 01392 822 080 exeter.ferraridealers.com

Tel. 0844 558 6663 belfast.ferraridealers.com

Tel. 01793 615 000 swindon.ferraridealers.com

Tel. 0121 701 2458 birmingham.ferraridealers.com

Edinburgh Graypaul Edinburgh

Nottingham Graypaul Nottingham

London H.R. Owen London

Leeds JCT600 Brooklands

Tel. 0131 629 9146 edinburgh.ferraridealers.com

Tel. 0115 837 7508 nottingham.ferraridealers.com

Tel. 0333 240 8802 london-hrowen.ferraridealers.com

Tel. 0113 389 0700 leeds.ferraridealers.com

Colchester Lancaster Colchester

Egham Maranello Sales

Lyndhurst Meridien Modena

Manchester Stratstone Manchester

Tel. 01206 848 558 colchester.ferraridealers.com

Tel. 01784 558 423 london-maranello.ferraridealers.com

Tel. 02380 283 404 lyndhurst.ferraridealers.com

Tel. 01625 445 544 manchester.ferraridealers.com

Ferrari.com

BEST OF 2019

Each year at Goodwood there are winners and losers, magic moments to marvel at and lasting memories made. Here, we speak to five extraordinary people who helped make 2019 a very special 12 months

How

does

feel to ... 74

olia

KHADIJAH MELLAH | Jockey Arguably the biggest, and certainly the most heart-warming, story to come out of Goodwood this year was that of Khadijah Mellah. Competing in the Qatar Goodwood Festivalâ&#x20AC;&#x2122;s Magnolia Cup, Mellah, an 18-year-old A-level student from Peckham, south London, became the first person in Britain to race wearing a hijab. The first time she had ever sat on a racehorse was only two months prior to the race, but lo and behold, she won. Hers is a genuine fairy-tale story.

GETTY IMAGES

... w

he t in

HOW DOES IT FEEL TO...

“Crossing the line, I knew I was just in the lead. I was so emotional I burst into tears” 76

electric ... build your own

Mellah learnt the horse-riding basics, aged 11, in Brixton of all places. Her mother came across an advert for the Ebony Horse Club, a riding school that aims to “transform young lives through horses in south London’s most disadvantaged communities”. Fast forward seven years and Mellah looked comfortable enough in the saddle for Oli Bell (a presenter with ITV racing and patron of Ebony Horse Club) to recommend her for a racing apprenticeship at Charlie Fellowes’ stables in Newmarket. Mellah immediately took to it, forming a bond with her horse, Haverland, whom she affectionately describes as a “chill guy”. “Haverland was the first racehorse I sat on and I rode him pretty much every morning throughout my training,” says Mellah. “I just felt safe on him.” On race day, Mellah’s brother, as well as racehorse trainer Nick Bentley and British racing’s most successful female jockey, Hayley Turner, were on hand to calm her jitters. “I was so nervous,” she recalls. “It felt like an out-ofbody experience. I was sitting beside people like Victoria Pendleton, feeling like I didn’t belong there.” The Magnolia Cup is an all-women’s charity race in support of Wellbeing of Women, and this year’s field was particularly competitive. Among those on the starting line – many of whom had ridden from an early age – were weather presenter Alexis Green, former Apprentice candidate Luisa Zissman, TV personality Vogue Williams and professional event rider Sophie Van Der Merwe. “We had a flag start and had to circle round for what felt like years,” says Mellah. “Everyone was silent. There are no words to describe that tension. People say it’s a short race and that it flies by, but for me it felt like time stood still; I remember the whole thing in such detail. At the four-furlong marker there were four horses in front of me and the kickback was covering both me and Haverland. I was worried he was going to choke on it. I spotted a gap and he accelerated so quickly that we flew past the four in front. Crossing the line, I knew I was just in the lead and I could see my family. I was so emotional I burst into tears.” The reaction to Mellah’s win has been remarkable. Great British Racing has logged over 1,400 TV and online pieces about her, on top of print coverage, which explains why, even three months on, journalists are struggling to get a 15-minute slot with racing’s breakout star. “The feedback has been incredible,” she says. “I’ve had so many women of different ages, colours and religions telling me they never thought this could be possible. I just hope more girls like me chase their dreams as a consequence.” For Mellah, her incredible journey is far from over, but for now it’s back to studying for her degree in mechanical engineering in Brighton. Of course, meanwhile she’ll be doing everything she can to qualify for a full amateur jockey’s licence. We can all agree that it’s one of the year’s great outsider stories, not least as Haverland was 25-1.

