GOODWOOD | ISSUE 15 by Uncommonly

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LETTER FROM THE DUKE OF RICHMOND

DOG DAYS Welcome to this latest issue of Goodwood Magazine, our first edition of 2020. You will notice a distinctly canine influence in these pages, from the handsome pointer photographed on the cover to a fascinating investigation into the science of dog DNA. All this is in honour of our first ever Goodwoof, a spectacular dog event with a difference, to be held in May. This celebration of all things canine will include competitions, exhibitions and even a dog-friendly open-air cinema. Dogs, of course, have always been at the heart of life at Goodwood. The 1st Duke bought Goodwood House in 1695 to use as a hunting lodge and the 3rd Duke commissioned architect James Wyatt to design the grandest kennels ever built – a tradition we will be honouring at Goodwoof, with our Barkitecture competition. Our first major event of 2020, though, is the 78th Members’ Meeting, which this year celebrates all the excitement of rallying at its peak. The Goodwood Motor Circuit will recreate these high-octane thrills with a Rally Sprint on Saturday evening and Sunday morning. You can read about Michèle Mouton, the most successful female rally driver of all time, on page 64. Elsewhere in the magazine we tell the story of artist Angelica Kauffman (p78), one of only two female founders of the Royal Academy, whose portrait of Mary Lennox, Duchess of Richmond is part of the Goodwood Collection. Kauffman’s work will be exhibited in a major show at the RA this summer. We also highlight the return to popularity of the walled garden (p36). Here at Goodwood, as part of our work on the hotel, there are plans afoot to bring back to life the bountiful old kitchen and flower gardens, something we’ll report on in future issues. Finally, in Lap of Honour (p96), ballerina and friend of Goodwood, Darcey Bussell, reveals her love of vintage motor cars, her equine namesakes and why we all need to dance more. We look forward to welcoming you to Goodwood very soon for what is set to be a great year.

The Duke of Richmond

TIME , A HE RMÈS OB JECT.

Arceau, L’heure de la lune Time flies to the moon. 9

CONTRIBUTORS

The front cover shows a pointer called Mork. Our cover star was chosen to mark the inauguration of Goodwoof, a celebration of all things canine. Cover, Start and Finish photographs by Tim Flach

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Emma Crichton-Miller

Tim Flach

Emma writes on art, design and collecting for a range of titles that includes The Financial Times, Apollo Magazine and Prospect Magazine. She is also Editor-in-Chief of The Design Edit, an online magazine dedicated to collectible design. For us she writes on 18th-century artist and RA founder Angelica Kauffman.

Tim is an animal photographer whose work has appeared in titles including The New York Times and National Geographic and in several books. He has also lectured at the Zoological Society of London. An Honorary Fellow of the Royal Photographic Society, Tim photographed the handsome pointer on our cover.

Aleks Cvetkovic

Hilary Alexander

Aleks writes on menswear for The Financial Times, Robb Report and The Telegraph and hosts the HandCut Radio podcast on fashion, which explores new perspectives on men’s style and the fashion industry. In this issue he waves goodbye to skinny jeans and embraces the welcome return of baggy men’s style.

Hilary started her career as a reporter in her home country of New Zealand before moving to London, where she became Fashion Editor of The Telegraph. For us, she writes about the current vogue for midcentury wallpaper-inspired prints in the 2020 spring/ summer fashion collections.

Marek Kohn

Bethan Ryder

The author of A Reason For Everything: Natural Selection and the English Imagination, Marek is one of our foremost writers on science and a contributor to New Scientist, The New Statesman and Prospect. In this issue he tells the evolutionary story of dogs and the 15,000-year domestication of man’s best friend.

Bethan is a leading design journalist who has written about interiors and architecture, craft and travel for Telegraph Luxury, Wallpaper*, The Guardian and Elle Decoration, where she is now Editorial Manager. Here, she writes about the return of that most shapely of analogue devices, the hourglass.

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 Ca rs Fashion Fash Fa shio sh ion io n Farming Farm Fa rmin rm i g Vintage in V nt Vi ntag age Do ag Dogs g Horses gs Hors Ho rses rs e Tech es T ch Te h Food Fo F o od d & Living Livi Li ving vi n the ng t he h life lif ife e Fashion Farming Design Dogs Horses Vintage Tech Food & living the life

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

Spring 2020

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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 2020 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 16

Last hurrah

Quality time

Hourglasses – decorative objects for a digital age 21

My other cufflink is a Corvette

Trunk call Goodwood’s forestry manager Darren Norris in praise of the sweet chestnut tree

Great wall of china Wall-hung plates are making a comeback, says Goodwood interiors guru Cindy Leveson

Lazing on a sunny afternoon The remarkable new generation of robotic lawnmowers

Brabham Automotive’s V8 hypercar pulls no punches 20

Roll with it Bold and colourful midcentury wallpaper is now inspiring fashion designers

She sells sea shells How Tess Morley made beachcombing an art form

Designer dogs Interior designers show off their homes, and their dogs, in a new coffee table book

FROM TOP: KATHRIN MAKOWSKI; JOHN HAMMOND

START

The chic of it Diana Vreeland's fashion bon mots illustrated by designer Luke Edward Hall

The story of Fordite – dried paint from car factories transformed into jewellery

Worn to be wild A perennial symbol of rebellion, the black leather biker jacket is back in vogue

Flight club

Light and shade

BENJAMIN MADGWICK

This season's monochrome looks give a nod to the 1960s, with sleek trouser suits, super-chic leathers, the odd beret – and a healthy dash of insouciant charm

From top: bold monochrome style in our 1960s-inspired fashion story (p50); Disegno by celebrated neoclassical artist and RA founder Angelica Kauffman (p78)

After years of the skinny silhouette reigning supreme in menswear, breathe a sigh of relief – baggy is back 64

Wonder walls Up and down the country, the abandoned walled gardens of our great houses are being restored to become productive once again

Calendar The unmissable events at Goodwood this summer, including FOS and Goodwoof

Lap of honour Ballet legend and former Strictly Come Dancing judge Darcey Bussell on vintage cars, equine namesakes and the power of dance

True grit We celebrate iconic driver Michèle Mouton as the 78th Members’ Meeting prepares for its first ever Rally Sprint

Features 36

Cut yourself some slack

The female gaze She was a celebrated portraitist and one of only two female founders of the Royal Academy. Now Angelica Kauffman is being rediscovered for a new generation

With its streamlined looks, Goodwood's new Aerodrome building is an homage to Bauhaus-era design and the glory days of aviation

From wolf to woof New genetic science reveals that your adorable pup shares its DNA with the common wolf from 15,000 years ago

finish

Start

The Cover, Start and Finish of this issue feature a splendid dog called Mork, the perfect model for photographer Tim Flach, whose portfolio is proof that the old showbiz adage about not working with animals is, for some creatives, nonsense. Mork was good as gold at his cover shoot, during which Tim was assisted by Mork’s owner, Sue – who came armed with nuggets of cheese to catch his attention at key moments. And he was especially appropriate for this issue, in which we look forward to Goodwood’s first ever dog festival, and celebrate canines in all their extraordinary variety, from working dogs to the most idle of pets. Mork is a pointer, you see, traditionally bred and trained for another kind of shoot – and one of the field sports for which Goodwood has always been renowned. The clue is in the name. For pointers were expected to locate birds and then, rather than pursue them, to pause and thereby point out the birds – just as setters were trained to flush birds out of the trees, and retrievers... well, you get the picture.

SHORTS TESS MORLEY

SHE SELLS SEA SHELLS Intricate, inventive and each completely unique, artist Tess Morley’s shellwork creations are a fantastical feast for the eyes

Visitors to the beaches of Sussex might well spot artist Tess Morley “walking with a stoop and a jar”, combing the shore, seeking out unusual crustaceous gems to haul back to her Worthing studio. Raised by the sea, Morley grew up a habitual beachcomber, but it was only after studying fine art at the University of Brighton that her obsessive collecting found a creative outlet. Now one of Britain’s leading shellwork artists, over the past 20 years she has carved out her own particular niche in this decorative art, dividing her time between restoring historic shell grottos and creating covetable ornamental objets, mirrors and accessories. “I like the old-fashioned look of cabinets of curiosities,” she says, explaining her broad range of inspirations. “My nautilus cups are based on rococo objects, but I also like to have a more contemporary twist to my work – like the oversized mirrors with white shell frames that American customers love for their bathrooms.” This organic, sculptural form of mosaic, the roots of which can be traced back to ancient Greece and Rome, has stood the test of time. It resurfaced during the Italian Renaissance and swept into Britain soon after. By the Georgian era, shellwork was all the rage: no self-respecting country seat was complete without its own fairytale grotto intricately embellished with beautiful shells, often imported to order from the colonies.

In recent years Morley has been regularly tending her local grotto, the Goodwood Shell House, built in the 1740s by the 2nd Duke of Richmond for his wife and daughters to decorate. “I’ve been involved for about 10 years,” she says. “It’s very fragile and requires careful specialist cleaning. More serious restoration work was done a little while ago.” Those repairs included the Tympanum Arch, where a section of shellwork decoration had detached from the wooden panelling exposing an open space behind. Morley installed a hardwood batten, sealing it with shellac before applying conservation putty and reattaching the fallen limpet shells. She is clearly meticulous about both materials and methodology. “For Goodwood, I use a recipe which I thoroughly researched from some original putty that I had analysed,” she explains. “It’s completely natural, contains lime, and is quite slow to cure, allowing you more freedom to alter a design.” For her own pieces, often with tighter deadlines, modern mastics are more appropriate. The creative process involves Morley painstakingly laying out her design, flat, shell by shell – many obtained from local restaurants (after their bivalve occupants have been consumed), or donated by friends. Photographs are taken for reference and only when she’s happy with the design are the shells affixed to whatever the object is – such as a frame or lamp base. A small casket, like the octagonal one sold via Mayfair’s The New Craftsmen, can take several weeks to complete, which explains its £1,800 price tag. Catherine Lock, co-founder of The New Craftsmen, believes the shellwork revival is connected to a wider trend. “There’s a definite move towards decorative ornamentation,” she says. “We’re rediscovering the neoclassical era when all the greats – Robert Adam, Capability Brown and Josiah Wedgwood – were at their height. Shells are objects of great wonder and curiosity. And there’s something quite fantastical about shellwork – the idea of finding a piece of nature’s own craftsmanship on a beach and turning it into something of great beauty.” Couple this with the design world’s current emphasis on sustainability and the respectful use of natural materials and it seems the interiors world will continue to be, quite literally, Morley’s oyster.

Above: artist Tess Morley in the Goodwood Shell House. Right: one of her shellwork “grotesques”

ANTONY CROLLA @ WORLD OF INTERIORS

Words by Bethan Ryder

SHORTS BRABHAM BT62

LAST HURRAH While most car manufacturers are shifting their focus to electric vehicles, Brabham Automotive is standing firm with an uncompromising V8-engined hypercar

Words by Erin Baker

Our sustainability zeitgeist is hard to argue against in 2020, but one casualty whose passing will be lamented by drivers is the large, naturally aspirated petrol engine. If you don’t already own an electric or plug-in hybrid vehicle these days, you’re undoubtedly driving a car whose engine has shrunk in capacity and is turbocharged, to save fuel. Howling, free-breathing V8s, V10s and V12s are the fossil-fuelled relics of our salad days. There are pockets of resistance, however, that continue to celebrate motorsport and road cars in all their noisy glory. One of them is Brabham Automotive, the Australian brand that launched the BT62 track, competition and road car in 2018, at Australia House in London. While racing driver Jack Brabham is a familiar household name, the company formed by his son, David, together with a private equity firm, is less so. Trading heavily on Jack Brabham’s motorsport renown (the BT part of the name appeared on Brabham’s 1960s race cars – he won his third F1 World Championship in the BT19), the BT62 is intended to be “the world’s ultimate

track car for seasoned drivers… and gentleman racers”, according to the brand’s CEO, Dan Marks. No one doubts the speed of the BT62 hypercar: it’s the fastest closed-wheel vehicle ever to run the gamut of the Mount Panorama Circuit at Bathurst. Just 70 BT62s will be built, at a cost of about £1m each, depending on whether you choose the standard specification or a stripped-out competition version. For another £150,000, Brabham will convert the car into a road-legal model, which is tempting, although you’ll struggle to release the full 700 horsepower that the 5.4-litre V8 engine has to offer (that might not sound terribly powerful but this car only weighs 972kg). If you find this track-focused variant too lairy, Brabham promises news of another model, this time designed as a road-car first, later this year. On the other hand, it would be mighty cool to cruise High Street Ken in a car which is almost indistinguishable from the BT62 that should race in the GTE class at the 24 Hours of Le Mans endurance race in 2021. And if people don’t see you coming, they’ll certainly hear you: “The BT62 has raw power and the noise that a naturally aspirated engine makes, which is how a car should sound,” says Dan Marks. “We didn’t want to sanitise the experience of what we believe a true track car should be with a hybrid or electric drivetrain. Where we go in the future may be dictated by regulations that we need to conform to. Today, we have a choice – and that is embodied in the BT62.” Therein lies the magic of this rarefied track and road car: it represents the fading liberty of the driver’s choice, which is being inexorably replaced by a single supply of power: electricity. In time, that may bring its own thrills and satisfaction, but for now it feels, and sounds, like the BT62’s exhausts are raging against the dying of the light.

