GOODWOOD | ISSUE 25

Badge of honour

a cause for celebration

Welcome to the summer edition of Goodwood Magazine, which looks forward to some of the upcoming highlights of the season and looks back on some of the historical moments that are part of Goodwood’s story –because 2023 is a year of several important anniversaries. Festival of Speed turns 30 and Revival is 25 years old, but most importantly, it is 75 years since my grandfather, Frederick Gordon Lennox, the 9th Duke, brought motor racing to Goodwood one memorable day in 1948 (p38).

As Freddie March, he was originally a mechanic and racing driver before becoming an engineer, both aeronautical and automotive – and ultimately, an impresario of motorsport. His love of cars and bikes led him to transform the perimeter road around RAF Westhampnett (a famous Battle of Britain airfield) into the Motor Circuit that we know today. Freddie succeeded in making Goodwood home to British motorsport during the sport’s most exciting and glamorous era. Ten years earlier he had reluctantly been forced to part with his Scottish inheritance, Gordon Castle, the heyday of which is captured by the wonderful old photographs in the family albums at Goodwood (p64). But despite the hardship of the post-war world, on that jubilant day in 1948 the crowds came, the engines roared, and Goodwood, long famous for equestrian excellence, became synonymous with a different kind of horsepower.

Elsewhere, on the subject of horses, we look at a study by Stubbs (p92), which has returned to Goodwood after more than two centuries away, and we salute some gloriously fashion-forward creations by designer Miss Sohee, set to debut at the Qatar Goodwood Festival (p72). Contemplating the future is as important as honouring the past – and my grandfather would doubtless have been fascinated by the conversations that take place at Nucleus, the invitation-only gathering that happens just ahead of the Festival of Speed. Great pioneers, thought leaders and CEOs from the worlds of tech, space and motorsport come together to freely discuss and debate the future of our world. Times change, and like Freddie, we aim to keep changing with them.

We look forward to welcoming you to Goodwood soon.

The Duke of Richmond and Gordon

The front cover shows a selection of Goodwood motorsport badges from 1948-2023, photographed by Sam Armstrong

Tamsin Blanchard

Tamsin has been fashion editor of The Independent, style editor of The Observer and fashion features director of Telegraph Magazine, as well as contributing to Harper’s Bazaar USA and Tank. For us, she reflects on the changing shapes – but enduring appeal – of a straw hat in summer.

Peter Hall

Peter is one of the UK’s leading motoring journalists. As the legendary 24 Hours of Le Mans reaches its centenary, he looks back at the distinctive posters that have become such a well-loved –and highly collectible – aspect of the event, and the fascinating story they tell across the years.

Skye Sherwin

Skye writes about art for newspapers such as The Guardian and magazines ranging from Frieze and Art Review to Vanity Fair and W. For us, she spoke to the curators of a new exhibition of Andy Warhol’s lost (and now found) early textile designs.

Oliver Franklin-Wallis

Oliver is the features editor of British GQ and contributes to The New York Times, The Sunday Times and Wired. For Goodwood, his miniature schnauzer Boudica joined him in reporting on the new thinking about how we understand the psychology of dogs when we train them.

Johanna Derry Hall

Johanna’s writing on all things food-related has appeared in titles such as The Financial Times, The Telegraph, Foodism and The Evening Standard. For this issue, she spoke to apple aficionados about the future of England’s endangered heritage apples.

Sam Armstrong

Sam’s impactful photography has appeared in Esquire, Vanity Fair , as well as in campaigns for brands such as Sony and Cos. For our cover image, he photographed a selection of Goodwood badges, chosen from a collection that spans 75 years of motorsport on the Estate.

Editors

Gill Morgan

James Collard

Deputy editor

Sophy Grimshaw

catherine.peel@goodwood.com

Art director

Vanessa Arnaud

Sub-editor Damon Syson

Images curator Jonathan Wilson

Images archivist Max Carter

Project director

Sarah Glyde

Goodwood Magazine is published on behalf of The Goodwood Estate Company Ltd, Chichester, West Sussex PO18 0PX, by Uncommonly Ltd, 30-32 Tabard Street, London, SE1 4JU. For enquiries regarding Uncommonly, contact Sarah Glyde: sarah@uncommonly.co.uk

© Copyright 2023 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.

Head of Editorial for Goodwood Catherine Peel

Driven by Dreams.

Inspired by one man’s dream to create the ultimate sportscar. Together we will colour the next 75 years.

variations in weather,

may

reflect

Porsche 911 Turbo S official WLTP combined fuel consumption 23.0-23.5 mpg, WLTP CO₂ combined emissions 278-271 g/km. Figures shown are for comparability purposes only and

not

real life driving conditions, which will depend upon a number of factors including any accessories fitted,

topography and road conditions, driving styles, vehicle load and condition.

23 Time for a change

Drumroll… it’s Rolex’s brandnew Cosmograph Daytona

Shorts

12 Contacts

Frank Herrmann’s photos from the set of The Saint, 1962

14 Life in the fast lane

Remembering pioneering motorist and aviator Dorothy Levitt, whose life story is as tragic as it is extraordinary

16 Carré on

Keep it classic with the new silk riding scarf from Hermès

18 Crunch time

British apples are under threat from rising temperatures and non-native varieties

20 Source material

Tracing Pop Art’s roots in a new exhibition of Andy Warhol’s early textile designs

24 Not your common or garden shed

The legendary Tyrrell workshop has a new home

26 Get shorty

How to wear a shorts suit and not look like a schoolboy

28 Hounds of love

Introducing a charming new book of rescue dog portraits

30 Brimming with style

How the Panama hat became the ultimate sartorial go-to for stylish summer heads

32 Long way round

The marvellous King Charles III England Coast Path is approaching completion

34 Star vehicle

And the next lot is… Peter Sellers’ beloved Aston Martin DB4GT, as seen on screen

Features

37 Goodwood 75

As the Goodwood Motor Circuit prepares to celebrate its 75th birthday, we present a special section on its unique place in automotive history

38 Golden years

A look back at the surprisingly low-key inaugural race meeting at Goodwood, which heralded the beginning of a glorious era in British motorsport

44 Personal bests

The Duke of Richmond recalls some of the most memorable and thrilling moments in the history of the Goodwood Motor Circuit

46 The road ahead

A glimpse into the future courtesy of Festival of Speed’s Nucleus summit, dubbed “the automotive Davos”

72 Miss Sohee in the house

Meet Sohee Park, the Koreanborn, London-based designer who is fashion’s rising star

78 The new space age

Why the current crop of rocket launches could offer myriad benefits for the human race

84 Racing colours

A look back at some of the unforgettable promotional posters for Le Mans – now coveted collector’s items

92 This sporting life

How an oil study by Stubbs has returned to Goodwood after an absence of 260 years

52 Gently does it

Badly behaved pooch? Why not try the new empathetic approach to training your dog

56 Made in the shade

From race days to garden parties, your summer wardrobe isn’t complete without a chic Panama or floppy-brimmed sunhat

64 Gordon Castle revisited

We flick through the Gordon Lennox family albums to reveal the fascinating history of the Scottish connection

97 Calendar

The unmissable events at Goodwood this summer, including the Qatar Goodwood Festival

104 Lap of honour

START finish

Alice Temperley, designer of the silks for this year’s Markel Magnolia Cup, on practical style and impractical cars

Top: an image from the 2020 debut collection of the Miss Sohee fashion brand (p72). Above: Dan Gurney competes in the Glover Trophy at the Goodwood Motor Circuit in 1961 (p44)

FROM TOP: MISS SOHEE; GETTY IMAGES

Start

Long after the crowds depart, some objects hold a kind of magic –like these goggles, which were worn by Frederick Gordon Lennox in the years from 1929 onwards when, as Freddie March, he raced cars around Brooklands and the like. In September 1948, as the 9th Duke of Richmond, it was Freddie who brought motorsport to his ancestral estate, an anniversary we celebrate this year in “Goodwood 75”. That first meeting would inaugurate many years of legendary motor racing at Goodwood. And in turn the memories of these years would inspire Freddie’s grandson, Charles, the current Duke of Richmond, to bring this motorsport legacy to life again – first with Festival of Speed in 1993, and then five years later, exactly 50 years to the day after that first race, with the addition of Revival. So the Goodwood badges gracing the cover of this issue represent all of this automotive heritage. Think of them as a parade of champions, if you like, or souvenirs of many thrilling and happy days at Goodwood – with the promise of more to come.

Frank Herrmann Filming The Saint, 1962

In our series unearthing the contact sheets of historic photographs, we revisit the Elstree Studios set of TV series The Saint, which starred a pre-007 Roger Moore

Words by Gill Morgan

The launch of newspaper colour magazines in the 1960s heralded a golden age of photojournalism. This was the era when Don McCullin’s images of war and famine from across the world would influence political debate and when David Bailey’s portraits brought into stylish focus the rapidly changing celebrity and social zeitgeist. The Sunday Times Magazine boasted its own illustrious team of staff photographers, including the much-admired Frank Herrmann, whose assignments ranged from chronicling epoch-defining events such as the Paris ’68 riots and the Yom Kippur War to capturing the most iconic pop-cultural moments of the day. Granted extraordinarily intimate access, Herrmann would be dispatched at short notice to shoot everything from the Beatles recording Sgt Pepper’s Lonely Hearts Club Band at Abbey Road Studios to the making of the first-ever episode of The Saint, the subject of this contact sheet.

Filming at Elstree Studios in Hertfordshire, The Saint was to become one of the most popular TV programmes of the decade, running on ITV from 1962 to 1969. The show consolidated the star power not just of its leading man, Roger Moore – playing the urbane adventurer Simon Templar – but also of his (almost) equally famous white Volvo P1800 coupé. The photographs show Moore on set, in his dressing room and opposite co-star Shirley Eaton (later to find fame as the woman who is painted gold in 1964 James Bond movie Goldfinger).

Herrmann, who came to London from Berlin with his family in 1937 and whose portrait subjects included Orson Welles, Winston Churchill and Duke Ellington, is now in his nineties and his work is held in the National Portrait Gallery collection. But beyond its interest to fans of The Saint, this contact sheet is an encapsulation in miniature of a lost era of photography, from the stamp bearing the name of the long-closed camera equipment shop on Baker Street, Pelling & Cross, to the un-PR-controlled nature of the images themselves. As Herrmann once said of another of his projects, “It was to be a fly-on-the-wall occasion, which was my favourite way of working, being able to observe people discreetly.” A limited-edition copy of this contact sheet is available to buy, priced £450-£750, from Pap Art, pap-art.co.uk

©FRANK HERRMANN/PAP ART

LIFE IN THE FAST LANE

Pioneering motorist Dorothy Levitt set the female land speed record twice and was the first English woman to fly a plane – but her later years and untimely death remain shrouded in mystery

Words by Damon Syson

In October 1906, at the Blackpool Speed Trials, a 24-yearold secretary named Dorothy Levitt drove a 90hp sixcylinder Napier motor car to 90.99mph. In doing so, she broke the women’s land speed record that she herself had set the previous year, earning herself the soubriquet “the fastest girl on earth”. Things might have ended very differently that day, however. As she later recalled, matter-of-factly, “The front part of the bonnet became loose, which could have blown back and beheaded me.”