Previous page: Khadijah Mellah celebrates victory with Haverland. Right: Amber Cleghorn-Blair at the wheel of Funtington’s Apollo 11-themed car

car

AMBER CLEGHORN-BLAIR | Greenpower Education Trust “Gathering of Goblins” Driver Since 1999, The Greenpower Education Trust has been encouraging students to engage with STEM subjects (science, technology, engineering and mathematics) through a canny initiative that sees them design, build and race their own electric cars. Teams build a standard kit car comprising, battery, motor and chassis – but the way the car looks is up to them. Races featuring these projects take place up and down the country every year, culminating in a series of events at Goodwood Motor Circuit. The IET Formula Goblins category – for children aged 9-11 – is as hotly contested as any. Amber Cleghorn-Blair, part of Funtington Primary School’s team of fledgling engineers, was so ardently committed to the cause that she was chosen to be the team’s driver for the annual Greenpower Gathering of the Goblins in July. “I wouldn’t say I was the best driver,” says Amber, “but I think I had the best attendance for the Green Goblins Club every Saturday, when we’d practise driving. We based our car on the Apollo 11 spacecraft, as the Gathering fell on the day after the 50th anniversary of the moon landing.” Amber might prefer basketball to netball, and she knows her way around a 24V, 240W Framco motor, but she’s no tomboy: you’re just as likely to find her treading the boards as Grease’s Betty Rizzo or Charlie and the Chocolate Factory’s Veruca Salt as driving an electric car. On race day, 83 teams of Goblins competed in a series of drag, slalom and sprint races, as well as a pit-stop challenge. After competing in the drag, Amber entered the Lap of Champions, a hotly contested race around the full Goodwood Motor Circuit. “I was really nervous because even though I’d done a lot of practice, I didn’t know what to expect. I didn’t want to let everyone down.” Thankfully, everything went to plan. Amber drove like a seasoned pro and came in a respectable ninth out of 83. She may not have won the race but it was still a wonderful experience. “Building our car,” she says, “learning to drive and just being part of the team was so much fun.”

JOCHEN VAN CAUWENBERG

i t t s e st

p u me

e h t

... s

“It’s nice to win, of course, but far better to see people’s surprise when an electric VW wins”

Above: Romain Dumas with the Volkswagen ID R, the electric racing car that wowed spectators at the Goodwood hillclimb in July

ROMAIN DUMAS | Racing Driver There wasn’t much that German racing driver Nick Heidfeld could do but watch in admiration as his 20-yearold Goodwood hillclimb record was matched twice in as many days at this year’s Festival of Speed. He must have been fearing the worst, however, when Romain Dumas (no slouch at the best of times) pulled up in the multi-recordbreaking Volkswagen ID R, a game-changing electric car built specifically for hillclimbing. “I was quite confident we could beat the fastest time up the Goodwood hill ,” says Dumas. “Last year, we came straight from Pikes Peak [a race in Colorado at which Dumas and the VW set a new record], but just to exhibit the car. I said, ‘If we’re here, then I want to race!’ The car wasn’t optimised for that hillclimb [it had been prepared for Pikes Peak] and yet we came very close to the record.”

o o G

ll i h d wo o d

He adds: “For me, the hillclimb is the most challenging kind of race because it’s such a short distance. I’m used to doing 24-hour races, so to race for 40 seconds is completely different. You need to be perfect; you can’t afford to make the slightest mistake because if you do, your run is over – that’s what’s so special about it.” This year, Dumas’ time on his initial practice run was 0.24 seconds faster than Heidfeld’s record, and the Frenchman then went on to clock a staggering 39.9-second ascent of the 1.66-mile course in Saturday’s qualifying session. Inclement conditions resulted in a slower final run but a new fastest time up the Goodwood hill was in the bag, “at least until next year”. Just another day at the office then, Romain? “Yes,” he shrugs. “At the end of the day, the most important thing was for Volkswagen to be able to demonstrate the power of its electric car in the UK. We wanted the motorsport world to see this car in all its glory, and to be able to do this at Goodwood was the perfect result.” Known for playing down his achievements, Dumas reluctantly adds: “It’s nice to win, of course, but far better to see people’s surprise when an electric VW wins.”