SHORTS THE NEW HOURGLASS

QUALITY TIME Shapely, elegant and mesmerising to watch, a sleek new generation of designer hourglasses is enjoying a surprise revival in our digital age

Words by Bethan Ryder

Progress is always governed by the law of opposites: polar forces tugging in contradictory directions; fast v slow. As music downloads prevail, so vinyl sales surge; as digitalisation dominates our lives, age-old crafts experience a revival. And so, just as wristwatches reach their multi-tasking technological peak, we’re falling in love all over again with the waspish curves of that ancient timepiece, the hourglass. Believed to date back to the third century BC, when they were used by the Greeks and Romans, often to time political speeches, hourglasses became popular decorative items during the 1950s, ’60s and ’70s, says Simon Andrews, International Specialist, Design, at Christie’s. “In part, this was due to the revived interest in Victoriana that paralleled modernism,” he says, “as illustrated in the 1950s interiors of Alexander Girard in the US, or later in Britain by Terence Conran, who used them as decorative accents in his Habitat catalogues. Similarly, a renewed interest in these arcane timepieces might be seen as a reaction against the precision timekeeping of our modern world.” Fuelled in part by a renewed appreciation for mouthblown glass objects, the past decade has seen our fascination gather steam. In 2011, superstar designer Marc Newson conceived two statuesque hourglasses in Borosilicate glass for watch brand Ikepod, swapping sand for tiny gold-plated stainless-steel balls. Then, in 2015, Japanese architect Tadao Ando pushed the boundaries of hourglass design for Murano glass masters Venini with his extraordinary “Ando Time”. More recently, minimalist master Nendo freed up time with his disruptive “Variations of Time” acrylic blocks, housing coloured sand flowing through a series of chambers and cavities. Now more affordable versions are available – in a rainbow of sands and a choice of time measurements stretching from three minutes to three hours – from Dutch brand Pols Potten, Italian accessories firm Bitossi Home, and Danish brand Hay, which launched its now bestselling “Time” collection (pictured, left) in 2015. Ancient or contemporary, hourglasses clearly have a mesmerising appeal. As life speeds up, we hanker after this emblem of slow time, which allows us to witness the passing of seconds. Small wonder it has been adopted as a symbol of the planet’s “time running out”, for cleanup-the-oceans campaigner Brodie Neill, who swapped sand for microplastic granules gathered on Tasmanian beaches for his “Capsule” design, not to mention, of course, for Extinction Rebellion’s logo. The hourglass, it seems, is a sign of the times – but thankfully a very stylish one.

SHORTS WALL PLATES

GREAT WALL OF CHINA Once considered fusty and old-fashioned, wall-hung decorative plates are back on trend, says Goodwood’s interior designer Cindy Leveson Words by Gill Morgan

Cindy Leveson is the woman responsible for Goodwood’s interior design. Over the past two decades she has refurbished the grand rooms of the main house, decorated The Kennels and Hound Lodge, and created the wonderfully eclectic look of the restaurant, Farmer, Butcher, Chef. Now she is turning her attention to possibly the biggest challenge of all: bringing her pitch-perfect interpretation of updated country house elegance – with just the right dash of Goodwood quirk – to The Goodwood Hotel. The job is not without its challenges. It's one thing decorating ten bedrooms in Hound Lodge, it’s quite another ensuring that all 91 bedrooms at the hotel feel quintessentially “Goodwood”. Leveson was determined that each bedroom would be unique, so she has mixed antique pieces in with the other furniture and added a touch of chintz to each room. But it was the artwork for the rooms that threatened to stump her. Usually Leveson uses Goodwood photographs and prints in her schemes, but she realised that with so many rooms, "I was running out of pictures that were Goodwood-related.” Around the same time that she was working on her initial ideas, she started collecting antique

plates, especially ones with a floral or rural feel. And so she found her perfect solution: she decided to use plates in small collections in each of the bedrooms. “The great thing is that they’re all different, all originals, so it means that every room is unique. I find them everywhere,” Leveson says. “Auctions, junk shops, eBay, you name it.” It became popular to hang plates decoratively in the home from the 18th century onwards. In country houses, the scenes depicted are often of flora and fauna or rural tableaux, which works perfectly in the Goodwood Hotel redecoration, as it will have a strongly garden-inspired theme. In more recent times, wall plates had become rather old-hat, a bit “granny”, but Leveson is a past master at unearthing an old tradition or object and reworking it to fit into a contemporary scheme. Since she had her clever idea, she’s noticed that plate collections, often mixing old and new, are having a bit of moment. “I’m suddenly seeing them in lots of cool places,” she says. The meeting rooms in the hotel have also been entirely remodelled as part of the first phase of the renovation and will now feel very much a continuation of the Goodwood aesthetic, with handsome fireplaces, wood panelling and unique pieces of furniture. Leveson sets herself a tough task, however as she insists all the artworks must be relevant to the estate: “Oh yes, I’m always on the look-out, but I’m very strict: it has to relate to the right part of Sussex, or the estate, or the family,” she says. The hunt goes on.

Above: Cindy Leveson's sketch for one of the hotel's new bedrooms, complete with wall plate display

Right: a pair of Fordite cufflinks by Florida-based jeweller Pamela Huizenga

MY OTHER CUFFLINK IS A CORVETTE Dried paint deposits harvested from automotive production lines are being polished up and transformed into valuable gemstones. Dagenham agate, anyone? Words by Alex Moore

"Fordite" is the name given to layers of automotive spray-paint that over a decade or more, dry and harden to form a beautiful gem-like substance. It’s also known as Detroit agate or motor agate, as most of it can be traced back to the car factories of Michigan’s Motor City. Since the 1960s, resourceful factory employees have periodically pocketed the hardened overspray that accumulates in the tracks and skids of the painting bays, often when the models are changed. They had no prescribed use for this brightly coloured deposit, other than as a psychedelic ornament; it just seemed a shame to throw it away. Eagle-eyed lapidarist Pamela Huizenga stumbled across a raw piece at an auction in 2003. “The guy selling it had no idea what it was,” she recalls. “I did. I offered him ten bucks and he almost bit my hand off.” That piece would now be worth around 30-40 times that sum, largely thanks to Huizenga and other jewellers cutting, shaping and polishing Fordite

SHORTS FORDITE

into ornate designs that challenge what we define as precious. “I love to use old and unique items in my jewellery,” explains Huizenga, who also uses hemimorphite, fossilised coral and rutilated quartz in her pendants and rings. “Wearable history is beautiful. It means a lot, and it has a certain energy. Fordite is the epitome of reuse and recycle.” Of course, not all Fords are built in Detroit. On this side of the pond, Manchester-based jeweller Ian Barrett has singlehandedly exhausted the supply of Dagenham agate from Ford’s now defunct Beam Park plant (it’s interesting to note the more conservative palette of British cars when compared with Huizenga’s work). Nor were Ford’s factories the only ones to create this fascinating material. “For the past few years I’ve been using a lot of Corvettite,” says Huizenga, “particularly from the early 2000s, where you get a lot of really delicious metallic blues and reds, and

gorgeous bright yellows.” She’s quick to point out that while the raw material might be sold as “circa 2000”, the paint could well have been building up for a decade prior to that date. “My most recent collection of cufflinks and lapel pins is made from a stunning Corvettite gathered in 2004 from the Bowling Green Assembly Plant in Kentucky,” she adds. It’s this provenance that really gets engines revving. Most of Huizenga’s customers are either petrolheads or hail from the area where the agate was harvested, although she claims motor agate’s popularity is now reaching a less niche market. “Modern technologies have meant that paint techniques have evolved, and so Fordite will run out,” explains Huizenga. “You can’t just make your own. This is an incredibly expensive commercial by-product that someone was smart enough to capitalise on. Right now, it’s more popular than ever because people are realising that there isn’t an endless supply.”

SHORTS CANINE DESIGN

DESIGNER DOGS

These owners don’t subscribe to the “not on the furniture” school of discipline. There are dogs on velvet sofas, dogs on antique settles, dogs in baskets, on beds, on terracotta tiles, next to Agas, in shepherd’s huts and on lawns. They even turn up as motifs on fabric, china and in paintings. As Campbell herself puts it: “Dogs seem to be an integral part of design – after all, they combine the most incredible designs themselves. And much like creating a room, sometimes the most surprising mixture delivers the most interesting result.” Renowned for her stylish boutique hotels, Kit Kemp (pictured, right, with her cavalier King Charles spaniels making themselves at home on her four-poster bed), says she views her New Forest weekend home as open house to anyone who crosses the threshold, be they on two legs or four. Kit and Tim Kemp host Sunday lunches in the kitchen, where “there can be seven or eight dogs sitting in a semicircle around Tim, watching him carve the meat and waiting for a bit of roast to fall on the floor”. Christopher Howe’s converted Gloucestershire stone barn often plays host to a Jack Russell terrier and Maltipoo belonging to two members of his Pimlico Road store “family” – where the dogs' “principal duties include greeting customers at the shops”. As a “doting godparent”, Howe is always ready to welcome the dogs to his country home: “The sofa here is designed to take the muddy paws. I covered it in an old army tent canvas and a worn Persian carpet. It is self-cleaning,” he declares. One of the book’s accidental delights is learning the names of the dogs: they range from pop star iconic (Grace Jones) to seriously grand (Tristan Peregrine Sebastian d’Arundel) to downright surreal (Apollo Slimline Hipster). All of them, though, look thoroughly at home in their perfectly designed surroundings. As Sophie Conran says of her lurcher, Mouse: “She is truly the lady of the manor.” "At Home in the English Countryside: Designers and Their Dogs" is out now, published by Rizzoli

A new coffee table book celebrates two of our favourite things: beautiful houses and characterful canines Words by Gill Morgan

As interior design grande dame Nina Campbell declares in the foreword to the charming new book At Home in the English Countryside: Designers and Their Dogs , “Somehow an English country house is not a home without a dog.” And this lavishly photographed coffee-table opus sets out to prove the point. The pet project (no pun intended) of American design writer Susanna Salk, who in 2017 published a predecessor volume celebrating her home country’s design stars and their canine companions, the book is like a doggy special issue of World of Interiors, as some of our most prominent design names (Kit Kemp, Sophie Conran, Anouska Hempel, Christopher Howe, Susie Atkinson, Edward Bulmer, Bunny Guinness and many more) show off their quintessentially English country houses and gardens, replete with heritage paint colours, stone floors, sun-faded fabrics, walls of pictures and books galore, elegantly squidgy furniture… and dogs, everywhere.

Above: a plate from Nina Campbell's collection. Right: designer and hotelier Kit Kemp with Impy, Paddington, Button, Pixie and Rupert

SHORTS WALLPAPER FASHION

Above: wallpaperinspired looks from (left to right) Christopher Kane, Prada and Fendi

roll with it Wallpaper can often be taken for granted as an art form, but now some of the iconic prints from its midcentury heyday are inspiring the fashion world – as seen on the spring/summer catwalks

GETTY IMAGES

Words by Hilary Alexander

Oscar Wilde’s scathing deathbed putdown, in room 16 of the Hôtel d’Alsace in Paris – “I can't stand this wallpaper. Either it goes or I do” – may have won wallpaper a place in the history of famous last words, but it did nothing for its image. Indeed, the very word has become something of a joke, a dismissive catch-all to describe anything bland and devoid of style. Yoko Ono, on the subject, quipped: “I like artists who have something to say; not wallpaper.” It’s all a far cry from wallpaper’s 19thcentury heyday as the last word in luxury home décor, handpainted in China, fashioned in silk or leather, or, as in William Morris’s 1864 “Trellis”, printed using hand-cut woodblocks and natural, mineral-based dyes. A century on, wallpaper had another big moment, as the bold, colourful designs of the mid-20th century made a splash on the walls of the nation's homes. From the 1950s through to the early ’70s, wallpaper was more popular than ever, with

many striking patterns created by leading designers of the day, among them Terence Conran, Lucienne Day, Audrey Levy and Enid Marx. Wallpaper suddenly signalled modernity. Design houses Palladio and the Silver Studio commissioned a whole raft of iconic papers, while Sanderson and Crown Wallpaper sold many of the most popular designs, some of which (such as “Mobiles” and “Dandelion Clocks”) have been revived today. At the luxury end of the market, society interior designer David Hicks reigned supreme with his strikingly colourful, geometric papers (now reissued by his son Ashley). Perhaps it’s no surprise, then, that the renewed interest in iconic wallpapers is also being expressed on the catwalk, as major names – including Prada, Simone Rocha, Alberta Ferretti, Christopher Kane, Fendi and Etro – showed wallpaper-inspired prints for spring/summer. Miuccia Prada went for geometrics, often in mustard-brown shades, for slick jacquard suiting and jackets with wide, “disco” collars allied to slim, below-the-knee skirts or shorts. Alberta Ferretti, meanwhile, worked the 1970s décor vibe in rust, mustard, chestnut and oxblood, often with a patchwork effect, or with boho swirls of rainbow colour. Etro also opted for a boho take, with floaty florals and paisleys, trimmed, fringed and beaded, for the ultimate festival freak or rock groupie; while Christopher Kane mixed wildflowerpower florals and mustard geometrics.Simone Rocha took inspiration from the Irish folk tradition of the “Wren Boys”, a starting point which led to a full-blown exploration of the chintz and china patterns to be found in Irish country cottages, most marked in a series of romantic, full-skirted, full-sleeved dresses in delicate blue-and-white wallpaper prints. Off the wall? Far from it. But probably not for wallflowers.

SHORTS DRIVERLESS MOWERS

Above: Husqvarna's all-wheel-drive robotic Automower 435X AWD

LAZING ON A SUNNY AFTERNOON The latest autonomous lawnmowers are so technologically advanced, you might as well just pull up a lounger, pour yourself a Pimms and watch them do all the hard work. Chin-chin!

Words by Alex Moore

Is no activity safe from the driverless revolution, even that most sacrosanct of weekend rituals, mowing the lawn? As a matter of fact, there have been autonomous lawnmowers around for many years, but it’s only now that the market is really taking off. So which should you choose? Firstly, you need to consider the size of your garden, whether there’s much of an incline, how coarse the grass is and what kind of obstacles there are to navigate. Because, as you’ll very quickly discover, there are mowers to suit every type of lawn.