A daredevil driver who rose from humble origins to become an It Girl of Edwardian society, Levitt is one of motoring’s most enigmatic heroines. Last year, to mark the centenary of her death, motor enthusiast and writer Michael W Barton published a biography entitled Fast Lady. In the course of his research, it soon became clear that much of what is known about Levitt is patently untrue, in particular the suggestion that she came from aristocratic stock.

In reality, she was born Elizabeth Levi, in 1882 in Hackney, the daughter of a jeweller turned tea trader. “She was born into a lower-middle-class Jewish family in the East End of London,” says Barton. “At that time, she would have been expected to marry a boy from her community, produce children and support her husband in his work. But Dorothy did none of this. Instead, she went out and got a job.”

Records show that in 1900 the 18-year-old Levitt was hired as a typist by automotive entrepreneur Selwyn Edge, who, it is believed, also became her lover. Edge held the exclusive British licence to sell De Dion-Bouton, Gladiator, Clément-Panhard and Napier cars, and was looking to expand his market. In Europe he had seen aristocratic women like Camille du Gast excel in the nascent sport of motor racing, and he realised that in his pretty and self-confident new secretary he had someone who could be moulded into a British version of du Gast – thus demonstrating to potential women drivers that there was nothing to be afraid of.

Already an intrepid cyclist, Levitt turned out to be a natural behind the wheel, and Edge was surprised to discover that she also understood how automobiles worked. “She couldn’t just drive cars, she could fix them, too,” says Barton.

An early virtuoso in the art of publicity and selfpromotion, Edge set about reinventing Levitt as a wellheeled country girl who had swapped the adrenaline rush of riding to hounds for the high-octane thrills of motoring. At the time, women drivers were invariably the wives and daughters of wealthy men. These elite pioneers formed an organisation called the Ladies Automobile Club. Levitt –regrettably non-U – was never accepted as a member.

Undaunted, she found other ways to make her mark. Being attractive, stylish, fearless and fun meant that she was soon hitting the headlines not just for her driving exploits but also for her chic outfits and eccentric tales. Her Pomeranian dog, Dodo, accompanied her everywhere – even riding shotgun while she was racing. Dodo had been presented to her as a gift during a sojourn in Paris. In order to smuggle him back to England, she admitted she had drugged the dog and hidden him in a toolbox.

Not content with making a splash in the automotive world, in 1903 Levitt also made a name for herself in motor yachting, winning trophies in County Cork, Normandy and the Isle of Wight, where, during Cowes Regatta Week, she caught the eye of King Edward VII and Queen Alexandra, to whom she was presented.

The subsequent years were a flurry of headlinegenerating activity. In March 1905, she drove an 8hp De Dion-Bouton from London to Liverpool and back – 410 miles – setting the record for “the longest drive achieved by a lady driver”. In July of the same year, she set the first women’s land speed record at the inaugural Brighton Speed Trials, taking an 80hp Napier to 79.75 mph. She would of course break this record the following year in Blackpool.

Levitt’s gifts were not solely automotive. She was an accomplished writer who produced a regular motoring column in The Graphic newspaper. She wrote a book, The Woman and the Car, dispensing advice on everything from changing spark plugs to practical driving attire. And she also effectively invented the rear-view mirror by advising female drivers to carry a small compact with which to check the road behind. Less sage, perhaps, was her insistence that women travelling alone should stow a gun in the glove compartment. A Colt Automatic, she wrote, was ideal for ladies because of its minimal recoil.

The fun couldn’t last for ever. Eventually the male racing establishment froze Levitt out before she’d even had the opportunity to test her mettle on a motor circuit. In 1907, she was entered for the very first race at the newly opened Brooklands track, but at the eleventh hour the rules were changed, making her no longer eligible. And by the close of 1908 Selwyn Edge’s interest had waned in motor racing and also, it seems, in Levitt. With no funding and no car, her career was effectively snuffed out.

Instead, Levitt poured her energies into aviation. She travelled to France to train as a pilot and in 1910 became the first recorded English woman to fly a plane. In the same year, she received an inheritance from her uncle, which she immediately put down as a deposit on a Farman biplane. “It was a step too far,” says Barton. “Aviation was just too dangerous and too expensive. She couldn’t afford the remaining payments on the plane, she no longer had a job, and she had burned her bridges with her parents.”

Little is known about the last 12 years of Levitt’s life. According to official records, her death in 1922, at the age of 40, was the result of an overdose of morphine while she was suffering from measles and heart disease. Barton believes her final decade involved a tragic fall from grace, which culminated in her arrest, in 1920, in one of the many illegal gambling dens, known as “spielers”, that had sprung up in the capital. The purpose of women in these shady establishments was twofold: to keep the punters gambling and to sell them cocaine, the use of which was rife in London’s demi-monde at the time.

“There’s no doubt Dorothy had descended into a certain lifestyle,” says Barton. “The characters arrested with her in the spieler were associates of notorious ‘night club queen’ Kate Meyrick – the inspiration for Ma Mayfield in Brideshead Revisited. Two years later she died, penniless, in a grotty flat in Upper Baker Street.”

Levitt had always wanted to be buried overlooking the sea, and her sister, with whom she’d stayed in touch, fulfilled her wish. Her grave lies in the Meadow View cemetery in Brighton. Fittingly, perhaps, the gravestone records her age as 39, when she was in fact 40. An enigma to the end.

“Fast Lady: The Extraordinary Adventures of Miss Dorothy Levitt” is available from butterfieldpress.co.uk at £40 including UK postage and packing.

FOULSHAM & BANFIELD

Carré on

The latest silk riding scarf by Hermès reminds us that however you choose to wear it, the carré is always a shortcut to chic

Words by Kim Parker

Effortlessly glamorous and timelessly elegant, the silk scarf has been a quintessential wardrobe staple for almost a century. And one house has elevated these luxurious accessories to almost legendary status: Hermès. Ever since Robert Dumas, a member of the Hermès clan, introduced the maison’s first silk scarf in 1937 – it was printed with horse-drawn omnibuses and christened the carré because of its square shape – they have adorned the heads and necks of fashion plates and First Ladies alike. Jackie Kennedy Onassis and Brigitte Bardot liked to protect their coiffures with their carrés, while the late Queen rarely went riding without one (her favourite, featuring a design dedicated to Buckingham Palace’s stables, was laid across the saddle of her beloved pony, Emma, during Her Majesty’s funeral procession last autumn). Grace Kelly once fashioned her carré into an impromptu sling after injuring her arm in 1959. Meanwhile, Audrey Hepburn wore hers knotted in a variety of different ways, famously declaring: “When I wear a silk scarf, I never feel so definitely like a woman, a beautiful woman.” Perhaps owing to its blank canvas-like quality, the carré has also been used to showcase Hermès’ collaborations with artists such as Alice Shirley, Ugo Gattoni and Virginie Jamin. For spring/summer 2023, the house has recruited the Greek artist Elias Kafouros, whose puzzle-like work draws on inspirations as diverse as pop culture, Renaissance paintings and Buddhist meditation mandalas. Available in seven different colourways, Kafouros’ whimsical new “Chevaloscope” carré (pictured above) features 16 illustrated horse heads presented on “paper” squares, as if torn from his sketchbook (priced at £415, it’s available from hermes.com). Each horse’s profile is constructed from an array of leisure activities, including musical instruments, sewing tools, and even a hot air balloon. As for the best way to wear it, take a leaf from this season’s catwalks and twist it into a skinny neck scarf, channelling the rock-and-roll insouciance of Kate Moss or Mick Jagger. It looks as chic with a race-day dress as it does with a T-shirt and jeans.

Our masterpiece has evolved. From its spellbinding new Starlight Headlights to the visually striking Dynamic Wheels, Phantom Series II is uncompromising and non-conformist in its pursuit of excellence. Nuances of perfection. Discover Phantom Series II. © Copyright Rolls-Royce Motor Cars Limited 2023. The Rolls-Royce name and logo are registered trademarks.

Crunch Time

Faced with rising temperatures and competition from non-native varieties, the British heritage apples we once took for granted are now under threat

Words by Johanna Derry Hall

The tight round form of a Cox’s Orange Pippin, the pleasing brown skin of an Egremont Russet, the heft of a Bramley – most of us will have encountered these British heritage apples, if not in a supermarket, then perhaps at a farm shop or local greengrocer. Around a third of the world’s 7,500 apple varieties originated in Britain. “We have, or rather we had, the perfect climate for growing apples,” says Caroline Ball, author of Heritage Apples (Bodleian Library).

For centuries, farmers, gardeners and hobbyists grafted and grew varieties perfectly suited to their local weather and soil, giving them names to chew on: Acklam Russet, Devonshire Quarrenden, Laxton’s Superb. Some were found to be perfect for a particular dish: the Blenheim Orange, for example, cooks to a stiff puree ideal for making apple charlotte. Today, the UK’s National Fruit Collection at Brogdale Farm in Kent hosts 2,131 varieties, but many of these are now under threat. “Apples need cold as well as sunshine and heat,” says Ball. “Around 1,000 hours of not necessarily freezing but below fridge temperature weather. If they don’t get this, they don’t fruit well.”

This is one of the reasons why the biggest-selling apples today –Braeburn, Pink Lady, Gala and Jazz – were cultivated in either Australia or New Zealand. They need fewer chill hours, making them more suitable for a climate with rising temperatures.

It’s not the first time heritage apples have been threatened. This year marks the 140th anniversary of the National Apple Congress when, concerned by the influx of imported American apples, the Royal Horticultural Society asked British growers to send in an example of their own varieties. “They were overwhelmed with responses,” says Ball. “They tested them and drew up a list of the top 60 eating apples and the top 60 cooking varieties. Sadly, those that didn’t make the lists lost ground, as people stopped growing them.”

So what makes a “good” apple? Worldwide Fruit represents the UK’s largest apple-growing co-operative. As its technical and procurement director Tony Harding explains, growers now look for consistency from one year to the next. Crispness is paramount, as “soft apples are a real turn-off”. They should have a flavour “that’s not too tart and not too sweet” and a light texture: “They need to be easy to chew.” Lastly, they have to look good: “Modern apples tend to be red.”

Ball points out that apples are a particularly evocative fruit when it comes to the English language: “Someone could be described as being ‘rotten to the core’. You might talk about ‘an apple that didn’t fall far from the tree’, or ‘the apple of one’s eye’.” This ancient fruit also marks our seasons and festivities like no other, from bobbing apples at Halloween to regional variations of the apple wassail, which in Somerset sees the last of the mulled cider ceremonially offered to the Apple Tree Man, a spirit said to inhabit the oldest tree in an orchard.

For now, we still hold on to the legacy of breeding programmes that produced, for example, the Golden Pippin at Parham House (just down the road from Goodwood in West Sussex), and dates such as Apple Day in October, which celebrate our native fruit varieties – and the wildlife and biodiversity of orchards. “Visit any farm shop and you’ll find an abundance of local apples,” says Ball. “Once you try them, it’s quite a revelation. But if we don’t buy them, they will disappear.”

SOURCE MATERIAL

Words by Skye Sherwin

The textiles Andy Warhol created in the 1950s, when he was an up-and-coming commercial illustrator in New York, bear many hallmarks of the Pop vision that would make him the most influential artist in the world. Repeating lines of toffee apples come in clashing sugar-rush pink and scarlet, while ice cream is chocolate brown, blood orange and teal, and stacked in phallic scoops. Buttons pop in primary hues. Even luggage tags can become fodder for an eye-catching pattern. In these “novelty fabrics”, as they were then called, everyday consumer totems are transformed in colours that practically glow.