HOW DOES IT FEEL TO...

... drive in your grandfather’s tracks JAMES DAVISON | Racing Driver For Australian racing driver James Davison, this year’s Revival was, in a sense, a sort of homecoming. After all, it was his late step-grandfather, the swashbuckling flying ace-turned-racing driver Tony Gaze, who first gave Freddie March, the 9th Duke of Richmond, the idea of creating the Goodwood Motor Circuit. “This first visit was probably long overdue,” admits Davison, 33, “but I don’t think you can appreciate history in the same way when you’re younger. Over the past few years I’ve gained a real appreciation for the period [the 1940s, ’50s and ’60s] that’s revived at Goodwood.” Tony Gaze had spent much of his military service flying Spitfires out of Westhampnett before he turned his civilian attentions to racing around it. “I remember all the stories Tony would tell me about the war and racing, and how amazing it was that he’d survived both,” says Davison. “Not only was his plane shot down, he also had a horrific accident in the Portuguese Grand Prix. If he’d been wearing a seatbelt, he would have almost certainly have died. Luckily he was thrown from the car.”

He continues: “So it was just such a huge privilege to be able to experience what Tony did with racing on the Goodwood Motor Circuit. On top of that, being given the opportunity to fly out of the airfield in a WWII reconnaissance plane was incredible.” Davison raced in the Richmond and Gordon Trophies in Stirling Moss’s 1960 Monaco Grand Prix-winning Lotus 18, and was looking at a podium finish until his car blew a cylinder. “It’s all part of the experience,” he concedes cheerfully. “The cars are so fragile compared to the ones we’re fortunate enough to race today. We have those guys to thank for that.” As a tribute to his grandfather, Davison commissioned an RAF-inspired helmet for last year’s Indianapolis 500 – which falls on Memorial Day weekend in the US – bearing the Distinguished Flying Cross, which Gaze was awarded three times during WWII. He wore it again to race at Revival. “What I found most moving was driving past the crowds seeing the sheer volume of people, and realising that in some way, Tony was responsible for their being here. It was better than I imagined it could possibly be.”

LEFT: BARC ARCHIVE

Above: James Davison visited Goodwood to honour the memory of his grandfather Tony Gaze, seen below in action at the Motor Circuit in 1951

“It was such a privilege to be able to experience what Tony did with racing on the Goodwood Motor Circuit” 78

HOW DOES IT FEEL TO...

ALEX BENNELL

Below: Matt Jones prepares for take-off in the Silver Spitfire

y l f ..

d the w n u o r a orld

MATT JONES | Pilot “I, like so many boys, wanted to be a pilot when I was three,” says Matt Jones, co-founder of Boultbee Flight Academy (which is based at Goodwood) and one of two pilots currently flying the academy’s 1943 single-seater Silver Spitfire around the world. “But unlike most other boys, I never grew up.” Earlier this year, Jones embarked on an epic, fivemonth, 27,000-mile journey, stopping in 30 countries, including Canada, Japan, Russia and India. He took off from Goodwood’s airfield on a beautiful August morning with his family and friends waving farewell. To his left, Swiss watch brand IWC’s CEO Christoph Grainger-Herr was flying a two-seater Spitfire; to his right, TV presenter Dermot O’Leary was flying a second, and to his rear, racing driver David Coulthard a third. After a series of passes, Jones pitched up to allow the other three to go, before a final solo pass over the runway and a parting