The burly big brother of the robot vacuum cleaner works in much the same way, the main difference being that (with the exception of iRobot’s Terra model, which uses wireless beacons) you’re required to set out an electric border wire – ideally a couple of inches below the soil – which your robot’s sensors detect before turning accordingly. The usual suspects, Honda, Bosch, Flymo and even John Deere, all have mowers that autonomously patrol your grounds, keeping within your allocated borders, returning to a charging dock when their battery runs low. Most come with Bluetooth and wi-fi capabilities, a mobile app and scheduling capabilities; but what you really pay for is range, battery life and power. The general consensus is that Swedish power tool manufacturer Husqvarna has designed the Rolls-Royce of robotic lawnmowers – even if it does look more like a Bugatti (the company also builds some rather smart motorcycles). Husqvarna has been making robotic mowers since 1995 – its first was in fact solar powered – but the award-winning Automower 435X AWD is a class apart. Aside from its supercar good looks (and price tag), the world’s first all-wheel-drive robotic mower utilises articulated steering to make light work of lawns up to 3,500 square metres in size, navigating obstacles, rough terrain and slopes of up to 70 per cent – which is practically as steep as a ski jump. It takes half an hour to charge and will then mow for 100 minutes. Meanwhile, the Automower Connect App lets you control your mower from the sofa thanks to a GPS tracking system that maps your garden. And if that still sounds like a bit too much trouble, simply bark instructions at your Google Home or Amazon Alexa, and the mower will take it from there. Think of it like a goat – but without the sass.

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trunk call For centuries, Goodwood’s mighty sweet chestnut trees have been an invaluable source of timber, fuel and food Words by Darren Norris

Above: the majestic sweet chestnut tree in Redvins Copse

Sweet chestnut is thought to have been introduced into Britain by the Romans and has remained a much-loved feature of the landscape since then. Goodwood’s specimens don’t go back quite that far, but there are some very fine and ancient examples on the estate, as well as almost 100 acres of sustainably managed, coppiced trees. These coppiced trees have two distinct roles at Goodwood. Because the timber is fast-growing and durable, it is ideal for fencing. Festival of Speed requires 6,000 chestnut posts each year, used to hold the bales in place on the Hillclimb. We can’t produce that many ourselves, so we supplement our own posts with some bought locally. The other main use is as biomass fuel for heating and hot water at Hound Lodge – chestnut timber is particularly suitable for this as it has a high calorific value when burned. In contrast to the coppiced workhorse of the woods, a sweet chestnut, if planted singly with plenty of room, will grow into a magnificent tree, up to 30m tall, with a wide, spreading canopy. Within the park there are five of these ancient chestnuts with broad, gnarly trunks, deeply fissured bark and stag-headed branches. The leaves are shaped like serrated spear-heads and the bright yellow flowers hang on 15-25cm catkins that shed their pollen in late June. These aged stalwarts of the park are thought to be of 16th-century origin, when the planting of sweet chestnut as a parkland tree was very much in vogue. By far the largest group of these standards can be found in Halnaker Park – also part of Goodwood and formerly a deer park in medieval times – which are the most impressive specimens on the estate. Many of them have died back in the crown from their former glory and now stand with great curved tops of bare wood, bleached almost white by the sun and hard as stone. These are now home to families of jackdaws and rooks, with the occasional owl hiding within their dense lower canopies. My favourite among these great trees is in Redvins Copse. This tree is surrounded by a mixed plantation of ash, oak, hazel and grand fir. It stands proudly showing its scars from the devastation of the 1987 storm, great branches ripped off to jagged stumps and only a hint of what presence the tree once held within this wood. All around it was flattened in the storm and replanted in 1990. Time is the great healer with such ancient trees and a new lower canopy has grown from the wreckage, with new limbs growing up from the base and into the crown. It is scarred but full of life, with blue tits and treecreepers using the broken bark as nesting sites and greater spotted woodpeckers creating nesting holes in the deadwood stumps. Perhaps the greatest gift from the sweet chestnut is the nut itself. Encased in a spiky cover and nestled in a soft inner lining, these shiny nuts are the best of eating for woodland creatures and humans alike. Boiled or roasted over a fire, the flesh becomes soft and floury, adding sweet depth to any dish. They have the perfect shell for easy storage over the winter months and, for the past 2,000 years, would have played an important role in helping the inhabitants of this corner of the South Downs survive the lean months into spring. Darren Norris is forestry manager of the Goodwood Estate

JON NICHOLSON

SHORTS SWEET CHESTNUT

UK & European Motor Car Sales 2020 March 29 The Members’ Meeting Sale, Goodwood Motor Circuit May 8 The Monaco Sale, The Fairmont Hotel, Monaco May 17 The Aston Martin Sale, Loseley Park, Guildford June 14 The Bonmont Sale, Bonmont Golf & Country Club, Switzerland July 10 The Goodwood Festival of Speed Sale, Goodwood House August 1 The Schloss Dyck Sale, Schloss Dyck, Germany

September 5 The Beaulieu Sale, The National Motor Museum, Hampshire September 12 The Goodwood Revival Sale, Goodwood Motor Circuit October 9 The Zoute Sale, Knokke Le Zoute, Belgium October 30 The Veteran Car Sale, New Bond Street, London December 5 The Bond Street Sale, New Bond Street, London December 10 The RAF Museum Sale, RAF Museum, London

Entries now invited Monte Carlo, Fairmont Hotel | 8 May 2020

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* For details of the charges payable in addition to the ﬁnal hammer price, please visit bonhams.com/buyersguide

One of only 100 examples built and in current ownership since 2004 1967 FERRARI 330 GTS Coachwork by Pininfarina Chassis no. 10113 €1,300,000 - 1,600,000 *

SHORTS DIANA VREELAND

THE chic of it A new book celebrates the wit and wisdom of Harper’s Bazaar and Vogue doyenne Diana Vreeland, accompanied by illustrations by artist and designer Luke Edward Hall Words by James Collard

“The first thing to do, my love, is to arrange to be born in Paris. After that everything follows quite naturally.” That’s just one of many arresting lines in Diana Vreeland: Bon Mots: Words of Wisdom from the Empress of Fashion (Rizzoli), which teams her words, and commentary from her grandson, Alexander Vreeland, with illustrations by the artist and designer Luke Edward Hall (who has also been known to pronounce on matters of taste in his column in the Financial Times). The comment is classic Vreeland – unreasonable, camp even, but with a kernel of truth. For things did follow quite naturally for Vreeland. Born in Paris to Anglo-American socialite parents, she spent the 1920s and ’30s between London – living the fashionable life and selling expensive lingerie out of a chic little shop near Berkeley Square – and New York, over which she would

Below: highlights from Bon Mots, which features a selection of Diana Vreeland aphorisms illustrated by Luke Edward Hall

ultimately preside for several decades as a compelling (if often arbitrary-sounding) arbiter of style, first as a columnist on Harper’s Bazaar, then as editor-in-chief of Vogue. Vreeland’s Why Don’t You suggestions for Harper’s readers combined grandness with a joyous sense of the infinite possibilities of life – and of luxe. “Why Don’t You… Tie black tulle bows on your wrists? Have a yellow satin bed entirely quilted in butterflies?” Or rinse your blond children’s hair in champagne, “to keep it gold, as they do in France?” And readers did – in this, the midcentury heyday of glossy magazines – although, as with all prophets, Vreeland’s exhortations must sometimes have wrongfooted the more plodding of her disciples. “A little bad taste is like a splash of paprika,” she declared. “And we all need a splash of bad taste. No taste is what I am against.”

For all her playfulness, Vreeland’s influence on the fashion world was huge, while her fame stretched well beyond it into popular culture, inspiring characters like the force-of-nature editor in Funny Face who exhorts her readers to “Think Pink”. Vreeland adored pink – “the navy blue of India… Schiaparelli’s pink, the pink of the Incas”. Just not pale salmon: “The only colour I cannot abide.” Half a century after she left Vogue, the woman continues to fascinate – from the 2012 documentary The Eye Has to Travel to Bon Mots, in which Luke Edward Hall deftly captures her strange, bird-like beauty, while her quotes, he argues, “still read as little electric shots of brilliance”. For someone who once said, “I think it’s a great mistake to cater to popularity – where’s the style in it?” Vreeland’s popularity endures remarkably.

SHORTS BIKER JACKET

Right: Saint Laurent’s fresh take on the black leather biker jacket

WORN TO BE WILD Words by Josh Sims Immortalised by Marlon Brando in The Wild One, the black leather biker jacket is a sartorial staple that transcends the vagaries of fashion. Wear one this season to express your inner rebel

It is, perhaps, the last remaining item of clothing to retain a hint of rebellion. Firstly, there’s black leather’s mild connotations of thuggishness or fetishism. Then there’s the fact that, since the 1940s, bikers have been branded by the media and respectable folk as outlaws. And let’s not forget that they’ve been donned by every rocker worth their salt, from The Ramones and The Clash to, well, more would-be rockers, such as George Michael or Bros. It’s hardly surprising, therefore, that the leather biker jacket has long been the go-to garment for every urban cowboy and wannabe outsider. The definitive form of this style is the Perfecto, as worn by Marlon Brando in The Wild One – first devised by Irving Schott, at the request of a Long Island HarleyDavidson dealership, way back in 1913. Schott NYC still manufactures biker jackets, while collectors seek out alternative vintage versions from the likes of Buco, Grais,

and Blatt. But despite being more than a century old, the biker jacket just keeps on cruising the style highway. Designer Hedi Slimane has championed the jacket at Saint Laurent and now Celine – and is often to be seen wearing one – while Givenchy, Dolce & Gabbana and McQueen have also produced luxe versions of the form that will set you back considerably more than a motorbike. Part of this longevity is down to the sheer utility of the designs – still impressive, still graphic: that distinctive collar, sitting sweet or turned up for extra attitude; the asymmetric zip fastening and zip-up cuffs; the change pocket and D-pocket, perfectly positioned for access while riding; the belt, providing that broad-shouldered, trim-waisted silhouette. Part of it is also down to the iconography the jacket has accrued by association over the years: all the bands and the badasses, the greasers and the “one percenters”; even, thanks to The Terminator, the occasional android. But, more than this, the biker jacket’s appeal is really in the wearing. Not just in the instant edginess it provides, but – especially after it’s been slipped on over and over again, rain or shine – in the way it cocoons and protects the wearer in an almost primeval way. The biker jacket becomes that second skin, the last line of defence between its wearer and the outside world. It makes its wearer look like a superhero, or a supervillain. Indeed, as fashionable as the biker jacket may continue to be (for women, too, this season), its ultimate appeal is that it is beyond fashion. Rather, the biker jacket is the jacket of the rugged individualist, the non-conformist – a sartorial passport to your very own walk on the wild side.

WALLED GARDENS

WONDER

WA L L S Words by Damon Syson

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

For generations, Britain’s walled gardens stood neglected and abandoned. But today, with the growing focus on food provenance, these magical spaces are being transformed once again into bountiful kitchen gardens

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

WALLED GARDENS

Opening pages: Gordon Castle Walled Garden. Left: a Goodwood photo album showing, top, the kitchen garden border in 1911. Right (below and main image): walled garden experts Bridget Elworthy, left, and Henrietta Courtauld at Wardington Manor

WHEN ANGUS AND ZARA GORDON LENNOX took over Gordon Castle in 2008, one of the biggest challenges they faced was working out what to do with the historic walled garden. The Moray estate’s sprawling eight-acre plot, which dates back to the 18th century, had been grassed over and left to its own devices for decades. It did, however, have certain key things going for it. The 15ft-high walls, home to over a million bricks, were in “reasonably good nick”, as Angus jauntily puts it, the soil was extremely rich, and there were 259 espaliered fruit trees still producing, having been steadfastly maintained by (now retired) head gardener Willie Robertson, who started working on the estate in 1946. Rather than viewing the walled garden as an albatross, they decided to make it the cornerstone of their plans to revitalise the estate, which had been sold by the Gordon Lennox family in 1938 before being partially repurchased in 1953 by Angus’s grandfather, Lieutenant General Sir George Gordon Lennox (grandson of the 7th Duke of Richmond and Gordon). It would be used to grow ingredients that would form the basis for a new Gordon Castle Scotland luxury brand, with goods ranging from bath and beauty products to premium gin, ciders, chutneys and jams. “The reality was that there was no way we’d ever be able to make money running it as a market garden,” explains Angus. “It’s too big to supply food for one household but too small to

compete with the likes of Tesco. The only way we could join the dots was to turn it into a visitor attraction. It occurred to us that if our products were sold around the world, people might then want to see where they came from. Therefore, we should make the garden look as attractive as possible.” To this end, having interviewed various noted landscape gardeners, they embarked on a £1.2m restoration programme with Arne Maynard, chosen because he’s not just an awardwinning designer but also a passionate kitchen gardener. Seven years on, they estimate they’re still only two-thirds of the way through the work. “You have to remember that when we started it was a blank grass field,” says Zara. “There was nothing except a central path of chippings. We had to lay 48,000 bricks, stretching over 2.5km, just to edge the paths. That sort of thing doesn’t happen overnight.” While the Gordon Lennoxes confess there have been times when they’ve questioned the wisdom, or indeed sanity, of taking on a project that included planting 1,000 fruit trees and restoring a near-derelict Grade A-listed glasshouse, the result of all this toil is not just one of the largest fully productive walled gardens in Britain, but an undeniably heavenly space. It is visited by thousands of awestruck horticultural enthusiasts each year and has attracted glowing write-ups everywhere from Gardens Illustrated to Country Life. Gordon Castle Scotland, meanwhile, sells over 300 products, while the café, using produce grown on-site, has won several awards. There’s also a range of accommodation available, including the delightful 18thcentury Garden Cottage, which adjoins the walls. Walled gardens occupy a unique place in the history of Britain’s grand country houses. The concept of creating an enclosure to protect your crops from harsh extremes of weather and roving animals may have been around since Roman times – with walled gardens also an important feature of the abbeys that sprang up across Europe during the medieval era – but it was adopted and perfected in this country between the 17th and 20th centuries. It was also during this period that the walled garden changed from being a purely productive space to an area for recreation and, let’s face it, for showing off – somewhere to enjoy a predinner stroll with your guests, who would marvel at your bounteous frame-yards, cloches and orchid-houses. It was the expansion of the empire and the burgeoning interest in exotic plants that proved the ultimate catalyst for this horticultural revolution, notably the craze for pineapples, which had first arrived on our shores in 1657. Soon, owning a pinery, orangery and glasshouse bursting with a cornucopia of Mediterranean fruit or tropical ferns was de rigueur for any prominent landowner. Of course, growing exotic flora required time, energy and money but, as Jules Hudson points out in Walled Gardens (National Trust Books), they were “a potent symbol not just of wealth and good taste, but also of horticultural skill and ambition”.