Perhaps the most surprising thing about the selection unearthed by curators Geoff Rayner and Richard Chamberlain for the exhibition Andy Warhol: The Textiles at London’s Fashion and Textile Museum, is that these early works are so little known. After all, the textile industry’s endlessly reproducible, repetitiously patterned prints would seem to offer an ideal medium for the Pop Art maverick’s iconic screen prints of movie stars and soup cans, and clothing was a cultural form he was particularly drawn to. “Fashion is more art than art is,” was one of Warhol’s declarations.

“Many but not all of his textile designs were sold anonymously,” explains co-curator Geoff Rayner. “Until recently, much of what he created has been left somewhat lost and untraced. So it has been really rewarding to slowly piece together this whole part of his oeuvre that has been eclipsed.”

In the 1950s, Warhol made a name for himself as a hardworking and adaptable commercial fashion illustrator, selling his uncredited designs for the clothing industry through agents and other contacts. Those included in this exhibition often demonstrate links with his wider work. His best-known illustrations from that decade, for instance, were part of an award-winning campaign that set out to revive the flagging I Miller shoe manufacturer and, in the process, sparked Warhol’s lifelong footwear fetish. As a fine artist, meanwhile, he began channelling the personalities of people he admired – from Diana Vreeland to Mae West – into whimsical drawings of fantastical gold shoes. Here, his love of footwear can be seen in the vibrant blouse material he created for Jayson Classics depicting elegant pink boots and shoes.

The fabric designs are highly distinctive in other ways, too. “Warhol used a blotted black ink or broken outline throughout his commercial art period, up to around 1962 or 1963,” says co-curator Richard Chamberlain. “He applied Dr Ph Martin’s aniline dyes to colour his designs, which gave them an incredibly bright, almost illuminated quality. Over and above everything, his droll sense of humour and his idiosyncratic take on subjects make them stand out from the mass of other fabrics from the period.”

In one complex, rhythmic design in lime green, pink and yellow, harlequins ride horses and perform somersaults. It speaks to a world of childlike wonder that feels quite different from Warhol’s well-known later consumer motifs like Coke bottles and Brillo pad boxes. Whether it is a dress with a print of brilliantly coloured flags or the desserts the famously sweettoothed artist coveted, these textiles promise plenty of insights into both his personality and the formation of his ideas. As the curators say, “They’re an essential ingredient in the whole Warhol picture.”

Andy Warhol: The Textiles is at the Fashion and Textile Museum, London until 10 September, fashiontextilemuseum.org

A new exhibition of Andy Warhol’s lost textile designs reveals a different side to the Pop Art master

From top: Acrobatic Clown textile, c1955; Shoes textile for Jayson Clsssics, c1957/58

Time for a change

The latest evolution of Rolex’s iconic Daytona may not look radically different, but it hides some major enhancements and – in the case of the platinum version – one truly revolutionary feature

Words by Timothy Barber

It can be hard to separate the mystique that surrounds the Rolex Cosmograph Daytona, which turns 60 this year, from the watch itself. Probably the most celebrated and sought-after wristwatch of any kind, new or vintage, it is a sort of “chosen one” among sports watches. Anointed by the movie star Paul Newman, venerated by auction houses and produced in a plethora of styles down the years, it remains the archetypal example of the automotive chronograph, and – not unimportantly – the enduring symbol of Rolex’s nine-decade association with motorsport. The glamour, history and drama of the racetrack seem bound up in its robust but ageless style, even though in what you’d consider its heyday it was a notably slow seller. Nowadays, that only adds to its stratospheric allure.

As the Daytona enters its seventh decade, Rolex has performed a rare overhaul of its icon – not that you’d necessarily notice at first glance. The lugs are slightly more slender and graceful, the dial graphics have been minutely tweaked. But as any dedicated watch expert will point out, as with a car, looks only get you so far in watches. It’s the engineering of the movement – in essence, what’s under the bonnet – that separates excellence from mere competence, and the stuff under the bonnet of the Daytona is now significantly upgraded.

The watch’s new movement, Calibre 4131, takes advantage of Rolex’s many recent innovations. These include the Chronergy escapement, the regulating mechanism designed for high energy efficiency, ensuring an elongated power reserve of 72 hours; and the use of high-tech materials optimised for magnetic resistance and shock-proofing. What’s more, on the platinum version, known for its ice-blue dial and brown ceramic bezel, the bonnet has been left open. Displaying watch movements has been a trend forcefully resisted by Rolex, but with the most prestigious model in its flagship line, the Crown clearly felt it was worth breaking its own rule with its first-ever exhibition case back. Collectors and auctioneers will most certainly agree. To enquire about the Oyster Perpetual Cosmograph Daytona, please contact Wakefields, Horsham.

ROLEX/ALAIN COSTA

Above: the new-generation Rolex Oyster Perpetual Cosmograph Daytona in 950 platinum features a transparent case back

You can be absolutely sure that no one will ever repeat what Ken Tyrrell achieved in motorsport. Never again will a timber merchant succeed in building a better car than McLaren or Ferrari. Few can compete in Formula One, let alone on a shoestring, and to do so from a rickety old shed in a lumberyard near Ockham, Surrey, is arguably one of the most remarkable feats in the history of professional sports.

Chopper, as Tyrrell was affectionately known, built the first iteration of the now legendary Tyrrell shed in 1959, the year he stopped driving. He and a small team of likeminded enthusiasts began using the shed as a workshop in which to tinker with various Formula Three cars. Having found success in this division, they moved up to Formula Two, signed John Surtees and Jacky Ickx, and made the shed a little bigger. Then, in 1963, Tyrrell convinced a young Scottish racer by the name of Jackie Stewart to join the fold.

“The first time I visited the shed, I just remember there being woodworking tools and machinery everywhere,” says Stewart. “Other teams spent fortunes on very elaborate units, but Ken didn’t see any logic in that. We might have had a wooden hut but we certainly didn’t have wooden people. Ours were incredible engineers who were more than happy to be working in that shed.”

As the team progressed and the results improved, so did the shed. “By the time we made it to Formula One, the shed was part of the family,” Stewart laughs. “It continued to get gradually bigger, and our equipment became more and more state of the art, but it was always just a wooden shed.”

What did the competition make of Tyrrell’s eccentric HQ?

“They just thought we were being British,” grins Stewart. “He’d say, ‘I don’t need a fancy building, I have everything I need in there to build a Formula One car, and not only that, a winning Formula One car.’”

And of course, he did. Jackie Stewart won the Drivers’ Championship in 1969, 1971 and 1973, first in Tyrrell’s Matra MS80, then in the team’s own car, the Tyrrell 003. With the latter, the team also took the Constructors’ Championship in 1971, winning it again in 1973 with the Tyrrell 006.

Stewart retired from racing that same year, but despite persevering until 1997, the Tyrrell team would never repeat their success. Over time, the paint began peeling from the shed’s iconic blue doors, moss grew on the roof and the windows were boarded up. For years there was talk of dismantling the shed and reassembling it at the Brooklands Museum, and it might even have ended up in Detroit’s Henry Ford Museum. But happily, it’s coming to Goodwood.

“That shed is a unique piece of motorsport history,” says Stewart. “I thought it was a scandal that it wasn’t being preserved as an artefact. So I’m delighted that The Duke of Richmond is helping to give it a new home. Goodwood, with its own place in motorsport history, is the best place for it.” The Tyrrell shed will be rebuilt this summer on the Hurricane Lawn at the Goodwood Motor Circuit.

not your common or garden shed

While other Formula One teams worked from state-of-the-art facilities, Ken Tyrrell’s HQ was a humble outbuilding. Now the legendary Tyrrell shed has found a new home at Goodwood

Words by Alex Moore

Above, left to right: designer Derek Gardner, Jackie Stewart and Ken Tyrrell outside the famous shed. Right: Gardner and Tyrrell with the Tyrrell 003 F1 racer

Get shorty

Shorts needn’t be casual, when teamed with blazers – or even as part of a shorts suit. But to avoid resembling an overgrown schoolboy, it’s important to know how to style this look

Words by Josh Sims

When the invitation comes to wear formal attire to a high summer event, one’s heart can sink a little. Sweatiness and discomfort will, it seems, be the price paid for fulfilling an otherwise arbitrary rule of dress. Unless, that is, your tailored look involves shorts. Think of it as sartorial smarts on top, poolside cool down below.

Admittedly, like the platform sneaker or the sleeveless hoodie, at first this look somehow seems to lack internal logic: how can your head need covering but, simultaneously, it be desirable to expose your arms? And as any physicist will tell you, two objects with mass cannot occupy the same space at the same time. So, it might seem that smart tailoring and bared calves are mutually exclusive.

But with the notion of the suit in flux anyway – thanks to a breakdown in office dress-codes, remote working, the trend for wearing “separates”, and so on – designers, from Thom Browne to Han Kjøbenhavn, Zegna to Fendi, are again exploring the potential of what is sometimes referred to as a “half suit”. Gucci even has a three-piece version.

“This is a playful, fun look that’s more about dressing up shorts than it is about dressing down tailoring,” argues menswear consultant Chris Modoo, who styled the look for British brand Alan Paine. “The opportunities to wear it are slim, but it works for very specific, high summer, outdoor events. You might think nobody over 25 should wear this look, but I actually think the older you are the easier it is to pull off –because you’re less likely to be mistaken for a schoolboy.”

And therein lies the need for caution. This look works if you’re, say, rapper, singer and fashion designer Pharrell Williams, for whom a tuxedo version has become a red-carpet statement. But for many a grown man there’s a strong risk of looking like Angus Young, AC/DC’s guitarist, who took to wearing his signature shorts and blazer combo on stage: a heavy metal, man-sized Just William. “The crowd’s first reaction was… all mouths open,” Young once recalled.

And yet it’s hard to deny that the shorts plus blazer look is a solution to a problem, in keeping with the idea that functionality in menswear need not just mean tough fabrics and plenty of pockets. Indeed, this isn’t the first time the style has crept into fashionability: the likes of Junya Watanabe, Raf Simons and Richard James all dabbled with it a decade ago. Might it stick this time, driving men to embrace that leg press machine at the gym at last?

The secret is to dial down anything that suggests formality. Wear a casual shirt or T-shirt. Keep the footwear casual: simple plimsolls, boat shoes or driving shoes. Make sure the shorts are crisp but more loose than fitted, and that they end just a few inches above the knee. The jacket, advises Modoo, is best in cotton or linen, shorter in length and with a soft, unstructured shoulder. Consider taking the separates route and wearing a jacket and shorts in complementary but different shades.

“You can wear shorts in a more formal way and look great – just look at the Bermudans,” says designer Oliver Spencer, who has matching shirt and shorts designs in his latest collection, though he draws the line there. “You can take it mega-preppy, or maybe a bit safari suit. But wearing shorts with a tailored jacket? I think you have to be a bit brave for that.”

As for the colour, we would advise summertime pastels rather than chalk stripes. After all, nobody wants to see their bank manager in shorts.