tf i r e i p in a S

victory roll. Over the Tannoy he cried, “Silver Spitfire departing to the north. The journey begins.” “It was a very special moment,” says Jones. “But as I pulled away, I thought, blimey, we’re really doing this. After two and a half years of talk, it’s finally happening.” The idea was born when Holland’s Luchtvaart Museum Aviodrome offered Jones and fellow Silver Spitfire pilot Steve Brooks (also co-founder of Boultbee) probably the most complete wartime Spitfire in the world. The two agreed to “do something special, that lived up to the plane’s rich history”. “The Spitfire means an awful lot to British people for many reasons,” explains Jones. “It’s an emblem of freedom – it stands for a generation that was prepared to make the ultimate sacrifice for all our benefit. But it also flew in 26 other countries around the world, it defended their walls too, so it’s special to a lot of other people who wouldn’t usually have the opportunity to see one.” At the time of writing, the team are preparing for the 500-mile hop from Hong Kong to Vietnam, nothing too stressful by modern standards but do remember the Spitfire was built with a range of 300 miles… “If all goes well, we’ll be coming back into Goodwood in December,” says Jones. “There’s a great TS Eliot quote: ‘We shall not cease from exploration, and the end of all our exploring will be to arrive where we started, and know the place for the first time.’ I think it’s pretty fitting.”

“It was a very special moment. As I pulled away I thought, blimey, we’re really doing this. After two and a half years of talk, it’s finally happening” 81

FESTIVE FOOD

A WINTER Darron Bunn and Ben Hammett of Goodwood’s Farmer, Butcher, Chef restaurant present the perfect way to give your guests a very warm welcome Illustrations by James Oses

The festive season is the perfect time to experiment with something a little bit special for your guests. All of these recipes are favourites of ours at Farmer, Butcher, Chef but we’ve simplified some of the methods and accompaniments a little to make them more practical for you to cook at home. Many of the elements can be made in advance, so you can relax and enjoy time with your guests. All the dishes include seasonal ingredients and – as we like to showcase in the restaurant – some unusual cuts. And of course, if you like the sound of them but you’d rather we did the cooking, be our guest! We hope to see you at Farmer, Butcher, Chef soon to enjoy our winter menus. Darron Bunn and Ben Hammett

82 66

S TA R T E R Gin & Tonic Trout This is one of our most popular starters. It’s aromatic, fresh and the gin gives the bright flavours an extra kick. With a cured dish like this the quality of the fish is important, so make sure you get yours from a decent fishmonger and check that it’s sustainably sourced. The best thing about this dish is that most of the work is done before your guests arrive. Serves 8 2 sides sea trout, trimmed and pin bones removed 1 lemon, zested 2 limes, zested 200g rock salt 50g sugar ½ bunch dill 30g coriander seeds, lightly crushed 30g juniper berries, lightly crushed 10g black peppercorns, lightly crushed 50ml gin 50ml tonic water 1 For the marinade, place the coriander seeds, juniper berries and black peppercorns in a dry, nonstick frying pan. Gently toast the spices for two minutes, moving them around to avoid scorching. Combine the toasted spices with the rest of the ingredients – except the trout – in a food processor and pulse together to form a loose paste. 2 Place the trout fillets in a deep, flat tray, skin-side down. Evenly spread the marinade over the fillets, ensuring that all the flesh is covered. Cover with a lid or clingfilm and leave in the fridge for 24 hours. 3 Remove the fillets from the marinade, wash in cold water. Pat dry with a clean towel. Remove the skin and dice into 1–2cm cubes (alternatively, slice the fillets like smoked salmon if you prefer). 4 We like to serve this with a dill mayonnaise, crunchy croutons, pickled fennel and a garnish of nasturtium leaves (if in season).

FEAST

FESTIVE FOOD

MAIN Chestnut crusted tricep of Sussex beef, wild mushrooms & red wine There’s nothing quite like the hearty combination of beef, mushrooms and red wine to banish the winter chill. This is a rich, satisfying main course that’s packed with flavour and perfectly complemented by mashed potato, sprouts and all-important roasted chestnuts, which give it an added festive feel. If you can’t get tricep then shin will work too. Serves 6 BEEF 2 triceps, outer sinew removed (ask your butcher to do this) 200g Maldon sea salt 50g light brown sugar 20g mustard powder 20g smoked paprika 20g ground black pepper 3 onions, roughly chopped 10 cloves garlic, lightly crushed 1 bottle red wine (Rioja or similar) 500ml brown stock ½ bunch thyme 80ml vegetable oil for frying 1 Mix the salt, sugar, mustard powder, paprika and pepper together to form a rub. Rub this all over the trimmed triceps and leave to marinate for 1 hour. 2 Sear the beef in a hot frying pan to get a deep brown colour all over. While it’s searing, gently fry the onions and garlic for 1–2 minutes in a casserole pan to soften until they are light brown in colour. Add the red wine and bring to the boil, then add the brown stock. Bring back to the boil, then simmer for 5 minutes. 3 Once simmered, add the seared beef. The top third or so of the beef should be clear of the liquid. Cook in the oven, uncovered, at 150°C for 4–5 hours, turning every 30 minutes so the top of the beef goes back into the liquid. Once the beef is very tender, remove from the oven and leave to sit for 30–40 minutes. 4 Carefully remove the beef from the liquid and mould the 2 triceps into neat cylinder shapes in clingfilm. Place these cylinders in the fridge to set overnight. 5 Pass the cooking liquid from the casserole dish through a fine strainer and keep two thirds of this to use as a sauce. Pour the other third into a saucepan, bring to the boil and gently simmer until it is reduced to a syrupy