WALLED GARDEN

FROM TOP: ANDREW MONTGOMERY/HOUSE & GARDEN © CONDÉ NAST PUBLICATIONS LTD; CLIVE NICHOLS

“I don’t think anyone’s ever visited a walled garden and not felt a sense of calm and peace, of being nearer to nature. There’s something about being in an enclosed space that makes you feel safe and happy” So what exactly is it about walled gardens that makes them such exceptional places to grow? In essence, brick walls create a microclimate, as Zara Gordon Lennox confirms: “It’s remarkable – even though we’re in the north of Scotland, when the sun has been out in February you can put your hand on the wall and you’ll feel the warmth.” These were centres of intensive production, built on horticultural wisdom passed down through generations. For large estates, judicious planting meant your vegetable patches could supply the kitchen all year round. Walls were angled to catch the maximum amount of sunshine, while glasshouses extended the growing season and protected citrus trees from frost. Subterranean root stores, meanwhile, enabled you to keep parsnips, potatoes, beet and carrots through the winter, carefully stacked in layers of sand. During the 18th century, many country estate walled gardens, which had always been attached or adjacent to the main house, were relocated – incompatible, as they were, with the “improved landscapes” prescribed by Capability Brown, William Kent and, later, Humphry Repton. (After all, it’s not easy to create a sweeping rural idyll when there’s a whopping great brick wall in the foreground.) Instead, they were shifted some distance from the main house, screened by small copses and situated near stables, where they would have a ready supply of horse manure.

WALLED GARDENS

Left: the restored 19th-century kitchen garden at West Dean, Goodwood’s neighbour. Opposite, below and overleaf: Gordon Castle’s Victorian glasshouse, fresh produce on sale at the Walled Garden Cafe, and an espaliered apple tree

a vast bounty and employing an army of horticultural specialists – including one at Goodwood, said to be the most productive in Sussex. Yet within the space of a few decades, these would all fall into disuse. As with many aspects of Britain’s country houses, it was the First World War that precipitated the decline. After the armistice, there was a shortage of apprentices and the economic viability of walled gardens was challenged by the growth of fresh food being shipped in from around the globe. By the Second World War, most had been demolished, transformed into Christmas tree farms, orchards or tennis courts, or simply grassed over. Ironically, it was in 1925, precisely the point when most people were rushing to demolish their walled gardens, that Winston Churchill, in characteristically contrarian fashion, started building his 1/8-acre kitchen garden – with his own hands. Visitors to Chartwell may be more impressed by his planting vision than his bricklaying skills but you can’t fail to admire the future PM’s willingness to “keep buggering on” despite his self-avowed shortcomings. The reality is, even modest walled gardens like the one at Chartwell are extremely labour-intensive. Most require hand-weeding. In the course of their research, Angus and Zara Gordon Lennox unearthed the Gordon Castle payroll from 1848. It lists 48 people as gardeners. Today, by contrast, Zara leads a team of just three, bolstered by “lots of volunteers in the summer and a few in the winter”. Rising labour costs therefore made walled gardens untenable, and by the 1980s, there was barely a single one in operation anywhere in the country. Yet over the past decade, the pendulum has swung again, with a growing recognition

With the Victorian passion for plant-hunting reaching its zenith, glasshouses came to symbolise the might of the British Empire The latter was a vital weapon in the walled garden’s arsenal. The word “hotbed”, which now means “a place to encourage rapid growth” was precisely that: an enclosed bed kept artificially warm with a covering of fermenting horse manure, where a variety of plants could be grown or forced, even during colder months. In Victorian times the technology surrounding walled gardens advanced even further, equipping them with heated walls, mushroom houses, cold frames and, post-Industrial Revolution, glasshouses warmed by steam boilers. But the real tipping point came in 1845 with the abolition of the glass tax. Prohibitively expensive, glasshouses had up to that point been reserved for the exceptionally wealthy. “Suddenly you could have pineapples, melons and grapes on your dining room table – which was a one-up on the Joneses,” explains Zara Gordon Lennox. With the Victorian passion for exploration and planthunting also reaching its zenith, glasshouses came to symbolise the might of the British Empire. Indeed, Joseph Paxton, architect of the Crystal Palace in 1851, had honed his craft as head gardener at Chatsworth in Derbyshire, where over 20 years he developed a series of glasshouses for the cultivation of exotic plants and fruit, notably pineapples. By the beginning of the 20th century there were thousands of walled gardens across the land producing

WALLED GARDENS

that these spaces are valuable jewels of our national heritage – as well as chiming perfectly with a contemporary emphasis on localism and reducing food miles. The restoration that set the template for this turnaround in walled gardens’ fortunes was initiated 25 years ago at Cornwall’s Lost Gardens of Heligan. Abandoned to brambles since the outbreak of the Great War, this horticultural marvel was painstakingly revived and is now a popular visitor attraction. Over the past decade, this story has been repeated across the UK, with multi-million-pound restorations at luxury hotels like Heckfield Place, The Pig and The Newt, and at country houses such as Goodwood’s neighbour West Dean, Blickling in Norfolk (Anne Boleyn’s childhood home) and Clumber Park in Nottinghamshire. Most have cafes or even Michelin-starred restaurants where visitors are served vegetables, fruit and herbs grown in the plots they’ve just strolled around, reinforcing that all-important connection between cultivation and consumption. At Goodwood, too, there are plans brewing to revive the historic walled kitchen garden as part of the garden-inspired renovations to the Goodwood Hotel. Originally situated to the west of the house, it was moved in the latter part of the 18th century next door to the Waterbeach coaching inn (now the Hotel). The 10-acre garden, enclosed by high brick walls, produced fresh fruit and vegetables for the table in the house, as well as cut flowers, and was geared to reach its peak in late July, just in time for Glorious Goodwood Raceweek.

Included within the walled garden was a nursery for forest trees, a real tennis court and fruit houses. Exotic fruits such as pineapples, peaches and nectarines were grown there and in 1880 The Garden magazine noted “fine old standard fig trees” and the “fine Pine-apples” for which the “Goodwood garden has long been celebrated”. As elsewhere, however, this became unsustainable: in the mid20th century a market garden operated from the garden and in more recent times, it was turned into a car park and tennis courts for the Goodwood Hotel. The main catalyst for this nationwide urge to revive once-proud horticultural jewels has undoubtedly been the real food movement. The Gordon Lennoxes – whose ethos is “Plant Pick Plate” – cite “growing awareness of where our food comes from, concern about food miles and sustainability” as one of the two main reasons they felt the moment was right to embark on their restoration programme. The other is a widespread recognition that walled gardens have a particular magic about them – a genius loci, or spirit of the place, passed down through generations. “I don’t think anyone’s ever been to a walled garden and not felt a sense of calm and peace, of being nearer to nature,” says Zara. “There’s something about being in an enclosed space that makes you feel safe and happy. One visitor even suggested that walled gardens are like that because for centuries, people had their hands in the soil. Somehow an aura or essence gets imprinted into the ground itself.”

WALLED GARDENS

“Walled gardens are the ultimate productive spaces... they have wonderful heat-retaining walls for growing fruit against” This theory elicits nods of agreement from garden designers Bridget Elworthy and Henrietta Courtauld, better known as The Land Gardeners, who are firm believers in “energy” contained within the soil. Elworthy and Courtauld specialise in restoring walled gardens, having gained first-hand experience of the process restoring Elworthy’s Oxfordshire home, Wardington Manor. Vowing to create something that was “not an expensive indulgence but a working garden” they also launched a cut-flower business, recalling the days when much of London’s floral display was grown in small-scale country house operations, delivered to the capital in “ramshackle cars, out of which elegant women dressed in tweed with cut-glass accents would emerge with the most heavenly blooms” – as they write in their book The Land Gardeners: Cut Flowers (Thames & Hudson). “Of course, beauty is important in a garden,” says Henrietta, “but the idea of being able to go out into your garden and gather from it is central to our philosophy. Walled gardens are the ultimate productive spaces because they’re protected from creatures like rabbits and deer, they have wonderful heat-retaining walls for growing fruit against, and, because they were used and worked for so long, their soil is often exceptionally healthy.” It’s a shame, Bridget adds, to put hard landscaping like tennis courts and swimming pools into such incredible soils: “Sometimes you have a foot or half a metre of rich topsoil, which is very hard to come by – it’s like gold.” Since starting their business in 2013, The Land Gardeners have seen a surge in interest around walled gardens. They have led restoration projects everywhere from Yorkshire to Hampshire, Tuscany to the Loire, as well as being asked to create a walled garden from scratch for a client on America’s

East Coast, where they’re something of a rarity despite “a major deer issue”. “Of course it’s a big investment building a walled garden,” says Henrietta, “but you’re creating a wonderful resource for future generations.” When embarking on a restoration, they explain, there’s always an element of historical investigation, a search for clues about what was grown where. “You’re drawing on the wisdom of past gardeners,” says Henrietta. And The Land Gardeners see it as their duty to pass on that wisdom. They run courses for people looking to restore their own plots, advising on ways to make them low-maintenance and suggesting potential revenue streams – from selling produce to local pubs to supplying flowers for local weddings. Having advertised for volunteers to work and learn at Wardington, they were amazed by the number of applicants. “There’s clearly a huge desire to learn about gardening,” says Bridget. “It’s something a lot of people really connect with. That’s why so many of us love to visit beautiful gardens – it fills the soul, like going to an art gallery.” “Walled gardens are an incredibly precious resource for this country,” adds Henrietta. “They’re part of our national heritage and we think they should be listed – for the quality of the soil they possess and the history surrounding them.” Angus and Zara Gordon Lennox concur. Despite the cost, stress and toil involved in restoring their walled garden, there are moments that make it all worthwhile: “On a summer’s evening,” Zara says wistfully, “when you’re standing in the middle of the garden and it’s still and quiet, and you can feel the hum of bees and butterflies on the lavender… there’s really nothing like it. It’s incredibly romantic.” gordoncastle.co.uk; gordoncastlescotland.com thelandgardeners.com

WALLED GARDENS

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

GOODWOOD AERODROME

T H G I L F B U L C

me o r d o r es od Ae o w el Yat d M o y nist o r e G p hy b d a r o w g e Ph oto ired m , the n inic p t s n m n a o i g D s e l u s e and report Bauha , s t r e o n Sleek f i b ry com ake-off g com a n r i o d l p i bu y for t ontem c d a h e t r i ’s now lines w t i d n ns. A Lutye

The new aerodrome building with its larch “brise-soleil” to protect the glass-fronted room from strong sunlight

GOODWOOD AERODROME

FRAMED BY A CLOUDLESS BLUE SKY and the racing-green grass airfield, the horizontal white form of the redesigned Goodwood Aerodrome building on the Goodwood Estate looks streamlined, pared-back. Yet such simplicity belies the building’s sophisticated influences. According to Richard Jobson, a founding director of Design Engine Architects, the practice that remodelled the building, it is inspired by the clean-lined modernist architecture of Ludwig Mies van der Rohe. A director of the Bauhaus German design school, Mies (as he was snappily known) is famed for his dictum “less is more” and for his elegant design of the German Pavilion at the 1929 International Exposition in Barcelona. Like his pavilion, the aerodrome is a low-rise, generously glazed structure. Intertwined with this is the history of Goodwood, where the association with aviation began during the First World War, when the 9th Duke of Richmond – then just a boy – would spend hours with his brother watching the planes landing and taking off from the Royal Flying Corps airfield at nearby Tangmere. Then, between the wars, the Duke, popularly known as Freddie March and then Freddie Richmond, co-founded the aeronautical engineering business Hordern-Richmond, storing his planes in a distinctly un-modernistlooking hangar complete with a thatched roof. During the Second World War the current airfield was established as RAF Westhampnett, initially a satellite field attached to what was by then known as RAF Tangmere. It was here that war hero Group Captain Douglas Bader took off on his last wartime mission in 1941. As documented in the 1956 biopic, Reach for the Sky, Bader’s Spitfire was shot down and he

was taken prisoner in France. In 2001, Freddie’s son, Charles GordonLennox, father of the current Duke of Richmond, commissioned sculptor Kenneth Potts to immortalise the flying ace with a statue near the airfield, the perimeter of which had formed the celebrated Goodwood Motor Circuit from the late 1940s to the mid-1960s. This sporting heritage ties in perfectly with the aerodrome’s sleek modernist style. After all, modernists revered the aerodynamic forms of 20th-century cars and aircraft. Such was the desire for a superbly designed aerodrome that an earlier iteration was dropped. “Originally there was a ragbag of wooden buildings in poor condition,” says Jobson. “We had to radically redesign the building we inherited, taking it back to its concrete frame.” The original single-storey structure boasted a cantilevered roof in the modernist idiom, but this needed renovating. “We reinforced the roof and added a raised platform with porcelain tiles,” adds Jobson. The overhanging roof now provides shade for the outdoor café area that looks out on the airfield and doubles as a roof terrace, a popular space for champagne parties. The aerodrome fulfils many functions. Partly intended as a convenient airfield for European visitors to Goodwood, it houses the aforementioned café, which is open to flying club members and the public, a state-of-the-art flying school and offices for staff who run the aerodrome and organise flights. Two new north- and south-facing extensions were also added to screen or house key services. “The redesigned building references the 1930s to the 1950s,” says Jobson, whose practice has offices in Winchester, Exeter and London.