From top: spring/ summer ’23 looks from Fendi, Louis Vuitton and Hermès

Hounds of love

Sally Muir’s portraits of dogs, including her new book of paintings depicting rescued canines, subtly capture her subjects’ character and charisma

Words by Sophy Grimshaw

“Dogs are not an appendage to us – you’ve got to respect them as their own creature, and that’s how I try and paint them,” says the artist Sally Muir, whose quietly dignified portraits of dogs are collected in her books, including her newest, Rescue Dogs, and before that, Old Dogs. “I take them seriously as a subject. I’m always having to say to people: ‘I paint dogs, but not in the way you’re thinking!’” she laughs. “‘Dog art’ has a bad name somehow.”

The portraits in Rescue Dogs were painted over the course of two years. “I asked on social media for people to send me photos of their rescue dogs, and they always came with a tale. A lot of the dogs came into people’s lives at times when they were needed, whatever it is that dogs bring. It was touching.” This is the only one of Muir’s books to have annotating text, “because rescue dogs always come with a story”.

The nature of dog portraiture is that it’s often not practical, nor kind, to make your subject sit for you at length. Muir, who lives and works in Bath, does sometimes draw from life, with her whippet, Peggy, among her preferred models: “She sleeps all day long, so she’s perfect.” But her usual method is to paint from photographs. “It’s not so much about the quality of the photograph, but I do need to have a lot of angles.” This way of working added a logistical challenge to Rescue Dogs, as Muir had to keep track of hundreds of photos with names and contact details, to know which were of the same dog.

There was also a visual balance to strike, “of not having dogs that looked too similar”. Some breeds are rehomed in greater numbers than others, such as retired greyhounds, and Muir has a longstanding interest in Spanish galgo dogs, which are greyhound-like. “They are abandoned in huge quantities at the end of the hunting season, so you see them all over Spain.” She collaborates with a charity in Murcia, Galgos Del Sol, and her striking group portraits are drawn from life on a farm where rescued galgo hounds are cared for.

Muir began her creative career not as a painter, but as knitwear designer, founding the label Warm & Wonderful with partner Joanna Osborne in Covent Garden in 1979. Their “black sheep” jumper – a lone black sheep among white, on a jolly red background – was famously worn by Princess Diana.

“The first we knew was when we saw it on the front of a newspaper, which was so exciting,” remembers Muir. “I think in retrospect people read too much into it. She obviously thought it was a bit of a laugh. I don’t think she was sending a ‘get me out of here’ message.” The jumper, which David Bowie also purchased, was worn by Emma Corrin in The Crown and has now been reissued. “It’s amazing how it’s had this second life.”

She adds, “To be a knitwear designer, and to paint dogs, both things are slightly low in status, I suppose. Some people are horrified when you say you paint dogs. Which is good, actually, because it has given me the freedom to do whatever I want.”

“Rescue Dogs” by Sally Muir (Pavilion Books) is out now.

Left: Declan, one of the dogs rescued by Galgos Del Sol

BRIMMING WITH style

The Panama hat is one of menswear’s hardy perennials – a classic go-to that adds a touch of panache to your look and is perfect for social occasions throughout the warmer months, from glamorous garden parties to the Qatar Goodwood Festival

Words

For something that can look so quintessentially English, the Panama hat has exotic roots, emerging in central America in the 16th century – though in Ecuador rather than Panama. Here it was discovered that the local paja toquilla plant was the perfect raw material for light but sturdy headgear that offered protection from the searing heat. In fact for much of the 19th century the hat was known internationally as a toquilla – the namechange is generally attributed to the fact that US president Theodore Roosevelt was photographed wearing one during a visit to Panama.

In Europe, it was crowned heads that helped make the hat fashionable. During the 1850s, a Frenchman returning from Ecuador presented one to Napoleon III, while in England the Panama was popularised by King Edward VII, who wanted to find something a little more comfortable than a morning suit and top hat for the races at Goodwood.

Today, the hallmark of a truly great Panama hat remains its ability to travel well – and the best way to ensure that happens is by investing in a top-notch hand-made model. Goodwood’s Panamas are made by the venerable London hatmakers Christys’, who shape and block them in the UK, working from cones weaved in the traditional manner in Ecuador. They’re made to last, which means your Panama won’t just protect you from the summer sun this season – it’ll be around to do the same 20 years from now. So if you want to get ahead, get a hat.

The Goodwood Panama hat is available from shop.goodwood.com/ collections/panama-hats. For more summer hat inspiration, turn to page 56.

by Laura Lovett

Above: the classic look for race-goers at the Qatar Goodwood Festival is a linen suit and Panama hat

DISCOVER THE HENNESSEY VENOM F5 ROADSTER

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long way round

Decades in the making, the England Coast Path – now renamed the “King Charles III England Coast Path” – will soon become the longest coastal walking route in the world

Words by Gill Morgan

When the England Coast Path is officially completed next year, it will be a walking route fit for a king. Just days before the Coronation in May, the long-held dream to create a continuous walkable footpath around the English coast inched a little closer and was officially renamed the King Charles III England Coast Path in recognition of the new King’s love of the natural world and of walking in particular.

The project has been decades in the making, driven by the Ramblers Association (known simply as the Ramblers) and delivered by Natural England. When the final sections are opened at the end of 2024, the path will stretch for 2,700 miles, making it the longest coastal walking route in the world. From the vast sandy beaches and castles of Northumberland to the shingle moonscape of Dungeness, from the rugged beauty of Devon and Cornwall to the magnificent chalk cliffs of Kent and Sussex, the English coastline is one of the most varied and beautiful in the world – and now we will all be able to enjoy it even more.

“It captures the imagination,” says Kate Condo of the Ramblers, which has campaigned for the coastal path for many years. “Coastal walking has always been popular, and obviously there are some very well-established trails like the South West Coast Path. But this will help to open up lots of other stretches of our coast.”

The mission to create a continuous coastal route began more than two decades ago when the Countryside and Rights of Way Act 2000 was passed. It granted public access to land mapped as “open country”, defined as “mountain, moor, heath and down, or registered common land”. But, as Condo relates, the Essex branch of the Ramblers thought it left a gaping hole in our countryside access because, “there aren’t many mountains and moors in Essex”. They did, however, have lots of coast.

And so began many years of campaigning, culminating in the Marine and Coastal Access Act 2009, the first step towards the eventual path. Natural England was entrusted with making the path a reality, work that involves detailed planning, consultation and negotiation with local councils, landowners, nature conservation groups and businesses, to find creative solutions to tricky stretches of coastline where no clear access is in place. The goal is always to arrive at a route that stays as close as possible to the coastline, only veering inland when absolutely necessary.

The first stretch of the path was opened between Weymouth Bay and Portland Harbour in time for the sailing events of the 2012 Olympics. Over the past decade more sections have been added, including parts of the Hampshire, Sussex and Kent coasts, as well as trails in Northumberland, Cumbria, Essex and North Norfolk. The rest is on course to complete next year. The path will join the Wales Coast Path, which already covers the entire length of the Welsh coastline.

A coastal walk is a very particular pleasure: the energising salty air and everchanging skies; the roller-coaster ride of cliff path plunging down to beach and cove, then zigzagging back up again; and always the view out to sea, hinting at life beyond these shores. To walk a nation’s coast is to trace, step by step, that country’s history, topology, flora and fauna, and unique social character. Perhaps more than any other trail, a coastal route provides a new perspective and breathing space, so vital to our wellbeing. There is also surely something that appeals to the collector in us, to set out to walk all of England’s coast, even if in small chunks, over many years.

And as the Ramblers’ Kate Condo confirms, there has been a marked increase in how many of us are regularly walking for pleasure. Sport England reports that although numbers have dropped since the pandemic – when a daily walk was an essential part of life – for many the habit has stuck. And it isn’t just our own health that benefits, but struggling local communities. “The England Coast Path will open up new areas beyond the ‘honey spots’ to visitors and bring money into those local economies,” says Condo. “The path isn’t just a marketing tool, it really allows people to enjoy stretches of the coast they haven’t been able to enjoy before.”

Above: an aerial view of Camber Sands in East Sussex

CHRIS MITCHELL

Star vehicle

The actor Peter Sellers once played a cheeky 1960s London gangster – and loved his Aston Martin getaway car so much, he bought it. Now, this superb DB4GT is going under the hammer at Goodwood

Words by Sophy Grimshaw

“I do not sell women’s frocks in the West End, I sell ‘gowns’, mate. I’m legitimate now!” So protests Peter Sellers’ character, the gang leader Pearly Gates, to police officer ‘Nosey’ Parker in the delightfully silly 1963 comedy The Wrong Arm of the Law. The plot of the film (which also features John Le Mesurier and an uncredited cameo from a young Michael Caine) centres on an unlikely alliance of London police and thieves, teaming up against a gang of Australian criminals that has been outsmarting them all.

One of the things Sellers must have most enjoyed about making the movie was driving a 1961 Aston Martin DB4GT coupé in character as the often-fleeing Gates. When filming wrapped, the actor purchased the car from the production. The DB4GT seen in the film and subsequently owned by Sellers is now for sale once again, as a star lot in the 2023 Goodwood Festival of Speed sale (fans of the film might like to know that another DB4GT stood in for many of the high-speed scenes, while a third “stunt” DB4 performed the film’s famous flying jump over a bridge).

Sellers’ car may not have performed any acrobatics, but it did sustain one major injury during the course of the shoot, when its original 3.7-litre engine blew up. This was replaced at Aston Martin’s Newport Pagnell factory, and the substitute was a larger, 4.0-litre Lagonda Rapide, fitted in early 1963, making it the only factory-fitted 4.0-litre DB4GT engine to date. It’s a detail that would not have been lost on the actor, described by the auction house Bonhams as “a noted car collector and aficionado of luxury marques”. It is Bonhams who will be offering Sellers’ DB4GT at auction this summer at Goodwood, with an estimate of between £2,200,000 and £2,600,000.

Sellers liked to swap his luxury cars with great frequency, and he is believed to have held onto his Wrong Arm of the Law getaway car for less than a year. According to Bonhams, it was then owned by several Aston Martin enthusiasts before being totally rebuilt and repainted Goodwood Green in 2002.

“The DB4GT is arguably Aston Martin’s finest road car,” says Bonhams’ James Knight. “It’s right up there as the ultimate 1960s GT.” And what about this particular vehicle? “It’s in great condition, has a wonderful provenance, and is offered for sale from a committed Aston Martin enthusiast. It really has all the credentials to be one of the most coveted examples.” Pearly Gates would have been thrilled.

The Aston Martin DB4GT coupé owned by Peter Sellers will be on view from Thursday 13 July during the Festival of Speed sale preview, going under the hammer on 14 July.

Left: a scene from The Wrong Arm of the Law, showing the DB4GT

Silverstone 2 - 3 September 2023

Ferrari Racing Days returns to Silverstone

Enjoy an adrenaline-fueled day out at Silverstone Circuit as Ferrari Racing Days returns for a scintillating weekend of Ferrari race action, track parades and displays, including F1 cars from Ferrari’s illustrious racing heritage being put through their paces on track by the F1 Clienti.

For information on the Ferrari model range please contact your nearest Official Ferrari dealer, or scan the QR for more about Ferrari Racing Days.