consistency. Allow to cool and then put the reduced sauce in the fridge until required. 6 When needed, remove the clingfilm from the beef, cut the beef into portions, brush liberally with the reduced sauce, cook in the oven at 180°C for 10–12 minutes, re-brushing with reduced sauce every 5 minutes. While it’s cooking, gently heat the reserved sauce from the braise in a saucepan. 7 Once the beef is hot and glazed, coat it liberally with the chestnut crumb and serve with smooth creamy mashed potato, fried wild mushrooms, roasted chopped chestnuts and the reserved sauce. CHESTNUT CRUMB A chestnut crumb adds a pleasing crunch and texture to the beef. 200g stale brioche or sourdough bread 100g roasted chopped chestnuts 30g butter, melted 2 tablespoons parsley, chopped 1 teaspoon mustard powder 1 teaspoon onion powder ½ teaspoon ground black pepper 1 teaspoon thyme leaves 1 teaspoon salt 1 Tear the bread into large chunks and place onto a flat baking tray. Bake in a low oven at 150°C until very dry and brittle, remove from the oven and allow to cool. 2 When it’s cool, place the dried bread in a food processor along with the onion powder, mustard powder, thyme, salt and pepper. Blend to a rough crumb. 3 Tip into a bowl, mix in the butter, then mix in the chestnuts and parsley. It’s now ready to be coated onto the beef.

CRISPY SPROUTS A dish of crispy sprouts for the centre of the table will make a nice accompaniment to the beef. These are boosted with crispy bacon to make them especially tasty. 500g sprouts 8 rashers smoked streaky bacon (baked until crispy, cooled and finely chopped) 200g corn flour 200ml vegetable oil for frying (amount is approximate, depending on pan size)

1 With a sharp knife, cut a cross in the bottom of your sprouts. Drop into boiling salted water and allow them to cook through. 2 Drain the sprouts well, place them in a mixing bowl, add a small amount (about 50ml) of oil and mix through. Sieve in the corn flour and mix through the sprouts until they’re evenly coated. 3 Deep fry the sprouts until golden brown, drain and sprinkle with the bacon or chopped roasted chestnuts.

Gear up for Goodwood to win a VIP experience. From going behind the scenes, to speeding up the Goodwood hill, use your Mastercard to buy tickets and have a chance to win a VIP experience at the Festival of Speed 2020. Buy your ticket at goodwood.com/mc

Start Something Priceless

â&#x201E;˘

The competition closes on the 8th of June 2020. 18+. T&Cs: bit.ly/GWD-FOS-MC Mastercard is a registered trademark, and the circles design and Start Something Priceless are trademarks of Mastercard International Incorporated. Photograph by Sam Todd