The airfield was established during the Second World War... it was here that Group Captain Douglas Bader took off on his last wartime mission

GOODWOOD AERODROME

Previous spread: sculpture of Douglas Bader; the café. This page, clockwise from top: aviationinspired etched glass windows; an old photograph of the original thatched aerodrome building; stairs to the roof terrace; internal wood-clad wall

Design Engine Architects has won many accolades, including the 2008 RIBA International Award for its design of the British Embassy in Yemen, and the RIBA National Award for its John Henry Brookes Building at Oxford Brookes University, also nominated for the Stirling Prize, in 2014. The aerodrome’s white rendered exterior nods to modernist villas, as do its huge sliding brise-soleil – structures with horizontal larch slats that shield the building from strong sunlight and keep its interior cool. In winter, if closed, they retain warmth indoors. Modernist architect par excellence Le Corbusier featured these in his Palace of Assembly building in Chandigarh, India. “We re-glazed the entire façade to improve the acoustics inside – essential with noisy aircraft nearby,” continues Jobson. “Parts of the interior were carpeted, too.” The previous structure was open-plan and cavernous, casually subdivided into areas by furniture. The new interior is organised into spaces with distinct functions, although the layout is flexible, with sliding walls allowing spaces to be closed off when necessary. Dark wood walls punctuate the space, creating

borders that demarcate spaces without physically separating them. A restricted palette of materials in neutral tones used indoors has a pleasingly unifying effect. The interior is easy to navigate. The entrance, at the centre of the aerodrome, houses a welcoming reception. The Bader sculpture has been repositioned near it, as if ushering visitors towards the building. As you enter it, to the left is the café, to the right are the offices, while the flying school occupies rooms on both sides. The flying school incorporates a radio tuition room where pilots teach flying techniques and debriefing rooms where pupils are given oneon-one feedback about their flying. Design Engine has respected the aerodrome’s modernist heritage, Jobson stresses. The streamlined aesthetic of its architecture is mirrored by its interior and furniture, while Standard chairs made of wood and metal – designed in the 1930s by French architect Jean Prouvé – grace the café’s interior. “Overall,” says Jobson, “we wanted to emphasise the functional aspects of the building and so pay homage to the Bauhaus philosophy of using materials honestly.”

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GOODWOOD AERODROME

L I

Monochrome looks are everywhere this season, from Sixties-inspired trouser suits and leathers to houndstooth checks and jaunty berets

Stylist Florrie Thomas

Photographer Kathrin Makowski

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 (left): white cotton pleated shirt, £POA, by Roksanda, roksanda.com; (right) embroidered crepe and polyester jacket, £1,140, and embroidered crepe and polyester trousers, £670, both by Moschino, moschino.com; black and white calf leather loafers, £615, by Christian Louboutin, christianlouboutin.com Second spread (left): silk tulip dress with brass brooch, £4,650, by Louis Vuitton, louisvuitton.com; (right) silk and cotton jacket, £3,400, silk and cotton skirt, £2,600, silk shirt, £1,450, all by Dior, dior.com; College Monk eggshell nappa loafers, £340, by Dorateymur, available from ssense.com; socks, £10, by Wolford, wolfordshop.co.uk; sunglasses, £308, by Alain Mikli, sunglasshut.com Third spread: grey leather shirt, £ 3,150, by Tod’s, tods.com; Aurora turtleneck, £130, by Wolford, wolfordshop.co.uk; ivory tweed reversible beret, £428, by Jane Taylor London, janetaylorlondon.com Fourth spread (left): black and white Fantasy tweed jacket, £7,335, black and white Fantasy tweed trousers, £3,910, light grey and black suede calfskin shoes, £810, all by Chanel, chanel.com; (right): double-breasted A Suit To Travel In blazer, £670, and trousers, £200, both by Paul Smith, paulsmith.com; cotton shirt with bow tie, £625, by Dolce & Gabbana, available from matchesfashion.com; Harput black leather loafers, £325, by Dorateymur, available from farfetch.com Fifth spread (left): gabardine cotton coat with metal details, £2,750, by Hermès, hermes.com; knee-high socks, £19, by Wolford, wolfordshop.co.uk; black patent Iota heels, £666, by Manolo Blahnik, manoloblahnik.com; (right) cotton poplin shirt, £490, by JW Anderson at matchesfashion.com; pleated leather skirt, £3,770, by Tod’s, tods.com Opposite: black lamb satine leather shirt, £4,175, black leather trousers, £3,660, silver ring, £460, and silver earrings, £240, all by Bottega Veneta, bottegaveneta.com; white calf leather shoes, £495, by Rupert Sanderson at matchesfashion.com. Above: white cotton pleated shirt (worn as dress), £POA, by Roksanda, roksanda.com; black tights, £27, by Falke, falke.com

Hair ELVIRE ROUX at CAROL HAYES MANAGEMENT, Make-up CAROLYN GALLYER at CLM, Photographer’s assistant DANIEL KASPAR, Retoucher CHRISTIAN BRANSCHEIDT, Fashion assistant CRYSTALLE COX, Model JULIANA at STORM

I HAVE A PREDICTION FOR YOU. In years to come, men will look back at what they wore and lament – completely and utterly – the fashion of the early 2000s. More specifically, they will lament the start of this century’s 20-odd years of “skinny fit” menswear. It’s true that when Thom Browne and Hedi Slimane sent their models down the catwalk in the skinniest of suits in the late-1990s, sporting shrunken proportions and spray-on trousers, it was a revelation, and Slimane’s skinny tailoring, which he pioneered as the creative director of Saint Laurent, took the world by storm. In its day, it was rebellious, youthful and subversive. But as is so often the case with high fashion, looks that make a statement on the catwalk don’t always translate well to everyday life, and within a few short years, Slimane’s radical new look came to dominate high street fashion – with disastrous consequences for our wardrobes and sometimes for our image, as men of all ages and sizes squeezed themselves into slim-fit chinos and fit-to-burst shirts that do anything but flatter the male physique. At some point, it seems we forgot that men’s clothes are supposed to be both elegant and comfortable to wear. Now, finally, things are changing – with designers upping the volume towards something closer to baggy than skinny. One designer who’s pushing hard for this change is Patrick Grant, the visionary behind contemporary British brand E. Tautz & Sons, as well as Community Clothing, a factory collective that promotes British manufacturing, and Savile Row tailor Norton & Sons. In Grant’s hands, E. Tautz has carved out a niche in British menswear, creating clothes that are deliberately generous, with loose silhouettes that are designed to feel relaxed and easy to wear. “Our house look is a reaction to the excessively skinny, mean-looking jacket and low-rise trouser that has dominated menswear for years now,” he says. “I never really loved it, but there came a point a few years ago when it just got boring. At Tautz, we’ve moved towards something that’s much more fluid, comfortable – and, to be frank – something that just looks cooler.” The E. Tautz SS20 collection is a case in point. Whether oversized shirts with short sleeves and a slouchy-chic look, pastel-coloured blazers or Grant’s signature wide-leg Field Trousers (based on old military chinos) there’s a softness to the collection that feels fresh and sleek.

The antithesis of skinny-fit style, Tautz’s designs conjure a wonderful sense of sophistication – perfectly cut whether you’re taking a drive to the country or spending a weekend walking the promenade by the sea. While E. Tautz is blazing a trail, there’s no shortage of designer brands who have also softened up their silhouettes for summer. Hermès’ SS20 collection explores the possibilities of a wider silhouette while Zegna focuses on oversized suits in pale colours ranging from pink to tangerine. For the brave among you, Creative Director Alessandro Sartori has cut some high-rise, wide-leg trousers in suede. Corneliani’s summer collection is less extreme, but likewise demonstrates the power of a softer silhouette to flatter the male figure. Slouchy jackets and blousons are dressed with high-rise, tapered trousers cut with plenty of room in the leg. Single pleats and pressed creases add to their sharp-yetsoft appeal – half dressed-up, half devil-may-care. Back in the British camp, Kent & Curwen has turned its attention to oversizing a summer staple: the cricket jumper. Creative Director Daniel Kearns has designed several for SS20 with a loose fit and exaggerated V-neckline. Again, these knits take the stuffiness from a traditional piece, lending a contemporary edge to this British menswear classic. Elsewhere, Paul Smith’s collection strikes a chord with Tautz’s, filled with elegant oversized tailoring in bright primary colours. Double-breasted jackets are paired with drapey trousers in tonal, complementary fabrics. The message is clear: it’s time to get louche and go wide. Sure, an oversized pistachio suit isn’t necessarily for everyone, but you shouldn’t be afraid to experiment with a few looser, more free-flowing pieces in your wardrobe. “I don’t think this look has to feel difficult to wear,” Grant continues. “There are things you can do to soften up your silhouette that aren’t crazy. Just try a slightly higher-waisted trouser or a pleated chino instead of something cut with a slim leg, or you could opt for a linen shirt in a looser fit. Pieces like these give a sense of flow without being too radical.” So, embracing a bit of extra room in your clothes is a smart move; it’s elegant, practical and a pair of free-flowing trousers or a loose-cut blazer will help keep you cool in the heat. Best of all? I can finally say to anyone who’ll listen: “Oh, that skinny-fit thing was soooo 1990s.” About time.

CUT YOURSELF SOME SLACK Words by Aleks Cvetkovic

For nearly two decades, fashion-conscious chaps have trussed themselves up in slim-fit suits and skinny jeans. But now, with menswear edging towards a softer, baggier silhouette, isn’t it time we all loosened up? 62

BAGGY CHIC

HermĂ¨s pumps up the volume for spring/summer

Left: Michèle Mouton at the start of the 1977 Monte-Carlo Rally. Right: Mouton in action at Pikes Peak in 1985

True Grit Words by Peter Hall

LEFT: GETTY IMAGES; ABOVE: AUDI ARCHIVE

Described by Niki Lauda as a “superwoman”, Michèle Mouton battled sexism to become motorsport’s most successful ever female driver – and her achievements behind the wheel of the revolutionary Audi Quattro are now the stuff of rallying legend

AS SPORTING CHALLENGES GO, there are few more formidable than the Pikes Peak International Hill Climb – a 12.42-mile sprint

driver and co-driver were women, but when they returned the following year looking for a win, the Pikes Peak organisers began

to the top of a Colorado mountain. The course starts two thirds of the way up, twisting through 156 turns as it climbs 4,724 feet to the 14,115-foot summit. Before it was resurfaced with asphalt

to get nervous. Had they been paying attention to events on the other side of the Atlantic, they might have been more prepared. Growing up among the perfumed hills of Grasse, on the

(a 10-year process completed in 2011), much of the course consisted of loose gravel, and the vertiginous, unfenced drops with names like the Bottomless Pit were a terrifying prospect for all who attempted the “Race to the Clouds”. From its beginning in 1916, the Hill Climb was won by good

French Riviera, young Michèle Mouton might easily have become a successful dancer or skier. Although she enjoyed driving her father’s Citroën 2CV from the age of 14, she had no interest in motorsport until her early twenties, when a friend asked her to co-drive in the 1972 Tour de Corse. She was hooked,

ol’ American boys in all-American cars. Then, in 1984, a German rally car with a Franco-Italian crew finished second. This might have been dismissed as a freak occurrence, especially as both the

and gave up her law studies to concentrate on rallying. On the basis that she would be safer driving than navigating, her father then bought an Alpine A110 and gave her a year to prove herself.

MICHÈLE MOUTON

She did more than that, winning the French and European Ladies’ Rally Championships twice. Venturing into circuit racing, she also won the 2.0-litre Prototype class in the 1975

proved to be a performance sensation, justifying Audi’s claim to Vorsprung Durch Technik (progress through technology). Come 1981, Michèle Mouton and Italian co-driver Fabrizia

Le Mans 24 Hours and gained sponsorship from French oil giant Elf. In 1977 she signed as a works rally driver for Fiat, achieving impressive results in a Fiat 131 Abarth. And then, in 1980, she

Pons proved that they could hold their own among the sport’s established stars; they finished fourth in Rally Portugal and in Sanremo they became the first (and still the only) women to win

received a surprise phone call: Audi wanted her to drive its new Quattro in the 1981 World Rally Championship (WRC). As Mouton later told RallySport Magazine, “It was a complete shock. When you are a French woman rally driver and they are phoning from Germany asking you to do the World

a WRC event, beating Henri Toivonen and champion in waiting Ari Vatanen, who had earlier declared, somewhat foolishly, “Never can nor will I lose to a woman.” The following year saw the introduction of Group B regulations, which allowed cars of unprecedented power. Still

Championship, you cannot believe it. I did not know where this was going, but there was no way I could say no. And my teammate was to be Hannu Mikkola. He was always way up there for

driving the Quattro, Mouton won in Portugal, Greece and Brazil. A series of mishaps robbed her of a commanding lead in the Rallye Côte d’Ivoire, where victory would almost certainly have

me – one of the greats. And now we would be team-mates!” Audi had been one of the four marques comprising Auto Union, which was bought by Volkswagen in the 1960s. Despite having dominated pre-war grand prix racing, it was now known for conservative saloon cars, even as its technical expertise

clinched the World Championship ahead of Opel’s Walter Röhrl, a man who said he couldn’t accept coming second to Mouton, “not because I doubt her capabilities as a driver, but because she is a woman”. The loss might have bothered her more had she not just learned of the death of her father, and second place on the RAC

continued to generate vehicles for VW, such as the Iltis (Polecat), a German military jeep, whose four-wheel drive system used suspension parts from the Audi 100. While testing the Iltis in

Rally at least secured the manufacturers’ title for Audi, the first for a German marque. Further accolades included the Autosport International Rally Driver of the Year Award and the admiration

Finland, Audi engineer Jörg Bensinger had an idea: why not build a high-performance four-wheel drive car for the road? He put the suggestion to R&D boss Ferdinand Piëch in 1977 and when an Audi 80-based prototype conquered Austria’s Turracher

of F1 hero Niki Lauda, who described her as a “superwoman”. The Group B rally cars continued to get faster, and although Mouton recorded good results in the Quattro A1 and A2, she suffered reliability problems: in the 1982 Safari Rally she finished

Höhe Pass without snow tyres, it won management backing. With its boxy coupé form and distinctive wheel-arches, the “Ur-Quattro” (Ur, the German for original and Quattro, Italian for four) appeared at the Geneva Motor Salon in March 1980. What

the first stage on three wheels and in Finland she managed to

Mouton and co-driver Fabrizia Pons proved that they could hold their own among the sport’s established stars