Exeter

Carrs Ferrari

Tel. 01392 822 080 exeter.ferraridealers.com

Solihull

Graypaul Birmingham

Tel. 0121 701 2458

birmingham.ferraridealers.com

Nottingham

Graypaul Nottingham

Tel. 0115 837 7508

nottingham.ferraridealers.com

Leeds JCT600 Leeds

Tel. 0113 824 3200 leeds.ferraridealers.com

Lyndhurst

Meridien Modena

Tel. 02380 283 404 lyndhurst.ferraridealers.com

Ferrari.com

Belfast

Charles Hurst

Tel. 0844 558 6663 belfast.ferraridealers.com

Edinburgh

Graypaul Edinburgh

Tel. 0131 629 9146 edinburgh.ferraridealers.com

Hatfield

H.R. Owen

Tel. 01707 524 093

london-hrowen.ferraridealers.com

Colchester

Jardine Colchester

Tel. 01206 848 558 colchester.ferraridealers.com

Manchester

Stratstone Manchester Tel. 01625 445 544 manchester.ferraridealers.com

Swindon

Dick Lovett Swindon

Tel. 01793 615 000 swindon.ferraridealers.com

Glasgow

Graypaul Glasgow

Tel. 0141 886 8860

glasgow.ferraridealers.com

London

H.R. Owen

Tel. 0207 341 6300

london-hrowen.ferraridealers.com

Egham

Maranello Sales

Tel. 01784 558 423

london-maranello.ferraridealers.com

September 2023 marks 75 years of Goodwood motorsport. Here, The Duke of Richmond looks back on unforgettable moments, while Ben Oliver charts the story of how it all started – and how Goodwood is contributing to the future of automotive innovation

GOLDEN YEARS

Deep in the Sussex Downs in 1948, something was stirring. Ben Oliver looks back at Goodwood’s inaugural race meeting, which heralded the start of a glorious era in British motorsport

Look at the black-and-white photographs of the first race meeting to be held at the Goodwood Motor Circuit or watch the footage shot by the BBC and you might struggle to recognise the location. In fact, it barely looks like a motor race at all. Goodwood’s hallmark white pit building hadn’t been built, nor had the famous chicane been installed. The “paddock” found behind the pits really was just a grassy paddock in 1948: the racing cars parked on the turf before taking their turn on the track. There weren’t acres of car parks around the circuit – because the crowd of 25,000 came mainly by bus and train. The men smoked pipes and wore suits and ties, caps or trilbies, and overcoats against a September chill. The women mustered as much style as the clothing ration allowed, and families came with wicker picnic baskets. Crowd control was relaxed: there were no grandstands yet, so for a better view some spectators inched up and over the hemispherical roofs of the blister hangars, which until recently had sheltered Spitfires and Hurricanes. The others watched obediently from behind simple, cheap, post-and-wire fencing, which would not have prevented a racing car getting among the crowd should it slide off the narrow, dusty track to which the fencing was set perilously close.

It was clearly a very different time, but the start of a new era. It seems almost too obvious to state but in September 1948 the cataclysm of World War II still distorted almost every aspect of British life. Post-war austerity was at its bleakest. Rationing was becoming tighter rather than relenting. Crop failures had seen bread and potatoes added to the ration list after the war. Less than a year before the Goodwood circuit opened, Hugh Gaitskell, then the Minister for Fuel and Power, cut the personal petrol ration completely, restricting it to official or essential use only, in an attempt to kill off the black market and avoid having to spend the country’s limited foreign currency reserves on oil imports.

“After November, all private motoring in this odd, sad little country is apparently to come to an end,” Motor Sport magazine lamented, before hinting that motorists would “find various means, according to their natures, of sustaining their motoring enthusiasm” – a clear hint that they would still resort to the black market. By June 1948, Gaitskell had relented and allowed drivers around 90 miles worth of petrol each month, a third of the previous ration. “Those who have been obliged to lay up their cars or motorcycles may bring them out again without excessive cost for a modest mileage,” he told the Commons. In response, Churchill bemoaned the “immense disturbance and heavy internal loss to this country” of Labour’s temporary ban.

But at Goodwood they got ready to go racing. The war at least provided the real estate for Britain’s new post-war circuits. RAF Westhampnett had been a Battle of Britain fighter base, later used by the USAF, built on land on the Goodwood Estate provided by Freddie, the 9th Duke of Richmond. When it was returned to him after the war it had a 2.4-mile perimeter road that his friend, Squadron Leader Tony Gaze, suggested might be repurposed as a racetrack. The Duke – a talented engineer, racer and aviator – didn’t need much persuasion.

Motorsport was beginning to reawaken from its wartime hiatus: there had been some hillclimbs and sprints, and some racing at an impromptu airfield circuit in Cambridgeshire. But of the pre-war circuits, Brooklands was still being used for aircraft production and Donington for the storage of military vehicles, so the first race meeting held at the Duke’s new Goodwood circuit on September 18 was also the first at any permanent motorsport venue after the war.

The earliest incarnation of what would become one of the world’s great circuits was a bootstrapped affair. The road surface was repaired and that rather flimsy fence erected; there was a PA system but no leaderboard; medical provision consisted of an old Austin Six ambulance. There were trophies and £500 in prize money provided by the Daily Graphic, whose return on investment was a banner strung on wires over the start-finish line. There were eight races, all held over just three laps, with the exception of the last one, the flagship Goodwood Trophy, which was held over five.

But brief races and basic facilities didn’t deter spectators desperate for a return to racing – or any kind of entertainment – after six years of war and three of austerity. You look at the faces in the crowd and wonder what those who served had seen and what those who remained at home had endured. The sight and sound of the Maseratis, Alfas and Bugattis at Goodwood that day – “a brave splash of colour on the grey road”, as Motor Sport put it – must have seemed impossibly exciting and exotic, and a foretaste of better times to come. Nor did the tight petrol ration and races lasting less than 10 minutes deter entrants. There were over 100, including three women, in an odd variety of pre-war racing cars. And not everyone was being ground down by austerity. Prince Bira of Siam, a talented racing driver, flew into Goodwood in his private twin-engined Gemini plane with his terrier, just to spectate when his Maserati couldn’t be readied in time for the meeting.

The very first race at Goodwood – for closed, non-supercharged sports cars of up to three litres – was won by the magnificently monikered Paul de Ferranti C Pycroft in his Pycroft-Jaguar special: a pre-war Jaguar SS100 with aerodynamic bodywork of his own design. And in a race meeting packed with firsts, one of the most significant might have been hard to spot at the time. Race 5, for cars with engines under 500cc, was won in a Cooper by Stirling Craufurd Moss, who had turned 19 the day before. It was his first major victory on a circuit, beginning a close relationship with Goodwood that would last until his recent passing aged 90. The style and ease of his victory should have been a clue. Nobody could challenge him, so his father indicated from the side of the track that he should slow and preserve the car. He still won by 25 seconds.

But on that day the five-lap Goodwood Trophy drew all the attention. It predominantly featured Grand Prix cars from just before the war, when racing car design froze. So they were still the fastest and most exciting cars you could watch. Thankfully, the race lived up to expectations. Of the nine drivers, three would go on

The sight and sound of the Maseratis, Alfas and Bugattis must have seemed impossibly exciting and exotic

to win Le Mans. The tussle between them that day was short but, according to Motor Sport, “an immensely exciting race”. Reg Parnell would win: the first in a series of victories that would earn him the nickname “Emperor of Goodwood”.

Goodwood’s monopoly on British circuit racing didn’t last long. Just two weeks later the first race was held on another hastily converted wartime airfield perimeter track near the Northamptonshire village of Silverstone. Together, the new circuits were central to the revival in British motorsport after the war, which resulted in British teams dominating Formula 1 and endurance racing – and bequeathed us a motorsport industry now worth £9 billion each year. Goodwood would go on to host some of the most dramatic and glamorous racing that Britain ever saw, before beginning another life in 1993 with Festival of Speed and then in 1998 – 50 years to the day after hosting its first meeting – as the home of the Goodwood Revival.

The broader British car industry had a similar watershed just a month after racing began at Goodwood. The first post-war British Motor Show opened at Earls Court in late October and saw the debuts of some of the first modern British models not based on pre-war designs: cars as varied as the glamorous, exuberant Jaguar XK120, the humble Morris Minor and the utilitarian Land Rover, which had actually made its very first appearance at the Amsterdam show earlier in the year, so eager was Rover to get it on sale. Together, this crop of brilliant new British designs would earn muchneeded foreign currency with their export sales and establish the overseas markets that would make the UK the world’s biggest car exporter by the 1950s.

For both British motorsport and British motoring in general, 1948 was a turning point, but it wasn’t obvious at the time. The crowds left on the evening of September 18 just grateful for “the return of the real thing” as one writer described it. “The advent of the Goodwood track opens up a new era in British motor racing,” Motor Sport wrote. “Many happy meetings should be possible at this very pleasant place.”

Opening pages: Stirling Moss wins his first race at Goodwood. Previous page: a victorious Reg Parnell talks to Freddie, the 9th Duke of Richmond. Above: Parnell’s Maserati leads Bob Gerard’s ERA B-Type in the Goodwood Trophy

IW3716 THE REFERENCE.

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PERSONAL BESTS

As we celebrate the 75th anniversary of motorsport at Goodwood, The Duke of Richmond shares his personal reflections on some of the most memorable, and thrilling, moments in its motor circuit history

1958

HEROES WELCOME

“I remember meeting all the great drivers of that era”

HEROES’ RETURN

“Many of those who came had raced at the circuit”

1993

THE AMERICANS ARE COMING

“‘We drive ’em like we stole ’em,’ they said”

2006

The chicane

One of my very early memories is of watching the racing at the circuit with my grandfather, Freddie March, who had his little caravan at the chicane, where there was always lots of action. I remember Jean Behra crashing there – the chicane was brickwork back then, and his car ended up U-shaped.

Heroes welcome

There was always a party at the House on the Saturday evening of the Easter Weekend. I remember meeting all the great drivers of that era – Jackie Stewart, Jim Clark, Graham Hill, Roy Salvadori, Carroll Shelby – and sitting on the sofa in the library with Jo Bonnier. In 1965, in the last ever Formula One race at Goodwood, Jim and Jackie both broke the lap record, which they share to this day. My grandfather told me one day Jackie would be world champion.

Heroes’ return

In 1993, when we started Festival of Speed, I realised that lots of people still felt a deep connection with Goodwood from its earlier motorsport years. Many of those who came that year had raced at the circuit. Looking back over the past 30 years, I think of great drivers like Dan Gurney, who drove his Eagle-Weslake in 1997, Dan himself working on the engine in the paddock to cure a misfire.

Silver Arrows

A huge moment for all of us was when I finally persuaded Mercedes-Benz to bring their sensational Silver Arrows Grand Prix cars to Goodwood in 2019. A real coup was getting the Mercedes W165, which hadn’t turned a wheel since winning its only race, the Tripoli Grand Prix, in 1939.

The Americans are coming

As the Festival gained in stature we started to get great cars and drivers from America, where word of what we were doing at Goodwood was spreading fast. The NASCAR boys, led by the legendary “King” Richard Petty, who first came in 2006, really understood how to put on a show. “We drive ’em like we stole ’em,” the veteran drivers said, referring to the bootlegging days in America.