FESTIVE FOOD

overly sweet. There are four stages to making an Alaska: the parfait, sponge and meringue are prepared individually, then assembled and baked. It’s slightly more complex than some desserts but well worth the effort. Serves 6 CLEMENTINE AND CRANBERRY PARFAIT 300ml cream 2 egg whites 200g caster sugar 400g clementine purée (available either frozen or fresh from good delis or online) 50g dried cranberries 1 Semi-whip the cream to soft peaks. 2 In a different bowl, whip the whites with the sugar to a stiff peaked meringue, then fold the cream and meringues together gently with a spatula. 3 Fold in the clementine purée and the cranberries. Place in a domed mould or round-bottomed bowl and freeze. GENOISE SPONGE 5 free-range eggs 200g sugar 160g plain flour 1 Whisk the eggs and sugar to a pale and thick consistency that coats the back of a spoon. Slowly sieve the flour onto the eggs and gently fold in with a spatula. 2 Once fully incorporated, spread onto a flat baking tray lined with greaseproof paper and bake at 180°C for 8–10 minutes. 3 Cool on a baking tray. ITALIAN MERINGUE 250g caster sugar 80g water 100g egg whites 1 Place the sugar and water into a pan and boil to 120°C. While sugar is boiling, start to whisk the whites to soft peaks. 2 Once the sugar has reached the required temperature gradually add the boiled sugar to the egg whites and continue to whisk until the mixture forms very stiff peaks.

PUDDING Cranberry & clementine baked Alaska

Baked Alaska is one of those dinner party showstoppers that always goes down a treat with guests – and it’s one of the Duke of Richmond’s favourite puddings. You can make it with a variety of different fruit combinations – we’ve opted for clementines, which add a nice freshness, while the tartness of the cranberries prevents this wonderfully indulgent dessert from being

TO FINISH 1 Cut the sponge to the same size as the bowl that you have put the parfait in. 2 Plunge the frozen parfait bowl into warm water for a few seconds to release it from its mould. 3 Place the parfait onto the sponge disc. Spread with the meringue and form nice peaks with a palette knife. 4 Bake in the oven at 220°C for 5 minutes, remove and colour the meringue further using a blow torch. Serve immediately.

B L AC K B A D G E Dare to be different Rolls-Royce Motor Cars P & A Wood Great Easton, Dunmow, Essex CM6 2HD (+44) 01371 852000 Rolls-Royce Motor Cars Sunningdale London Road, Sunningdale, Berkshire SL5 0EX (+44) 01344 286 339

Rolls-Royce Motor Cars Edinburgh One Corstophine Road, Edinburgh EH12 6DD (+44) 0131 4421000 Rolls-Royce Motor Cars Manchester Deanway Technology Centre, Wilmslow Road, Wilmslow, Cheshire SK9 3FB (+44) 01625 416250

Rolls-Royce Motor Cars London Berkeley Square House, Berkeley Square, Mayfair, London W1J 6BR (+44) 020 3053 0767 Rolls-Royce Motor Cars Leeds JCT600 Brooklands, Ring Road, Lower Wortley, Leeds, Yorkshire LS12 6AA (+44) 0113 389 0700

Rolls-Royce Motor Cars Birmingham 2635 Stratford Road, Hockley Heath, Solihull B94 5NH (+44) 01564 787170

NEDC: Emissions Combined 367 g/km ; Fuel consumption: 17.5 mpg / 16.1 l/100km WLTP: Emissions Combines 370-365 g/km ; Fuel consumption: 17.2-17.4 mpg / 16.4-16.2 l/100km *Figures are for comparison purposes and may not reflect real-life driving results, which depend on a number of factors including the accessories fitted (post-registration), variations in weather, driving styles and vehicle load. All figures were determined according to a new test (WLTP). The CO2 figures were translated back to the outgoing test (NEDC) and will be used to calculate vehicle tax on first registration. Only compare fuel consumption and CO2 figures with other cars tested to the same technical procedure. ÂŠ Copyright Rolls-Royce Motor Cars Limited 20XX. The Rolls-Royce name and logo are registered trademarks.

HIGHLIGHTS

DECEMBER - MARCH December 4

December 31 NEW YEAR’S EVE PARTY See in the New Year in style at the New Year's Eve party at The Kennels with champagne and fireworks.

MEMBERS' CHRISTMAS PARTIES The festivities get off to a storming start with the Goodwood Aero Club Christmas party, setting the benchmark for celebrating in style at Goodwood House this year. The fun begins with a black-tie celebration at the House, with a champagne reception in the Front Hall, followed by a sumptuous three-course meal in the State Apartments. Next up, mulled wine and a spectacular firework display outside – before guests head back inside to enjoy live music. December 5 and 6 It’s the turn of the Goodwood Road Racing Club to celebrate Christmas in style, with two consecutive evenings of champagne, fine dining, fireworks and live music at Goodwood House. December 13 and 14

APRES-SKI PARTY Dig out your brightest skiwear, gather your friends and family and head down to The Kennels for the ultimate outdoor Christmas party. With music to keep you dancing all night, expect warming baked potatoes with delicious Raclette cheese and a fantastic chocolate fountain.