GETTY IMAGES

made it unique was the combination of 4WD and turbocharging, with a 2.1-litre, five-cylinder engine producing 197bhp and an unmistakable exhaust note. A 300bhp rally version would not be eligible for the WRC until the following year, but it nevertheless

Left: Michèle Mouton and Fabrizia Pons in their Audi Quattro during the 1984 RAC Rally of Great Britain

MICHÈLE MOUTON

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MICHÈLE MOUTON

Mouton and Pons also beat Ari Vatanen, who had earlier declared, somewhat foolishly, “Never can nor will I lose to a woman”

extinguish her burning car (and carry on) by driving into a lake. She ended the 1983 season fifth in the Championship. The

Despite the attempts to handicap her chances, this French woman in a five-cylinder German car had climbed the mountain

following year (1984) was no easier; she finished 12th in the title race, one point behind new Audi team leader Röhrl. The 1985 season was even more disappointing, with Mouton focusing on testing and development and entering only one WRC

in 11m 25.39s, smashing American racer Al Unser Jr’s record by 13 seconds. It’s said that Al’s uncle Bobby was not too happy about this, and made his views clear, eliciting a withering response: “If you have the balls you can try to race me back down as well...”

event. However, she was on hand for Audi’s return to Pikes Peak, where this time she would drive solo in the Sport Quattro S1, a short-wheelbase, lightweight Group B machine with almost 450 horsepower, and by her own admission the most difficult car she

becoming the first woman to win a major rally title (the German Rally Championship, where she was known as “The Black Volcano” due to her hair colour and her temperament)

had ever driven. The patriotic Hill Climb organisers weren’t about to make things any easier; Mouton was accused of speeding at 3540mph in a restricted area and summoned to a tribunal, as she later recalled at the Goodwood Festival of Speed: “They told me I could have killed a child if he was crossing the road – all this

and contesting two WRC events, the Monte-Carlo Rally and the Tour de Corse. In the latter she was running third behind Lancia star Henri Toivonen and Peugeot’s Bruno Saby when she was sidelined by gearbox trouble; the next day Toivonen and co-driver Sergio Cresto were killed in a dreadful accident that

big story about safety and everything. So I was asked not to start from the paddock, to be out of the car, to go to the starting line, to jump into the car and to go up the hill. And I said no way. “So we called a big press conference and I said, you know, my safety is also important. So finally I was allowed to stay in

prompted the immediate end of Group B. It was time to stop. Or slow down, at least. In retirement she started a family, co-founded the Race of Champions (in memory of Toivonen), and became the first president of the FIA’s Women and Motor Sport Commission, promoting greater female participation. A member

the car, belted in, but not touching any gear, so the mechanics were pushing me to the line; it was like a big show, you know – a movie could not have been better. Of course they didn’t know me,

of the Rally Hall of Fame, a knight of the Légion d’honneur and still the most successful woman in motorsport, Michèle Mouton remains an inspiration – for men and women alike.

because in my mind I said, ‘Instead of trying to slow me down it will just make me the opposite way.’ And I was really flat-out all the way, very motivated. I had a hard time near the top because

The legendary Audi Quattro will be competing in the Rally Sprint event at the 78th Goodwood Members’ Meeting

Mouton left Audi to drive Peugeot’s 205 Turbo 16 in 1986,

know, when you look at the drop on the right side, it’s really hairy down there. I had the hardest time in my life, but I managed to do it and I won the race. It was a great time and I was very happy.”

Above: Mouton and Pons’ victory at the 1981 Rallye Sanremo was the first time a female driver had won a world championship event in rallying

ALAMY

there are three flat-out corners but the second one is not quite flat-out… I decided to stay flat-out and I was going to the side, you

A N O T H E R

P O L E

P O S I T I O N

Model shown is an All- New Focus ST 5 -Door 2.3 Manual Petrol. Fuel economy mpg (l/100km) (Combined): 34.4 (8.2). *CO 2 emissions 179g/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, 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.

SEARCH: FOCUS ST 69

CANINE EVOLUTION

Dogs might be man’s best friend, but 15,000 years ago they may not have seen us as friends but as potential dinner. New DNA science reveals that inside even our sweetest pooch lurks an inner wolf. So how did our beloved pets make that genetic leap?

FROM WOLF TO WOOF MANY KINDS OF ANIMAL have found ways to live with humans, whether by humans’ rules or against them, but no other animal has got the measure of us the way dogs have. Dogs have lived with us longer than any other domesticated creatures. They live with us on all the continents of the planet except Antarctica (from which they are banned, for fear of passing distemper to seals), and in total they may number up to a billion. There may be nearly ten million of them in the UK alone, according to PDSA (People’s Dispensary for Sick Animals) figures – which show an increase of more than 20 per cent in the five years to 2019. We house them, feed them and even clothe them. Yet when we contemplate a French bulldog trotting through a city park in a purple onesie, we may well ask: How did this triumph of evolution come about? Scientists asking that question also have to ask when dogs began to emerge, and where. Genetic studies have provided them with a wealth of data – but the data raise more questions than they answer. James Serpell, who studies the relationships between humans and their companion animals, ruefully noted in a book surveying the state of canine science, The Domestic Dog, that researchers still don’t agree on where, when, or how many times dogs were domesticated. It might have been in Europe; it might have been somewhere in Asia; it might have been once, or it might have been many times. “Dogs seem to be particularly resistant to us trying to uncover their deeper history,” observes Greger Larson, who researches ancient DNA at the University of Oxford. Attempts to trace their lineages by surveying modern

dogs’ DNA are frustrated by their prolific history of interbreeding, whether with mates selected for them by humans – to reproduce or accentuate qualities that endear or make them more useful to us – or with mates they encountered on their travels with humans, or even with wolves on the fringes of human settlements. DNA from long-dead animals can help scientists see past this confusion and detect prehistoric traces of what might be the first dogs. “We’re getting closer,” says Larson. “We do have some hints about some things.” There’s no doubt that dogs’ ancestors were wolves, rather than jackals or other members of the same family, the Canidae. Indeed, the relationship is so close that many scientists now classify dogs as a subspecies, Canis lupus familiaris, of the grey wolf, Canis lupus. But what those ancestral wolves were like remains shrouded in mystery. “One thing that’s absolutely clear,” Greger Larson says, “is that the population of wolves from which dogs were derived appears to be extinct.” Genome studies suggest that wolves underwent a drastic population collapse, losing much of their genetic diversity in the process. The wolves that gave rise to dogs may have had genetic qualities that are absent from modern wolves, and that helped them become domesticated. Many researchers are comfortable with a date of around 15,000 years ago for the start of the domestication process. One dissident is Mietje Germonpré, a Belgian palaeontologist, who has argued that remains more than 30,000 years old found at several sites across Europe are those of dogs. But their resemblance to dogs doesn’t

RIGHT: ILLUSTRATION BY NICK HAYES; OVERLEAF: ILLUSTRATION BY POPCHART

Words by Marek Kohn

CANINE EVOLUTION

necessarily imply that they were domesticated; it might just illustrate the lost diversity of ancient wolves. Whenever domestication happened, though, it couldn’t have been easy or straightforward. The two species had very good reasons to keep well away from each other. Humans and wolves were competitors for food, and humans were at risk of becoming food for wolves. A visiting observer from Mars would hardly have marked humans and wolves down as potential associates, allies, or future best friends forever. And yet wolves turned into the first domesticated animals, several thousand years at least before humans took control of goats, sheep, pigs and cattle. Broadly speaking, there are two ways to imagine how it might have happened. One is as a project directed by humans, who initiated domestication when they realised that they might benefit from keeping canines. The other is as a gradual coming together in which both parties developed the relationship, because both gained benefits from it. In this perspective, wolves might have been the initiators, approaching human groups and behaving in ways that allowed the association to develop. They could be said to have domesticated themselves. Either view presents glaring difficulties. In one scenario, wolves started to scavenge from the refuse dumps that built up near human settlements. They gradually lost their fear of humans and drew closer to them, ending up as their companions. But James Serpell doesn’t buy it. “We know what happens when wolves lose their fear of humans – they kill people!” he says. “I just don’t see our Stone Age ancestors being stupid enough to encourage any kind of potential predator to be scavenging around their villages. There are children running around. It would make no sense.” He considers that “Francis Galton got it right back in the 19th century when he said it was a product of pet-keeping”. Galton, a discipline-spanning Victorian scientist and statistician whose controversial legacy includes the concept of eugenics, suggested that domestication had arisen from the practice of capturing young wild animals and raising them as pets, which was widespread among peoples he and his contemporaries called “savages”. Serpell argues that a wolf cub taken at an early enough age would come to regard the people around it as its own social group, and so would pose no threat to them as it grew bigger. Indeed, it would help protect them from wild wolves. The only way to find that out would have been to try it, though, and people would surely have been loath to take a chance on a member of a predator species – particularly one that, being of medium size, is likely to target children

American English Coonhound

Great Pyrenees

Black and Tan Coonhound

Beagle

Komondor Bernese Mountain Dog MOUNTAIN DOGS Petit Basset Griffon Vendeen

Greater Swiss Mountain Dog

Treeing Walker Coonhound

Redbone Coonhound

Kuvasz

Tibetan Mastiff

FOXHOUNDS American Foxhound

Saint Bernard

English Foxhound

WORKING DOGS

Boxer

Rottweiler PINSCHERS Leonberger

COMMON GUARD DOGS

Chinook

Cane Corso Mastiff

SCHNAUZERS

Samoyed

Alaskan Malamute

MASTIFFS

Portuguese Water Dog Neopolitan Mastiff Black Russian Terrier Bullmastiff

American Hairless Terrier Great Dane Rat Terrier American Staffordshire Terrier

Siberian Husk y

AMERICAN TERRIERS

Miniature Schnauzer

Dogue de Bordeaux Australian Terrier

UK TERRIERS

Pit Bull Terrier

TERRIERS Wire Fox Terrier

Smooth Fox Terrier

Welsh Terrier Border Terrier

WELSH TERRIERS

Cesk y Terrier FOX TERRIERS Airedale Terrier ENGLISH TERRIERS

Bull Terrier

Nor wich Terrier

Sealyham Terrier L akeland Terrier

Nor folk Terrier Manchester Terrier

IRISH TERRIERS

Bedlington Terrier West Highland White Terrier

Glen of Imaal Terrier

Staffordshire Bull Terrier

BULL TERRIERS

Russell Terrier RUSSELL TERRIERS

SCOTTISH TERRIERS

Humans and wolves were competitors for food, and humans were at risk of becoming food for wolves

COONHOUNDS

Anatolian Shepherd Dog

LIVESTOCK GUARDIAN DOGS

Newfoundland

Miniature Bull Terrier

Standard Collie

Skye Terrier

Irish Terrier Cairn Terrier

Scottish Terrier Bearded Collie

Soft Coated Wheaten Terrier

Kerry Blue Terrier

Dandie Dinmont Terrier

Parson Russell Terrier

Old English Sheepdog

Otterhound

Harrier Chesapeake Bay Retriever

Pharaoh Hound

Greyhound

American Water Spaniel

Borzoi

Basset Hound

Bluetick Coonhound

Whippet

Dachshund

Nova Scotia Duck Tolling Retriever

Curly-Coated Retriever

Golden Retriever

Boykin Spaniel

Sloughi Scottish Deerhound

SCENTHOUNDS

AMERICAN SPANIELS

Ibizan Hound

RETRIEVERS

SIGHTHOUNDS Saluki

Weimaraner

Cocker Spaniel

Portuguese Podengo Pequeno

Welsh Springer Spaniel Irish Water Spaniel

Bloodhound

Nor wegian Elkhound

Labrador Retriever

Irish Setter

SPANIELS Spinone Italiano

Afghan Hound

Rhodesian Ridgeback

Irish Red and White Setter

Flat-Coated Retriever

SPORTING DOGS

HOUNDS

English Setter SETTERS

Basenji

Plott

Vizsla

Clumber Spaniel

English Springer Spaniel

Sussex Spaniel

Brittany English Toy Spaniel

Irish Wolfhound

German Pinscher

Italian Greyhound

TOY PINSCHERS

Wirehaired Pointing Griffon

ENGLISH SPANIELS

TOY SPANIELS

POINTERS

Doberman Pinscher

Gordon Setter Field Spaniel

English Cocker Spaniel

Papillon

Brussels Griffon

GERMAN POINTERS German Shorthaired Pointer

Affenpinscher Maltese

Giant Schnauzer

Pekingese

Japanese Chin

Toy Manchester Terrier

Pomeranian

Toy Fox Terrier

American Eskimo Dog

Keeshond

German Wirehaired Pointer

Akita

TOY DOGS

Miniature Pinscher

TOY BICHONS

Cavalier K ing Charles Spaniel

Shih Tzu

Standard Schnauzer

Standard Pointer

Havanese

Toy Chow Chow

TOY TERRIERS Shiba Inu

Miniature

Pug

Nor wegian Lundehund Finnish Spitz

POODLES

Chihuahua

SPITZ BREED

Chinese Crested

Yorkshire Terrier

Silk y Terrier Standard FRENCH HERDING DOGS

Pyrenean Shepherd

Tibetan Spaniel Bichon Frise

Chinese Shar-Pei

Icelandic Sheepdog

BICHON BREED

Lowchen

Xoloitzcuintli Dalmatian

Beauceron

Finnish L aphund

Briard

Lhasa Apso

Boston Terrier Australian Shepherd

Bouvier des Flandres

NONSPORTING DOGS

NORDIC SPITZ HERDING DOGS Bulldog

Shetland Sheepdog

Tibetan Terrier

Puli

Nor wegian Buhund

COLLIES

Polish Lowland Sheepdog

Border Collie

BULLDOG BREED

Canaan Dog

German Shepherd

HERDING DOGS

Schipperke HERDING BREED WELSH CORGIS

Australian Cattle Dog

Belgian Malinois

Pumi

Entlebucher Mountain Dog BELGIAN SHEPHERD DOGS

French Bulldog

Pembroke Welsh Corgi

Swedish Vallhund Cardigan Welsh Corgi

Belgian Sheepdog Belgian Ter vuren

THE MAP OF DOG BREEDS

if it tries to prey on humans. Two species with such potential for conflict would need a lot of time to get used to each other. It might have been easier to overcome the suspicions if the genetic diversity of ancestral wolves had included more variations than present-day wolves carry, of the kind that made some of them ready to be friendly towards humans. Such variations would certainly have been favoured as the canines adjusted to their new ways of life, and as people began to choose their mates for them, selecting ones that had amenable dispositions. Those choices might have had effects on the dogs’ physical forms as well as their behaviour. Domestication has been linked to a range of changes in various species, from reductions in brain size to shortened jaws, floppy ears and curled tails. Scientific thinking about such observations has been powerfully influenced by the work of Dmitry Belyaev, a Soviet geneticist who conducted an intensive domestication programme on captive foxes. Selecting the tamest individuals for breeding, he produced a population of foxes that was not only tamer, but also included individuals with features such as floppy ears, curly tails and dog-like faces. It looked as though selection for tameness was acting on genes that shaped the development of physical traits as well as temperament. The story may have been too good to be the whole truth. Greger Larson contributed to a critique, published