A tale of two wheels

Motorcycles and bikers have always been a part of Goodwood’s racing history and in particular Valentino Rossi, who came in 2015 and was the ultimate showman. “The Doctor” rode his bike into the front hall of the House before greeting his fans from the balcony. Last year Wayne Rainey was back aboard his Grand Prix bike for the first time since the crash in 1993 that left him paralysed and ended his career, riding the Hill flanked by friends and rivals Kenny Roberts, Kevin Schwantz and Mick Doohan.

THE CHICANE

“Watching the racing with my grandfather” 1959

“The start of the first Revival was simply electrifying”

THE

The cars are the stars

It has been a privilege to drive some of the sport’s greatest cars. I have driven the Festival Hill in Jacky Ickx’s Le Mans-winning Porsche Spyder 936/77, the Lotus 56 gas turbine car, Jim Hall’s incredible Chaparral 2F and the fabulous-looking Porsche 908/3. I was also trusted with the world’s most expensive car, the Uhlenhaut Mercedes-Benz 300 SLR, which sold at auction for… 135 million euros!

Spitfire salute

The first few minutes of the first Revival in 1998 were simply electrifying. As I drove my grandfather’s Bristol round the track to open the event, I saw a Spitfire heading straight at me as I approached the chicane. Flying just a few feet above the ground, Ray Hanna streaked past the pits and climbed steeply into the early morning sunshine.

Past master

A perennial hero of those early Revivals was John Surtees, champion on two wheels and four. He gave us a maestro’s masterclass in how to race a Ferrari 275 LM in the RAC TT Celebration in 2000. Starting from pole, “Big John” just drove into the distance, building a huge lead before handing over to owner David Piper. Watching him drift through St Mary’s corner, inchperfect every lap, was every enthusiast’s dream.

Winning in the rain

I treasure, too, the memory of Kenny Brack winning the Whitsun Trophy in pouring rain in Adrian Newey’s Ford GT40 in 2013, Kenny having also won the RAC TT Celebration race two years earlier.

Farewell to a legend

The motorcycle racers have written their own chapters in our history, notably the great Barry Sheene, who rode his last-ever race at the Revival in 2002. We remember him every year with the Barry Sheene Memorial Trophy bike race.

Mister Goodwood

Then, of course, there is Mister Goodwood himself, Sir Stirling Moss, who gave so much to both the Revival and the Festival. To see Stirling in 1994, back racing at Goodwood, where he won his first-ever race in 1948, was a truly magical moment. “Stirl” was in top form, as Le Mans winner and former F1 driver Martin Brundle observed at close quarters. “Out of Lavant corner he just drove round the outside of me,” he told us. “I thought, ‘That’s Stirling Moss.’”

The Duke of Richmond was interviewed by Rob Widdows.

Past master

2015 A TALE OF TWO WHEELS

“Valentino Rossi rode his bike into the front hall”

2000 PAST MASTER

“John Surtees gave us a masterclass”

1994

MISTER GOOODWOOD “To see Stirling back at Goodwood was magical”

1998 SPITFIRE SALUTE

1993+

CARS ARE THE STARS “I was trusted with the world’s most expensive car”

THE ROAD AHEAD

Nucleus – Festival of Speed’s annual semi-secret summit – brings together leading players from the car and tech industries to discuss the future of mobility.

Ben Oliver hails the creativity and candour of the “automotive Davos”

The Goodwood Festival of Speed is now as much about the future of mobility as it is about the history of the car. The House and the Hill still reverberate to the sound of engines from the Edwardian era onwards, but the course record is now held by an electric car, and the Future Lab pavilion, where guests can mingle with humanoid robots or have their movements mimicked by artificial intelligence, is one of the Festival’s biggest draws.

Since 2015, another Goodwood event has been contributing to that future by bringing people rather than cars and tech together: the people who are remaking not only mobility, but the modern world. It isn’t publicised and is seldom discussed openly. One early delegate described it as “a one-day automotive Davos”, and it is the hottest and most exclusive ticket at the Festival of Speed.

Nucleus was the Duke of Richmond’s idea, and guests attend at his personal invitation. Each year, on the Friday of the Festival of Speed, around 30 delegates meet in the seclusion of Goodwood’s Sculpture Park to discuss the future of the car and its changing role in the new mobility. The leaders of the biggest car and technology companies attend, alongside the founders of disruptive new-mobility start-ups. Nucleus hears from those who create the technology and predict its impact; far-sighted legislators who seek to encourage as well as regulate; the financiers who fund the ideas; and an endlessly changing, surprising, diverse collection of technologists, thinkers and theorists, often from outside the world of mobility if their perspective might prove instructive.

From top: former Google CEO Eric Schmidt arrives at Nucleus 2022; Rolls-Royce Motor Cars CEO Torsten Müller-Ötvös, far left, looks on as Stefano Domenicali, then CEO of Lamborghini, shakes hands with Adrian Hallmark, CEO of Bentley; (left to right) Krishnan Guru-Murthy, Jony Ive and Marc Newson in conversation at the conference

CHRISTOPHER ISON; DOMINIC JAMES

The reinvention of mobility touches so many aspects of state and society – from the economy and technology to urban planning, ethics and the environment – that those who have the greatest influence on its future might never meet. Nucleus attempts to fix that, although many delegates say they’re lured as much by the Festival of Speed, whose old-school engines you can hear from the venue, as they are by the chance to meet their peers.

The conversation between them is creative and sometimes combative. Nucleus is held under the Chatham House Rule, by which the substance of the conversation may be reported or acted upon, but the identity of the speakers never divulged. As a result, delegates talk with often searing honesty, and express views that they might not venture in public.

The discussion is hosted and moderated by well-known broadcasters such as Krishnan Guru-Murthy and Sarah Montague, and split into three main sessions, each anchored around an interview or panel discussion followed by an open debate. Every year, the Duke of Richmond suggests a broad theme for Nucleus as well as specific topics for the debates. In previous years the event has examined the nature of disruption, the role of the state in transformative change, the uncertain progress of AI, and rising phenomena such as the metaverse and cryptocurrencies, which don’t perhaps affect mobility yet, but which might one day affect us all.

Nucleus has now been established long enough to have seen our notions of the future – automotive and otherwise – change radically. At the outset, many still thought that fully autonomous driving would arrive quickly and become widespread. The very biggest car and technology companies were actively involved in it. Their leaders came to Nucleus and admitted that making a self-driving car

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Five key insights from inside Nucleus

THE MAJOR CARMAKERS AREN’T ABOUT TO BE REPLACED

“Dead men walking.” The young leader of a tech company didn’t pull his punches when asked to describe what he thought of the car industry CEOs attending the first Nucleus. Another delegate said that half of the established carmakers represented at the event would be out of business in five years. And yet the same carmakers will be present at Nucleus again this year, still making profits and with wholly electrified product portfolios imminent. But nobody attending, whether disruptor or established player, has ever disputed that the global car industry is undergoing the biggest change in its 130-year history.

INCUMBENTS CAN’T DISRUPT

was the hardest thing they were engaged in. Those admissions were prescient and should have been heeded, because for many it turned out to be too hard. Ford, Volkswagen and Uber, among others, have cut their self-driving projects. Those that remain, such as Alphabet’s Waymo, are making slower progress than they predicted in Nucleus’s earlier years.

Delegates are also now dealing with a world radically altered since Nucleus began; not only by technological advances but by trade wars and real ones, Covid-19, geopolitical shifts, the rewiring of globalisation, reshoring and a new focus on economic security. One very senior economist and former central banker who attended Nucleus last year described it as “economic regime change”. Speaking with, at times, troubling frankness, he described how the fundamental assumptions of the past 30 years – his entire career – have begun to crumble since Russia’s invasion of Ukraine, with the long trend towards convergence and integration that began with the fall of the Berlin Wall now starting to unwind.

Since its inception, Nucleus has heard from and been excited by the enthusiasm of entrepreneurs who innovate unconstrained by precedent. But it has also revealed themes like those above: that technology sometimes fails to deliver or to find a use, and that tech doesn’t operate in a vacuum but is bound into the social and economic realities of the times. For every twentysomething wunderkind who attends there’s a CEO sitting alongside whose century-old global business has a turnover to match the GDP of major nations, and which has been through wars and energy crises and every other kind of disruption – and survived. The interplay between them is always fascinating. Somewhere between the two extremes, a more balanced view of the future of how we get around is to be found. And that view has never been more important than now, when the future seems more unpredictable than ever.

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The race to create the technologies that will dominate the new mobility is rigged. Tech pioneers concentrate on creating value and building a community before they start thinking about how to monetise it, and they and their backers are prepared to fail. By contrast, the CEO of a major carmaker admitted his primary focus was “to keep the cash registers ringing”. Carmakers focus on making a return on their capital investments and they have to justify their actions to shareholders, supervisory boards and employees. Transformative change is unlikely to come from employees when their reward is just a pay rise and a promotion.

MAKING CARS IS HARD

The one aspect of mobility that new entrants seem least interested in is car-making itself. It is difficult and prohibitively capital-intensive, and there are easier profits to be made in the systems and services that will enable the new mobility. But manufacturing can still be progressive and profitable, and those high barriers to entry will continue to protect the existing carmakers. Tesla’s travails in ramping up production prove how difficult mass manufacturing is. “What you guys do is really hard,” the leader of one tech giant told his car industry counterparts at Nucleus. “These are not dumb machines,” one leading tech investor agreed. “Silicon Valley always underestimates this.”

IT’S NOT JUST ABOUT THE TECH

State actors have a huge role to play in the coming shift in mobility, providing the physical spaces and regulations within which autonomy and other advances can be tested. Nucleus has been addressed by everyone from elected mayors who are encouraging autonomous-driving trials in their cities to representatives of the command economies, which can overcome the regulatory hurdles to autonomy with the stroke of a pen. The outcome of this change affects far more than the enterprises pioneering or resisting it. Any major shift in mobility will have a seismic impact on how and where we all live.

IF YOU THINK YOU CAN’T PREDICT THE FUTURE, YOU’RE CORRECT

Nucleus gathers the people who are defining the future of mobility, so you might expect greater clarity on what that future looks like. You’ll find little among the delegates. In fact, the only certainty is uncertainty. The early assumptions that fully autonomous driving would happen in time, or that disruptive new mobility services will continue to dominate, are constantly challenged at Nucleus, often by those who lead these enterprises. A leader of one such business told Nucleus that he thought constantly about how his business might in turn be disrupted, and how easily Google might dominate his market if it chose to.

Delegates talk with often searing honesty, and express views that they might not venture in public

URUS PERFORMANTE FOR BAR RAISERS ONLY

Fuel consumption and emission values of Urus Performante: Fuel consumption combined 14,1 l/100km (WLTP); CO2-emissions combined 320 g/km (WLTP).

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Gently does it

The recent boom in dog ownership means there have never been more people out there trying to train their dogs – just as everything we thought we knew about canine psychology is coming into question. Oliver Franklin-Wallis reports on the new empathetic approach

Photographs by Tim Flach

When we got a puppy, I thought we’d thought of everything. My wife and I crossed things off our mental checklist, one by one. Breeder or rescue? (Breeder.) What breed? (Miniature Schnauzer.) Name? (Boudica.) The list went on: what to feed her, where she’d sleep, which brand of compostable dog-poo bags to buy. We read puppy books, consulted YouTube, knew our sit from our stay. But as is often the case, there was one thing we hadn’t taken into consideration: delivery drivers.