January 22 GLORIOUS GOODWOOD Author and Curator of the Goodwood Collection, James Peill, recounts some of the fascinating stories from his book Glorious Goodwood, A Biography of England’s Greatest Sporting Estate.

Fireworks play a key role in many celebrations at Goodwood, from the pre-Christmas members’ parties at Goodwood House to New Year’s Eve at The Kennels and the vast open-air party on Saturday at the Members’ Meeting in March 2020

January 25 BURNS NIGHT An evening of poetry, songs and conviviality – plus Scottish dishes with a Goodwood twist – at The Kennels. March 28-29

MEMBERS’ MEETING Recreating the atmosphere and camaraderie of the original BARC Meetings at Goodwood in the 1950s, with two days of racing and demonstrations from the finest historic and modern cars at the Motor Circuit, with buzzing food markets, and culminating in a huge outdoor party with fireworks.

December 19 CAROLS AT THE KENNELS Get into the festive spirit with an evening of carols at The Kennels, with mulled wine and mince pies throughout.

calendar

LONDON · EDINBURGH · LEEDS

CALENDAR

December

GIFTS FROM GOODWOOD

At a time of celebration, it’s worth remembering that Goodwood is the place that, more than anywhere else, celebrates sporting excellence – from thoroughbred racing to golf, from motorsport to shooting. So the Goodwood shop – online or at the Motor Circuit – has a great variety of merchandise that reflects those sporting passions and will make the perfect gift for any fan of Goodwood, whatever their chosen interest. Perhaps it might be the elegant wool felt Grayson Hat; the Spitfire Pen, crafted out of wood from the propeller of a Spitfire; or the retro overalls that your children will be sporting at the Goodwood Motor Circuit for Revival in 2020. And for all-rounders, of course, there’s James Peill’s new book, Glorious Goodwood, A Biography of England’s Greatest Sporting Estate, or perhaps an afternoon tea and tour at Goodwood House. That would be something for everyone, then. goodwood.com

The festive season at Goodwood is a time for celebrations – both great and small – from the splendid black-tie parties at Goodwood House in the run-up to Christmas or Après-Ski at The Kennels (a long way from the slopes, admittedly) to convivial evenings spent fireside at The Kennels or Farmer, Butcher, Chef

Courchevel • Baden-Baden • Paris • Vence - Côte d’Azur • St Barths • Cap d’Antibes • Antigua - West Indies • London • São Paulo

Alana - Chief Happiness Officer

CALENDAR

A Goodwood favourite, the early Fiat S76 nicknamed “the Beast of Turin”, will be among old-timers participating in the S.F. Edge Trophy at this year’s Members' Meeting

March 28 – 29

Members' meeting

The 78th Goodwood Members’ Meeting offers a weekend of thrilling action on the track, with a packed race-schedule of returning favourites, as well as many exciting new fixtures soon to be announced. The historic seasonopener is only for those who are part of the GRRC and, as such, there is just as much emphasis on socialising as racing, with Saturday evening offering Goodwood’s biggest outdoor party, including live music, theatrics, and a spectacular fireworks display. Sunday brings the much-loved Gerry Marshall Trophy, which this year will feature a bevy of beauties from the late 1970s and early '80s. So, if you love a Triumph Dolomite or a Ford Capri, this is the race for you. For the very first time, those attending the Members’ Meeting will be able to book a camping pitch across the road from the Motor Circuit, and the popular Goodwood House Breakfast Experience is back. For more information and an early-bird price, go to goodwood.com/78MM.

finish The herbarium photographed here, one of several in the Goodwood Library, contains 48 pages of pressed flowers, now faded and fragile but remarkably intact. It is charming not just for its frail beauty, but also for its lovely handwritten inscriptions. Our cover image is of Aristolochia clematitis, a poisonous climbing plant, otherwise known as birthwort. This page shows Small Mountain Sengreen with jagged leaves (a type of Saxifraga), â&#x20AC;&#x153;found on Snowdon and other high mountains in Walesâ&#x20AC;?. The creator is unknown, though the 2nd Duke was related by marriage to Sir Hans Sloane, who was a huge fan of herboria, and could have helped the Duke source his own. It is left to our imaginations to picture this Georgian lady or gentleman, combing the hedgerows, mountains and riverbanks of Britain, the David Attenborough of their day.