People began to choose dogs’ mates for them, selecting ones that had amenable dispositions last year, which suggests that claims about the so-called “domestication syndrome” have been overstated. For one thing, the foxes were from Canadian stock, acquired in the 1920s for Soviet fur farms. They had probably been selected for tameness, if only unconsciously, for decades before Belyaev began his study. Nevertheless, Larson still thinks there’s something in the theory. “Belyaev’s experiments nicely demonstrated that by selecting for a behavioural trait you can get a whole suite of traits that kind of come along for free,” he affirms. At least one of these had shown up by the time some ancient hand engraved images of dogs on a cliff in what is now north-western Saudi Arabia. Shown in hunting scenes with humans, they look like the modern breed known as Canaan dogs, with distinctive curled tails. The artworks could be 8,000 or 9,000 years old. Decorations on pottery from south-western Iran, made around 6,000 years ago, depict dogs that resemble modern salukis.

EXTINCT BREEDS Five breeds that are gone, but not forgotten

Turnspit dog With a long body and short legs, the turnspit dog was bred to run on a wheel, called a turnspit or dog wheel, that allowed meat to cook evenly over a fire. Mentioned in Of English Dogs in 1576 under the name “Turnespete”, it was also known as the kitchen dog, cooking dog or underdog. As technology progressed, the job became obsolete and the breed became rare by the 1850s and extinct by 1900.

Cumberland sheepdog The Cumberland sheepdog was similar to the Welsh sheepdog and old working collie types and is thought to be an ancestor of the Australian shepherd. Black with a white blaze and a heavy, dense coat, the Cumberland was believed to be the favourite breed of the 6th Earl of Lonsdale. It existed in his family for more than 100 years, but by the start of the 20th century, it had been absorbed by the border collie.

Alpine spaniel Famed for their thick coats and large size, Alpine spaniels lived in the bitterly cold climate of the Swiss Alps, where they were used in mountain rescues by the Augustinian Canons, who ran hospices in the region around the Great St Bernard Pass. Sadly, disease wiped out this breed in the mid-19th century. However, modern-day St Bernards are their genetic descendants as a result of cross-breeding with Newfoundlands, and proudly bear the name of the place of their ancestors.

NICK HAYES

Talbot The talbot was a common hunting hound in England during the Middle Ages. Some believe it was brought over from Normandy by William the Conqueror, although there is no definitive evidence to support this. A small to medium-sized dog with a white coat, short legs, long drooping ears and a long curled tail, the talbot featured in much of the art of the period (as well as on the signs of public houses) and, along with the greyhound, was uniquely used in heraldry. An ancestor of beagles and bloodhounds, the breed disappeared around the late-18th century. Its legacy lives on in the names of many English inns and pubs: the “Talbot Arms”.

Old English bulldog Believed to be descended from ancient war dogs such as the old mastiff or the alaunt, the old English bulldog was used for bull baiting and dog fighting in London in the early-19th century. The passage of the Cruelty to Animals Act in 1835 led to a decline in the sport, which eventually led to its extinction. Despite dog fighting becoming illegal, the activity continued for many years and in order to create a superior fighting dog, breeders created a cross between the old English bulldog and old English terrier. This new breed, called the “bull and terrier”, was a precursor to the Staffordshire bull terrier, English bull terrier and American pit bull terrier and speeded the end of the old English bulldog.

CANINE EVOLUTION

Today’s spectacular diversity of breeds is largely the product of the past couple of hundred years Other types of dog emerged over the course of millennia. A statue now on display in the British Museum affirms that muscle-bound, mastiff-like dogs, known as Molossians were a formidable presence in ancient Greece and Rome. Shakespeare had Macbeth observe that the variety of dogs included “hounds and greyhounds, mongrels, spaniels, curs, shoughs, water-rugs, and demiwolves”. (Shoughs were a kind of lapdog; water-rugs a type of spaniel.) But today’s vast diversity of breeds – the Belgian-based Fédération Cynologique Internationale, or World Canine Organisation, recognises around 350 – is largely the product of the past couple of hundred years, in which dog breeding became an organised pursuit. And as well as the breeds recognised by the kennel clubs, crossbreed varieties such as cockapoos and labradoodles enliven modern canine diversity still further. For geneticists, one of the most significant aspects of breed creation is that it involves small populations, which may be more vulnerable than large ones to harmful genes. As the farm fox story shows, breeders who select for one sort of characteristic may inadvertently be selecting for a number of other traits that tag along with it. A dog with a trait that breeders favour may end up with large numbers of offspring – many of whom may inherit any less desirable traits that it also happens to possess.

That, however, means that studying dog genetics may be of far more than just historical interest. An international collaboration called the Dog10K Consortium aims to analyse 10,000 dog genomes, ranging from pedigree specimens to the free-breeding village dogs that make up much of the world’s canine population. Wolves, coyotes and jackals will also be included for comparison. The project aims not only to explore intriguing questions about the origins of dogs and their breeds, but also to shed light on health in both dogs and humans. We have a lot of illnesses in common: heart disease, cancer, diabetes, and also behavioural problems such as obsessive-compulsive disorders. Researchers involved in the collaboration (who include Greger Larson) argue that insights into the genetic factors underlying disease in dogs may translate into insights about human conditions. They envisage a new role for dogs, as models for humans in matters of health. That would be a new departure, after hunting, herding, guarding, companionship and all the other human needs that dogs have met. But once again, dogs would demonstrate their uncanny knack of finding a place in the most important parts of our lives. Goodwoof, Goodwood’s celebration of all things canine, takes place May 24–25

TOP DOGS Doggy popularity contest Labrador For many years the UK’s most popular dog, last year the Labrador retriever retained its number one position in the Kennel Club’s league table – with more than 35,000 registered. However, there are regional variations in the doggy popularity contest, and the French bulldog is still the most popular breed in London.

Schnauzer “It must be a nuisance to go through life with a Father Christmas moustache,” wrote Vita Sackville-West in her book about dog breeds,

Faces: Profiles of Dogs, “but no doubt the schnauzer gets used to it.” In 1961 when Faces (recently re-released by Daunt Books) was written, the schnauzer “was not so often seen in this country, though a smaller edition… has recently begun to find favour.” Today the UK is home to almost half a million miniature schnauzers.

English pointer Our canine cover star, the English pointer, is sadly in sharp decline – although the German shorthaired pointer’s numbers are up. A few other old favourites, the boxer and the Staffordshire bull terrier, are also down. Cockapoo Today’s highly popular crossbreeds were too new in 1961 to appear on Sackville-West’s radar and their numbers are difficult to accurately assess today, but a recent Pets4Homes survey placed them in the following positions: cockapoo – number 4; cavapoo – number 18; labradoodle – number 22.

NICK HAYES

There are few clear stats for a canine hit parade, as the Kennel Club’s records cover registered dogs only, and recognised breeds, so wildly popular new crossbreeds such as the labradoodle don’t feature in its annual league tables. What’s clear, though, is that our dogs of choice are always changing.

CANINE EVOLUTION

WOMEN ARTISTS

Portrait painter Angelica Kauffman was the toast of 18th-century society and one of only two female founders of the Royal Academy. Yet for years her achievements and those of countless other women artists have been overshadowed by their male peers. Now a major show is set to remind us of her prodigious talents

THE FEMALE GAZE Words by Emma Crichton-Miller

In the library of Goodwood House there is a remarkable portrait of Mary Lennox, Duchess of Richmond, who had married Charles Lennox, 3rd Duke of Richmond of Goodwood House on April 1, 1757. Horace Walpole had declared them “the prettiest couple in England”. In this painting, completed by 1774, the Duchess, now an assured 34-year-old, is posed in the grand style, on a chair draped in thick red fabric like a throne, in front of a classical sculpture half-hidden by a red curtain. Rather than stiff and formal, she holds the viewer with a steady gaze, looking relaxed in her exotic Turkish-influenced gold-embroidered robe and diaphanous shift over voluminous drawers and silk slippers. This was the fashionable garb of the day for the highest echelons of society, inspired by the letters of Lady Mary Wortley Montagu, who, as wife to the British Ambassador to Turkey, had sent back vivid descriptions of the beautiful Turkish women she had met. Wortley Montagu had stressed in her letters, published after her death in 1763,

that where European women were constricted by corsets, constrained by rigid social mores and oppressed by a religiously upheld intolerance of sensuality, the elite of Ottoman female society seemed to enjoy, in the harem, a kind of liberation. The Duchess had already made quite a splash in a similar costume at a lavish masquerade held for the young King of Denmark, Christian VII, in 1768, and on his 1775 engraving of this portrait of the Duchess, the engraver, William Ryland, had written, “She is in the costume of a Persian sultana worn by her at a masque given at Richmond House for the birthday of George III.” But if her zest for fancy dress showed Mary Lennox to be at the forefront of contemporary fashion, so too did her choice of portraitist. Angelica Kauffman, the Swiss-born artist, had come to London in 1766 and had quickly established herself as one of the three most acclaimed and sought-after portrait painters in England – the other two being Sir Joshua Reynolds and Thomas Gainsborough. Indeed, she made such an impression that she was invited by Reynolds to be one of only two female founding

Left: Angelica Kauffman’s portrait of Mary Lennox, Duchess of Richmond, hangs in Goodwood House and will be part of the RA’s Angelica Kauffman exhibition this summer

WOMEN ARTISTS

Left: a child prodigy, Kauffman was as musical as she was artistic, as depicted in her painting Selfportrait of the Artist hesitating between the Arts of Music and Painting, 1794 â&#x20AC;&#x201C; part of the RAâ&#x20AC;&#x2122;s exhibition

WOMEN ARTISTS

critical judgment difficult. Johan Joseph Zoffany’s famous picture The Academicians of the Royal Academy (1771-72) hints at this. There are all the Academicians, elegantly conversing in the Academy’s life-drawing room at Old Somerset House, with casts round the walls and a simple platform ready for the model. Except that the two women Academicians are represented solely by their portraits hung on the wall, because they were banned from the life-drawing classes on grounds of propriety. Even to include their figures in the painting would be to cast scandal upon them. The fact that they were Academicians at all, however, is proof of the very high regard in which they were held. Nevertheless, no other woman, however well connected, would be elected to the Academy until 1936, when Dame Laura Knight finally won her place. But the art world is changing. When Tate Modern opened in 2000, it was the veteran French-American sculptor Louise

members of the Royal Academy, alongside the still-life painter, Mary Moser, in 1768, when she was still only 28 years old. By 1781, seven years after this portrait was completed, a printmaker confided to the Danish Ambassador in London that “the whole world is Angelicamad”. An exhibition opening at the Royal Academy in June this year, to which this Lennox portrait will be lent, will explain why. It will remind us of Kauffman’s extraordinary story. A former child prodigy, as musical as she was artistic, she was taught by her father and then escorted by him around Italy to further her education. She spoke five languages, became a fêted and financially successful artist despite her gender, and presided over a salon that drew the leading artists and intellectuals of the day, first in London, then in Rome. The German philosopher JG Herder dubbed her “perhaps the most cultivated woman in Europe” and the neoclassical sculptor Antonio Canova organised her funeral. All the artists in Rome walked in the funeral procession to the Church of Sant’Andrea delle Fratte, where she was buried in 1807. Soon after, a bust of Kauffman sculpted by her cousin Johann Peter Kauffmann was placed in the Pantheon in Rome, beside Raphael’s. Since then, Kauffman’s fame has abated. Her name has never disappeared from the canon, but she has not received the attention given to her male peers. Even Goethe, who admired her hugely, would only say, “She has an incredible, and for a woman, truly prodigious talent.” Partly this is because Kauffman so defied contemporary views of how women should behave and in turn be treated that she made disinterested

FROM TOP: ALAMY; BRIDGEMAN IMAGES

The two female Academicians were banned from life-drawing classes on grounds of propriety

From top: Self-Portrait as the Allegory of Painting, 1638–39, by Artemisia Gentileschi; Self-Portrait, Black Background, 1915, by Helene Schjerfbeck

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WOMEN ARTISTS

Bourgeois, then 89, who was given the very first Turbine Hall exhibition. Since 2010, the pace of reassessment has quickened as Tate has mounted groundbreaking shows of 20th-century pioneers such as the Brazilian modernist Mira Schendel, the French/Ukrainian painter and designer Sonia Delaunay, the textile artist Anni Albers and the leader of the Russian avantgarde in the early-20th century, Natalia Goncharova. Also, last year, the Royal Academy mounted the first UK exhibition of the mesmerising Helsinki-born painter Helene Schjerfbeck, a Finnish national icon but practically unknown here, while the Barbican hosted a landmark exhibition of work by Lee Krasner – an esteemed American abstract expressionist, but one whose achievements were overshadowed by the colossal legacy of her husband Jackson Pollock. Currently on display at Tate Modern is a major retrospective of the surrealist artist Dora Maar, often referred to as Picasso’s muse and lover, but of course a major artist in her own right. Female artists, you might surmise from the long list of talented women overlooked beside the genius of their partners, would do well not to marry fellow artists if they want recognition for their own achievements. All over Europe, museums and galleries are digging into the past. In October 2019 the Church of Santa Maria Novella in Florence at last put on permanent public display, in its museum,