Delivery drivers are the scourge of modern canine life. It’s as if the postman – that age-old foe! – has suddenly multiplied exponentially. And while Boudica is, on the whole, a very good dog, growing up in the pandemic years meant she rarely had visitors, which led to her becoming a little territorial. So while she’s a delight with children and other dogs, at home that means persistent barking: at delivery drivers, the milkman, window cleaners, pretty much anyone passing by. For a while, we wrote it off as forgivable. Dogs will be dogs, after all. But recently it has ruined enough Zoom meetings for me to finally decide that something needs to be done. The question is: what?

Training a dog has never been more accessible, nor more complicated. Books, courses, YouTube, TikTok – it’s easy to find advice on how best to teach and bond with our furry friends. But knowing exactly which advice to follow is harder, in part because many of our age-old notions about canine training and behaviour have been upended in recent years. Multiply that with a lot of post-pandemic puppies, and we have an awful lot of badly behaved pups around. “There are more dogs in the country than there have ever been, and people have less time, so there’s a lot more pressure –and that causes conflicts,” says Steve Mann, founder of the Institute of Modern Dog Trainers, and author of the bestseller

Easy

Peasy Puppy Squeezy.

Dog trainers can be broadly lumped into two schools of thought. The first, the traditionalists, might be described as advocating tough love – rigid rules based on harsh discipline, centred around ideas of pack superiority (with the human owner as “alpha”). Then there are what might be called the gentle trainers, who are averse to domineering methods and focus instead on building a more empathetic relationship with the animal.

Much of the traditional training methodology was informed by decades-old thinking around animal pack behaviours, first proposed by the behavioural scientist Rudolph Schenkel in the 1940s. However, more recent science has discredited Schenkel’s research, and shown that “pack” politics don’t apply to dogs (or even wolves, for that matter). “All of that kind of narrative around pack structure, hierarchy and alphas came out of early studies of captive wolf populations,” says Rachel Casey, director of behaviour and research at Dogs Trust. “And actually, subsequently, the same researchers who did all that work started looking at wolves in a wild environment, and they don’t have that structure at all. So it was all built on this kind of misinformation.”

Dog behaviourists and veterinary scientists are now coming to a better understanding of dogs’ behaviour patterns, to understand why rewards might actually work better than punishment. “There’s a lot more empathy in dog training now than there ever was,” Mann says. “It was very much focused on ‘how to get the dog to do this, how to stop the dog doing that’. There was no ‘why is the dog doing it?’”

All dog training is based on operant conditioning, centred around the ideas of reinforcement and punishment. You

can reinforce or punish using negative methods (crating the dog when it starts barking, thus removing the stimulus that caused it to bark) or positive methods (offering a treat when your dog stops barking). Traditional training methods often relied on using punishments – a slip or “choke” lead to stop dogs pulling, for example. Gentle training eschews punishment in favour of a strictly reward-based routine, based on changing a dog’s emotional response to a stimulus – in Boudica’s case, the aforementioned delivery drivers.

You don’t need to be Dr Doolittle to sense that gentle training feels kinder to dogs. But now there’s growing scientific evidence to confirm that this is the case. A 2020 study by scientists at the University of Porto in Portugal found that dogs exposed to harsher training methods had greater concentrations of cortisol, the stress hormone, in their bloodstreams, and displayed more “stress-related behaviours” afterwards. “I think there’s been enough research now that we can confidently say using a positive, rewards-based method of training is definitely better for dog welfare,” says Casey. “It’s also better in terms of developing a good bond between owner and dog. And it’s also at least as effective as using punishment.”

For Mann, who has trained countless dogs as well as trainers, the findings are unsurprising. “If I was asked to do a choice of 100 behaviours, and I got punished for 99 of them, it’s going to take me ages before I do the one behaviour where I don’t get punished,” Mann says. This is true, he says,

regardless of breed. “My history is with working dogs, security dogs. I’ve worked a lot with breeds like German Shepherds and Rottweilers, and the rules are the same.”

That isn’t to say old-school methods don’t work – they do, and it’s easy to find influencers teaching strict dog correction techniques even now. (“It makes better TV,” Mann says.) But excessively cruel methods can lead to worse behaviours in the long term. Shock collars, for example, can lead dogs to associate people with pain, which might trigger aggression. “A lot of the problem behaviours I deal with are a result of people trying stressful remedies – quick fixes,” Mann says.

A more modern behaviour-led approach to dog training looks at why behaviours happen. When addressing a problem,

Training used to be focused on “how to get the dog to do this, how to stop the dog doing that”. There was no “why is the dog doing it?”

Mann and his pupils will consider multiple factors, from specific stimuli down to diet and welfare. For example: a dog being aggressive around food might be starving; it might have toothache, and be associating that pain with the owner. “Dogs don’t learn to use bad behaviour, dogs learn coping strategies,” Mann says. “So if it is an inappropriate behaviour, we teach a way to change a dog’s emotional response to that situation, or we teach the dog an alternative, more acceptable behaviour.”

Which brings me to Boudica and the delivery driver problem. What I hadn’t considered, as Casey explains, is that for dogs, delivery drivers are their own reinforcement system. “She hears a bad man, she barks, and from her point of view the bad man goes away again,” Casey says. Rather than using

punishment – sending her to her bed when someone arrives –it would be better to arm new visitors with treats, so they can reward her when they arrive, thus teaching her that strangers at the door mean good news.

The best advice for new dog-owners, Casey and Mann agree, is to seek professional help and to start early – with a vetted, in-person dog school. (It’s not just puppies: Dogs Trust also provide lifetime behaviour support for rescue dogs.) Crucially, we should remember that dogs are complex animals, and that teaching them takes time and effort. “It might seem a little slower to use positive reinforcement,” says Mann. “But the results are far more longer-lasting.” And your dog will thank you for it, which itself is its own reward.

MADE IN THE SHADE

From wide-brimmed floppy numbers to finely crafted Panamas, straw hats are a mainstay of any summer wardrobe. Tamsin Blanchard traces the stylish history of this race-day staple

Photographer Alyssa Boni Stylist Tilly Hardy

Summer is the moment when many of us succumb to the allure of a shady straw brim. Sun-dappled picnics, midsummer weddings, a day at the races… a summer hat is surely the perfect seasonal accomplice. The easiest thing is simply to dust off last year’s number from the top of the cupboard. After all, the neat bucket hat, the favourite sunbleached sombrero, that trusty Panama or the boater that reminds you of schooldays – they never really get old.

But, as is often the way with fashion, sometimes things can go to extremes. Over the past few years, the sunhat has become quite the statement piece, a sure way to grab attention with minimal effort. Imagine the biggest brim aerodynamically possible. Then supersize it. And add just a few more centimetres for good measure. With global warming, it seems, you can’t be too careful. According to the cultish French fashion house Jacquemus, as long as there’s not too much of a breeze, no one should step out into the midday sun in anything but a total body blocker – a hat so vast you could almost wear it as a poncho. The brand’s show-stopping Le Chapeau Bomba has a brim of raffia 35cm deep (you’ll just about fit through the average doorway) and caused a sensation when it was unveiled on the runway for spring/summer 2018.

While the Bomba filled the frames (literally) of many an influencer’s Instagram feed, the humongous hat already had form. Brigitte Bardot set the trend for the 1950s with her penchant for an oversized straw. Not that she needed any help in making a grand entrance on La Croisette. She also helped to popularise the boater (showing that you don’t need a boat, or even a gondola, to wear one) and the cloche hat, shaped as the name suggests, like a bell. Miraculously, any shape, style or size of hat seemed to suit, making Bardot the ultimate go-to for straw hat inspiration.

Audrey Hepburn was the same. She could wear a plant pot-shaped bonnet and still look cool. Her depiction of Holly Golightly in the wide brim, pearls and dark sunglasses is still the perfect hangover cure for any party girl. The only other person who comes close is Bianca Jagger, whose effortlessly cool floppy straw hat usurped the traditional lace veil when she married Mick Jagger in Saint-Tropez in 1971.

But perhaps the ultimate straw hat is not the biggest but the most finely crafted. A Panama hat woven from the finest tequila palm straw in its native Montecristi in Ecuador can take up to eight months to make by a master artisan. In 2012 the craft was put on the UNESCO Intangible Cultural Heritage list to protect it and preserve it for future generations. The term Panama refers not to the style but the softest, most finely woven straw which is meticulously smoothed and shaped to make the classic fedora (creased down the middle and pinched at the sides) or a range of other shapes. The resulting hat – as sported by stylish racegoers at Goodwood since the Edwardian era – is so supple it can be rolled, a little like a fine cigar, making it the most practical of travelling companions. Panama aficionados claim that a really fine hat can be rolled up and passed through a wedding ring. The finer the weave, the higher the protection from the sun, and the higher the price tag: those 19th-century gold-prospectors knew quality when they saw it. A hat this good (and versatile – a Panama comes in a whole range of styles including a visor for tennis games) will last forever and is worth its weight in gold.

Previous pages: faux-raffia hat by TOTEME, £220, matchesfashion.com; rose cloqué Showstopper dress and cape by SUZANNAH, £1,990, suzannah.com

THE PANAMA

Right: Berwick Panama hat by LOCK & CO HATTERS, £225, lockhatters.com; Goodwood’s classic Panama hats are available from the Goodwood Shop (shop.goodwood.com/collections/panama-hats); orchid-pink Alma dress by HUISHAN ZHANG, £2,195, huishanzhang.com

THE WIDE-BRIMMED SUNHAT Robert hat by MAX MARA, £355, matchesfashion.com; tweed waistcoat by RALPH LAUREN COLLECTION, £830, ralphlauren.co.uk

THE BOATER

Left: Classic Boater hat by LOCK & CO HATTERS, £225, lockhatters.com; black velvet dress by EMPORIO ARMANI, stylist’s own, armani.com

THE VISOR

Above: Cape Elizabeth raffia visor by HEIDI KLEIN, £140, matchesfashion.com; cotton tweed Fantasy jumpsuit by CHANEL, £5,790, chanel.com

REVISITED

For more than a century, the Dukes of Richmond and Gordon divided their time between Goodwood and the magnificent Gordon Castle in Moray. James Collard delves into the Gordon Lennox family albums to reveal the fascinating history of the Scottish connection

“Lying on your tummy and tickling trout at Glenfiddich! Could anything delight a child more? The smell of peat fires… the roar of the red deer in October… those enchanting days when we spent long hours among the heather in the keen fresh air.” When I Remember, the memoirs of Lady Muriel Beckwith, published in 1936, powerfully evoke her childhood as a young Gordon Lennox, growing up at Gordon Castle in Scotland and Goodwood in Sussex. But somehow it is her Scottish memories that shine through more vividly.

Perhaps that’s understandable, given that the family’s visits to Scotland – a vast undertaking involving the packing of multiple trunks and the hiring of a private train carriage from Euston – would have felt like a holiday, taken annually, immediately after the social crescendo of Race Week at Goodwood, and spent in a romantic old building surrounded by fine scenery. In time, for Muriel and the other Gordon Lennox brood, childhood pleasures like trout trickling would give way to grown-up sports such as landing her first salmon (“the most thrilling day of my life”) which in the un-squeamish vocabulary of her era, one “killed” rather than caught. This was one of the great sporting estates, after all, with fishing on the River Spey and deer-stalking and grouse-shooting to be enjoyed from lodges nearby in Glenfiddich and Blackwater. Later still, as this was the Edwardian heyday of country house life, came the yet more grown-up pleasures of house parties, which the Gordon Lennox family hosted in some style at Gordon Castle and Glenfiddich, just as they did at Goodwood.