LAP OF HONOUR

Sir Jonathan “Jony” Ive is chief design officer for Apple, where he has worked for 27 years. He has won countless awards for his work, including being named the Design Museum’s first Designer of the Year in 2003, and was made a knight commander of the British Empire in 2013 “for services to design and enterprise”. Despite living in San Francisco, he is a regular visitor to Goodwood Festival of Speed where he is one of the panel of judges for Cartier “Style et Luxe”.

Jony Ive

MY FATHER WAS A SILVERSMITH and my grandfather was an engineer, so I grew up understanding the relationship between designing and making. That’s why I always work closely with the people on the shop floor. For design to be successful, the material has to inform the form. When you try to disconnect them, things become fractured. DESIGNERS TEND TO SAY that the latest thing they've designed is their best, but the thing I’m most proud of is the Apple watch – because of the number of people who get in touch to say how it has improved their quality of life, and sometimes even saved their life. I’M ABOUT TO EMBARK on a new venture. It will be exciting to work on a range of different products. The company is called LoveFrom and it will be characterised by collaborations

with other designers. I’m doing it with Marc Newson, who’s a very close friend and one of the most significant designers of the past 30 years. We really enjoy working together. Collaborations rely on people having complementary skills, but Marc and I also share the same preoccupations and beliefs. I COLLECT OBJECTS that somehow capture my attention, whether they’re hundreds of years old or contemporary. If I could own any work of art, it would be a painting called Rain by the late Howard Hodgkin, which is in the Tate’s collection. It’s just gorgeous. THE VERY FIRST CAR I drove was a Fiat 500. I’ve got three cars that I have real affection for and drive every couple of days. I have an Aston Martin DB4 – one of a very late series. I love driving that. I’ve got a Bentley S3 drophead. And then a Lancia Aurelia Spider. I really love driving them – and I couldn’t choose a favourite from them. Predictably, given where I live, I love driving the Pacific Coast Highway down from San Francisco.

I GREW UP IN LONDON. I love it and come back five or six times a year, as I have a role at the Royal College of Art [he succeeded Sir James Dyson as Chancellor in 2017]. When I compare the students there with my experience of studying design, things have changed enormously. The tools they have at their disposal are dramatically different, and their challenges are shifting – with huge concern, rightly, about climate and use of materials. I really enjoy meeting the postgrad students; by that point they’ve acquired a real confidence and focus in their approach. WHAT ADVICE WOULD I GIVE to my 18-year-old self? Get a better haircut.

ILLUSTRATION BY ELIZABETH MOCH

I HAVE SO MANY FABULOUS memories of Goodwood. The glory of the cars I take almost as a given. But my happiest memories are of the place and the people – especially my fellow judges, some of whom I only see once a year, at Goodwood. I really enjoy being part of that group, in that setting.

The UK and Europe - thatâ&#x20AC;&#x2122;s the Tuned for investment opportunities in the UK and Europe At CRUX Asset Management we are focused on the UK and Europe. They are our specialist investment areas. The managers of our European funds have a wealth of experience and expertise investing in their sector and have a strong long term track record.

Consult your financial adviser, call or visit: 0800 30 474 24

Our UK fund managers have a strong track record for investing for the long term and having the courage of their convictions. They never sway from their investment principles. So, if youâ&#x20AC;&#x2122;re thinking of investing in the UK and Europe take a trip to our website and find out more about our funds.

www.cruxam.com

This financial promotion has been approved under Section 21 of the Financial Services and Markets Act 2000 by CRUX Asset Management Ltd. This financial promotion is issued by CRUX Asset Management Ltd which is registered in England and Wales (Company no. 08697189) and whose registered address is 48 Pall Mall, London, SW1Y 5JG. It is authorised and regulated by the Financial Conduct Authority (FRN 623757).