Above: Model in Swimsuit, 1936, by surrealist Dora Maar. Top right: abstract weaving from Bauhaus artist Anni Albers

a newly restored large-scale painting of the Last Supper by the female Renaissance artist Plautilla Nelli. This is the only work signed by this accomplished artist, a contemporary of Leonardo da Vinci, who, unlike him, was banned by her gender from art school, and from the study of anatomy and the male figure. Over the past 20 years the organisation Advancing Women Artists has played a leading role in restoring her known works and bringing them to critical notice. The Prado, meanwhile, celebrated its bicentenary last year by mounting an exhibition of two now almost entirely forgotten women painters from the 16th century: Sofonisba Anguissola and Lavinia Fontana. This was only the second exhibition in its history devoted to a female artist. And on April 4 this year, the National Gallery in London will open the UK’s first major exhibition of the work of Artemisia Gentileschi, the most successful woman artist in 17th-century Europe, whose powerful works, influenced by Caravaggio, eclipse those of her father, Orazio. These efforts at bringing the work of women artists into the spotlight are not always and inevitably triumphant. The Guardian’s art critic Adrian Searle commented about Tate Britain’s recent women-only rehang: “There is no real depth here, no focus, no real questioning of the canon. You want it to shake things up, but it doesn’t.” He pointed out that museums are dependent upon their holdings, which may be limited. The National Gallery, for instance, was inspired to mount its

Female artists would do well not to marry fellow artists if they want recognition for their own achievements

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Gentileschi show by the purchase in 2018 of its first canvas by Artemisia, her Self Portrait as Saint Catherine of Alexandria. Kauffman was a canny businesswoman, well aware that her carefully crafted self-portraits were a calling card, from the first, Self-portrait as a Singer (circa 1753), painted when she was just 12, to her beautifully composed self-portrait of 1784. But Kauffman’s self-portraits, like her ambitious mythological and historical paintings and even her late religious canvas, David and Nathan (circa 1806/7), project more than just intelligence and beauty. In all these genres, as in her portrait of Mary Lennox, she brought something exuberantly original. While the Duchess clearly took to her era’s Turkish costume craze with gusto, it was Kauffman who had been a huge force behind its popularity. She recognised that these clothes allowed her upper class female subjects a freedom of self-expression denied by conventional dress. As a note in the catalogue suggests, “Kauffman’s portraits à la turque, as well as her genre-like odalisques in Turkish attire… not only counted as fashionable and erotic but also stood for the prototype of the emancipated woman.” She was equally adventurous in her representations of fashionable young men. She painted a young Benjamin West in a van Dyck-style jacket in 1763, helping to trigger the late-18thcentury male fashion for slashed sleeves and lace collars and cuffs. Rather against the taste of some male critics, she also gave her male figures a sensitive, almost feminine look. Meanwhile, absorbing Reynolds’ judgment that historical painting was

ALAMY

WOMEN ARTISTS

ALAMY

“Kauffman’s portraits à la turque… not only counted as fashionable and erotic but also stood for the prototype of the emancipated woman”

Above: Lee Krasner self portrait from the Barbican’s 2019 show. Top right: Sonia Delaunay’s Simultaneous Dresses (Three Women, Forms, Colours), 1925

more important than portraiture, she did much to introduce a taste for paintings about British history. The exhibition’s curator, Bettina Baumgärtel, author of a soon-to-be-published catalogue raisonné, explains, “Many of Kauffman’s works were highly influential in terms of style and triggered a ‘Kauffman cult’.” But her influence went far beyond the spectacular merchandising: the rooms decorated with paintings, stucco reliefs and engravings after her works; the vases, plates and cups from leading porcelain manufactories, all bearing her motifs. As Baumgärtel puts it, “Her pioneering history paintings, her magnificent portraits and her scenes from literature and mythology give an amazing insight into an era that was shaped by both reason and sentimentality.” Her success, then, lay in her subtle depictions of new modes of being, available both to men and to women, which cemented her place as a heroine of this dawning age of the Enlightenment. The Royal Academy’s “Angelica Kauffman” runs from June 28 to September 20 (royalacademy.org.uk); The National Gallery’s “Artemisia” runs from April 4 to July 26 (nationalgallery.org.uk)

goodwoof all about the dog

at Goodwood 24 | 25 May 2020

goodwood.com

calendar New shoots: Goodwood's park and woodlands burst into life as spring arrives on the estate, along with the first lambs of the year. Another great season of sport and conviviality lies ahead

HIGHLIGHTS MARCH - JULY

March 22

MOTHER’S DAY LUNCH Join us at The Kennels for a very special lunch, which includes a gift for mothers.

March 1

VEE-POWER SUNDAY (GOODWOOD BREAKFAST CLUB) Making a welcome return for the first time since 2015 – includes the Canine Partners Dog Walk.

March 28-29

MEMBERS’ MEETING The most exclusive automotive race meeting in the world, with its first ever Rally Sprint. April 9

March 19

CHARCOAL DRAWING CLASS AT THE KENNELS Learn how to draw your pet in charcoal with artist Sophia Burnell.

EASTER TABLE WREATH MASTERCLASS Create a stunning seasonal arrangement to place on your table this Easter.

April 12-13

May 7

EASTER SUNDAY AND MONDAY LUNCH

VE DAY DINNER

Join us at The Kennels.

Mark this never-to-be-forgotten victory with supper at The Kennels.

May 2

May 24-25

OPENING SATURDAY

GOODWOOF

Goodwood’s horseracing season kicks off with our Opening Saturday fixture.

A celebration of all things canine.

May 3

Enjoy thrilling horseracing and a celebration of food.

EVERYTHING BUT THE CAR SUNDAY (GOODWOOD BREAKFAST CLUB) A showcase of everything on wheels – except cars – from trucks and buses to armoured vehicles.

May 28-30

MAY FESTIVAL

July 9-12

FESTIVAL OF SPEED The world's greatest motoring garden party revs up.

11 • 12 • 13 SEPTEMBER TICKETS & PACKAGES AVAILABLE AT GOODWOOD.COM 90

CALENDAR

May 24 – 25

GOODWOOF

A new event dedicated to our canine companions, Goodwoof will feature a fantastic line-up of activities to entertain dogs and their humans. From competitions and demonstrations to walks, talks, wellness and play, the two days will be full of family-friendly fun. You don’t need to own a dog to attend Goodwoof; you only need to love everything about dogs. Far from a typical dog show, Goodwoof will be a unique experience - delivered with the boundless enthusiasm of dog lovers and presented in inimitable Goodwood style. We’ll revisit 70 years of Snoopy; bring to life inspiring stories of dog heroes of the Second World War and challenge great modern architects to create kennels for a "Barkitecture" contest. There will be an abundance of spaniels; an outdoor cinema featuring dog-themed favourites and a canine concours d’elegance. Wellbeing workshops will consider traditional and holistic approaches, from training and behaviour to dog yoga and massage. Sporting events will include Agility, Flyball, CaniCross, Heelwork, Sheepdog Trials, "have-a-go" sessions and a 50-metre dash to find the world’s fastest dog. For more information and tickets, visit goodwood.com/goodwoof/

goodwoof all about the dog

at Goodwood 24 | 25 May 2020 goodwood.com

Above: Goodwoof, a canine extravaganza, will feature a "Barkitecture" competition judged by Kevin McCloud. Below: some guests at Hound Lodge, the estate's private sporting lodge

#TOGETHERBAND Ambassadors and Team Principals, Susie and Toto Wolff, watching their future generation race ahead.

Are we doing our best for future generations? Will they be prepared? How can we give them the right start?

Future generations are our legacy to the world. So we want them to be well-equipped for the challenges ahead. But in these changing times, what skills will they require? And how much will we need to set aside? Together, we can help give them the best chance of success. For today and tomorrows to come. For some of life’s questions, you’re not alone. Together we can find an answer.

The featured persons are not implying sponsorship or endorsement of UBS or its products and services. In providing wealth management services to clients, UBS Financial Services Inc. offers both investment advisory and brokerage services which are separate and distinct and differ in material ways. For information, including the different laws and contracts that govern, visit ubs.com/workingwithus. UBS joined forces with BOTTLETOP to create #TOGETHERBAND to raise money for selected charities. Bottletop and UBS Financial Services Inc. are not affiliated. © UBS 2020. All rights reserved. UBS Financial Services Inc. is a subsidiary of UBS AG. Member FINRA/SIPC.

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CALENDAR

July 9 â&#x20AC;&#x201C; 12

Festival of speed

Often described as the world's biggest motoring garden party, this yearâ&#x20AC;&#x2122;s Festival of Speed presented by Mastercard returns, bigger and better than ever, with a thrilling winner-takes-all new Rally Shootout in the forest in addition to all the best-loved attractions. Shoot-out Sunday presents the world's fastest cars and drivers going head to head on the iconic Hillclimb; the Michelin Supercar Paddock showcases dynamic debuts and spectacular models; we celebrate one of the most successful Americans in the history of motorsport, Mario Andretti; and visitors can enjoy mind-boggling visions of the technological future in the ever-more-popular FOS FutureLab, which hosts some of the most innovative companies working with autonomous transport, robotics and personal flight. For more information and bookings go to goodwood.com/FOS

Goodwood Festival of Speed gives motoring fans the chance to see the world's most thrilling cars and mingle with motorsport royalty. Right, from top: legendary driver Mario Andretti will be honoured; FOS FutureLab has become one of the event's most popular attractions, showcasing exciting technological innovations from around the world

finish Pointers exemplify the many ways dogs have changed to get along with humans – and work with us. For a dog to hunt seems natural, but for a dog to seek out prey, then quietly point its owner in the right direction, shows how breeding and training have wrought something extraordinary. The splendour of The Kennels shows the value the 3rd Duke of Richmond attached to his foxhounds, having inherited that love of the chase that first inspired his grandfather to acquire the Goodwood Estate. But at Goodwood there hangs a portrait of the Duke caressing his spaniels, which shows that it’s not just usefulness that endears our dogs to us, but also loyalty, excellence and, yes, sweetness. For whose heart doesn’t beat a little faster at the sight of a saluki speeding across a city park? Or smile at the eagerness of a cocker spaniel? And if we know, deep down, that our dogs retain some wildness – and rather more than a dash of wolf – well, that’s part of the thrill, surely?

LAP OF HONOUR

Dame Darcey Bussell, 50, was a principal dancer with the Royal Ballet for two decades until her retirement in 2007. She has appeared as a judge on the BBC show Strictly Come Dancing, performed at the closing ceremony of the 2012 Olympic Games and is the President of the Royal Academy of Dance. A regular visitor to Goodwood, she lives in London with her husband and two daughters

Darcey Bussell I FIRST WENT TO GOODWOOD about 20 years ago when I gave an award to a horse – I think it was called Bussell! I was thrilled to be there. I didn’t ride as a child, but dancers are often compared to racehorses. We even get the same injuries: bone spurs. I had a couple in my knee and had to have them removed. MY FATHER WAS REALLY INTO SPORTS CARS. When I was at White Lodge (the Royal Ballet boarding school), I’d get great kudos when he dropped me off in one of his cars. I DROVE AT BRANDS HATCH once. I thought I was addicted to speed but when you have kids that addiction disappears instantly. I’VE BEEN ON THE JUDGING panel of Cartier Style et Luxe three times at Festival of Speed. I love vintage cars. We have a silver 1969 Mercedes 280SL – the same age as me. ONE OF MY MAIN CAREER HIGHLIGHTS was working with Kenneth MacMillan at the Royal Ballet. When I was 20, he made me Principal, straight after I came off stage on the opening night [of

The Prince of the Pagodas]. It was a huge turning point in in my life, having the opportunity to work with such a genius. I REHEARSED for the closing ceremony of the Olympics at 3am – the only time the stadium wasn’t being used. I was retired so there was a particular kind of pressure, committing to it a year in advance and making sure I was ready. But it was very exciting, representing all the athletes and putting out the flame. HOWEVER PREPARED you think you are, you’re never truly ready for retirement. I hadn’t appreciated that it was leaving the people and friendships that would affect me the most. AS PRESIDENT of the Royal Academy of Dance, I represent British dance. RAD, which is 100 this year, has many arms, including projects like Silver Swans, aimed at encouraging over-55s to dance. Dance has been part of our psyche from the earliest times but it’s been deleted from our culture.

STRICTLY CHANGED THE IMAGE OF DANCE and made people realise it could be for everyone. For me, it was a very different kind of fame, and it came as a shock. I could be anywhere and people would want to talk about the show or discuss a score I’d given.

I GET BORED BY EXERCISE very quickly, which is why I love dance. I do my DDMixx [Bussell’s diverse dance fitness DVDs], which I love. I'll go anywhere where there’s a dancefloor, socially. Charles [The Duke of Richmond] should build one at Goodwood! MY ADVICE TO MY 18-YEAR-OLD SELF? Try as many things as you can. Don’t be afraid of failing – mistakes are the way to move forward and to learn. Take the leap!

ILLUSTRATION BY ELIZABETH MOCH

WE’RE MISSING A TOOL not using dance more with kids, to help them find a balance in their lives. Every day is spent in front of a screen and that’s so bad for their physical and mental health. Dance should just be part of physical education. The difference it makes is instant – but you’ve got to get in young.

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Spring 2020

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GOODWOOD | ISSUE 15

Articles inside

Lap of honour

True grit

Calendar

Cut yourself some slack

Worn to be wild

BENJAMIN MADGWICK

Flight club

The chic of it

Trunk call

Roll with it

Quality time

My other cufflink is a Corvette

Great wall of china

Lazing on a sunny afternoon

Last hurrah

She sells sea shells

Designer dogs