This combination of life at Goodwood and Gordon Castle lasted more than a century – from 1836, when the 5th Duke of Gordon died without a legitimate male heir, leaving most of his Scottish estates to his nephew, Charles, 6th Duke of Richmond – until 1938, when death duties forced Charles’s great-grandson to sell up in Scotland. The Gordons had been a major Scottish clan with vast lands. Its chiefs were leading Scottish nobles who first built their castle on the banks of the River Spey (near Fochabers in Moray) in the 15th century, and by the 1800s it was effectively a palace, and the largest house in Scotland.

The 6th Duke promptly recognised the importance of his Scottish inheritance by changing the family name to Gordon Lennox. In her memoirs, however – written just before the Scottish connection came to an end – Lady Muriel often seems more Gordon than Lennox. She describes the thrill she felt, “every time I board a train for Scotland, for I know that I am going back to my heritage. Not of land and castles or of anything material, but of my Gordon blood, which runs more strongly in my veins than any of the other contributory streams.”

But the family’s Scottish connection goes back much further than that 1789 marriage of a Gordon and a Lennox. It begins right at the start of the dynasty, shortly after the birth in 1672 of Charles – an illegitimate son of King Charles II and his French mistress, Louise de Kérouaille. A great-grandson of King James I of England and VI of Scotland, young Charles could not be made a legitimate royal prince and heir. But his royal Stuart lineage was emphasised when King Charles made him Duke of Richmond and Lennox – the English and Scottish titles previously held by a cadet branch of the Stuarts. Louise’s French patron, Louis XIV, also presented Louise and her heirs with the French title of Duke of Aubigny, along with a chateau in the central French province of Berry, both of which had once belonged to Sir John Stewart, a scion of Scotland’s royal house who had fought with the French against the English.

So far, so very Scottish. But for the first few Dukes of Richmond, the French connection would have felt more

tangible than any Scottish one, with the French chateau remaining in the family until 1842, when the 5th Duke finally sold it, just a few years after coming into the vast Gordon inheritance. And to understand the scale of this Scottish legacy, it is worth noting that in the second half of the 19th century, when the Dukes of Richmond were the fourth-largest landowners in the United Kingdom, of their 289,000 acres of land, a little less than 20,000 acres were at Goodwood. The rest was all north of the border.

Added to this, in 1876 Queen Victoria revived the old Gordon title for Lady Charlotte Gordon’s grandson – which is why Charles, the current Duke of Richmond and Gordon, is in the singular position of being a duke three times over (or four times if one includes that old French title). Victoria’s move was partly a mark of their great friendship, partly a mark of respect, as this most political of dukes of Richmond had just stepped down as Leader of the House of Lords. But the Queen also sought to cement his role in Scotland as the custodian of the Gordon heritage. It wasn’t right, the Queen wrote, “that when these great possessions pass into English hands, they should be treated as a secondary possession and in some cases… like a shoot place. By conferring this great title on the D of Richmond it will once again do away with this and have the very best effect.” In fact, the Duke was anything but an absentee landlord of his Scottish estates, keenly identifying with the interests of his tenants and sometimes being criticised for the length of time he spent on his sprawling Speyside estate rather than at Westminster.

Throughout the 19th century the family’s Gordon inheritance neatly dovetailed with the English romance for all things Scottish, and the indomitable mother of Lady Charlotte Lennox, née Gordon – Jane Maxwell, Duchess of Gordon – played a major role in this. A woman of astonishing energy and charm, she’d grown up as rather a wild child in Edinburgh, losing a finger in a prank when she had ridden a pig through the city traffic, before marrying the great catch that was the 4th Duke of Gordon. A friend and supporter of Robert Burns, in the 1780s Jane also launched the craze for wearing tartan and dancing Scottish reels among London high society, where she was a leading hostess. And the reels danced by the Gordon Highlanders at the ball held by her daughter, Lady Richmond, in Brussels in 1815 – shortly before they marched into battle, many to their deaths – would go down in history as a key part of the Waterloo narrative.

Scotland’s romantic appeal in the 19th century was a heady mix of kilts and Walter Scott’s tales of Jacobite rebels, of noble stags in the glens and of course the epic beauty of the Highlands themselves, with which Queen Victoria and Prince Albert were so smitten that they built Balmoral Castle there in the 1850s. Much of this feeling was nostalgic, but the living

Opening pages, clockwise from top left: a shooting party in 1894; Isabel, Countess of March fishing on the River Spey; Gordon Castle, with its historic tower and elaborate gardens. Right, from top: memoirist Lady Muriel Beckwith, née Gordon Lennox; the Gordon Castle piper with Gordon Lennox and Beckwith children

The Gordons first built their Speyside castle in the 15th century. By the 1800s it was the largest house in Scotland

tug of a salmon on the line or the flutter of a grouse in one’s sights attracted many in an era when blood sports were enjoyed without a qualm. And nostalgia aside, it was the new railways, greatly facilitating travel to and from Scotland, that allowed for those annual Gordon Lennox peregrinations.

“Here a great landowner might become a simple gentleman,” Lady Muriel wrote of the way her grandfather enjoyed life on his Scottish estates, and her memoirs capture the mix of grandeur and informality that characterised house parties at the castle. Dinners might be served in splendid state, but she describes the much-loved (and messy) ritual of guests at fishing parties making their own picnic lunches every morning from a table groaning with hams, pâtés and buns. Then there was the “Shankery”, presided over by head gillie and family favourite, Geordie Shanks (“the dearest old man of his day”), where rods were doled out and salmon weighed –and toffee made by Geordie at the roaring fire for the children when the weather was too bleak for fishing.

By no means did the 6th Duke treat his Scottish estates merely as “a shoot place”, however. A paternalistic landlord “akin to a great Scottish chieftain”, he spent the considerable sum of £200,000 on improvements to local housing and the like, while sacrificing more than twice that by forgoing tenants’ rents during the hard times of the late Victorian era. Small wonder that when he died at the castle in 1903, he was deeply mourned. “As one clan they gathered,” the memoirist recalls, before being taken one last time by train down to Sussex, “coming from all parts of the country… fishermen from the Moray Firth, crofters from the highlands, salmon fishermen from the Spey, and Glenfiddich gamekeepers… people from high places and simple Highland tenants, until the gardens were black with the concourse of mourners”.

But this way of life wasn’t to last. Just over a decade after the Duke’s death came the Great War – when the castle became

a hospital for convalescing soldiers – and then with peace came that gradual paring back that presaged the end of the country house life of house parties and the near-feudal noblesse oblige which the 6th Duke had personified so completely. It is a story repeated across Britain – indeed across Europe, where in the first half of the 20th century aristocrats lost great estates (and sometimes their lives) to revolution, war and an epochal shift in economic and social power. At Gordon Castle this wasn’t a sudden thing – more a steady diminution, as becomes clear when one reads the newspapers of the era.

Throughout the Edwardian years the reports are mostly social – a local newspaper looking forward to a visit of the Prince of Wales or a season of “exceptional activity” at the castle, hosted by the 7th Duke and his “youthful hostess” (his daughter Caroline), followed during wartime by articles about soldiers convalescing in the auxiliary hospital in the castle (where Lady Muriel worked as a nurse) or fundraising bazaars in the grounds. But in 1930, under the recently elevated 8th Duke, a local paper reported the despatch of books from the castle’s library for sale at Sotheby’s. Then, early in 1938, as Freddie, the 9th Duke, dealt with the impact of double death duties, the highland games held annually in the grounds were cancelled, “owing to the altered circumstances connected with the venue”. And then later that year, under the headline “Gordon Castle Treasures”, the Aberdeen Press & Journal reported the sale of the castle’s contents, “which with the whole of the estate lands, has been acquired by the Crown”.

The loss of the castle must have been a massive wrench –felt keenly both by the Gordon Lennox family and the communities around them. The severance of ties with the family wouldn’t be complete, the report went on to say, as the dowager Duchess was building a cottage nearby, while for now the family held on to the lodge at Glenfiddich (its sale would appear as a sad coda to the story in 1946). But with the sale, as

Left: ladies picnicking in the 1880s, including Lady Caroline and Lady Violet Gordon Lennox and friends

James Peill, the former curator at Goodwood has written, “Over just five days, nearly five hundred years’ worth of collecting was dispersed.” And an era came to an end.

The painful decision to part with the Scottish inheritance had been made by Freddie after a prolonged period of soulsearching. Struggling with large debts – but mindful of both family opinion and the judgement of posterity – he recorded his reasoning in a thoughtful and cogent memo. But the mathematics facing him were clear: with £170,000 owed in death duties and £250,000 in mortgages – and with an annual income from the Scottish estates of just under £5,000 – he had little hope of paying off his debts without selling the castle and estates, which he did, to the Crown Office, for £525,000.

Perhaps Freddie felt he might be able to save Goodwood or Gordon Castle – but not both. The palatial house the 4th and 5th Dukes of Gordon had built around the castle’s ancient tower had seemed very large when they built it in the first half of 19th century, incurring major debts in the process, but it was preposterously large for aristocratic life as lived in the mid-20th century, when country houses throughout the nation were being sold, knocked down or turned into schools.

What’s more, Freddie was in many ways a different kind of duke to his forebears – more interested in cars and planes than horses or blood sports. “While we (my Father, Mother, Sisters and Brother) did our best with rod and gun,” he wrote, “the fun of the sport was greatly marred by the ridiculous aspect put upon it all. The fishing was talked of with a reverence few display before the altar and the Spey looked upon as Buddha.” Freddie would delay the sale of Gordon Castle, in part to be certain he wasn’t allowing his own sensibilities to dictate a decision of such lasting import for his family, heirs and the people living and working on Gordon lands. But as a young man Freddie had left Goodwood to train as a mechanic at Bentley, calling himself Mr Settrington (after the courtesy title

held by the grandson and heir to the Dukes of Richmond); and he’d married a vicar’s daughter, both decisions meeting stiff opposition from his parents – waged most fiercely by his mother, Duchess Hilda. Born into the Brassey family, whose fortune had been made by her grandfather, Thomas Brassey, an engineering contractor who built many of Britain’s networks of new railways, Hilda nonetheless had firm opinions on how the heir to three dukedoms should live his life.

Perhaps it is fanciful to paraphrase Lady Muriel and wonder if the blood of his Brassey great-grandfather – quick, enterprising, practical – flowed more thickly in Freddie’s veins. His Gordon Lennox ancestors included plenty of innovators. But Freddie was definitely a man of his time: an entrepreneur who was passionate in his pursuit of automotive and aviation excellence rather than country pursuits. And it would be Freddie who, in 1948, just three years after Evelyn Waugh lamented the end of the aristocratic country house life in Brideshead Revisited, combined his love of fast cars with the stewardship of Goodwood by bringing motor-racing to the estate, ultimately giving it a whole new lease of life.

Today his grandson, the current Duke of Richmond and Gordon, presides over Goodwood, which regularly hosts hundreds of thousands of visitors on a scale that would have amazed his hospitable forebears, while the Duke’s cousin, Angus Gordon Lennox, is custodian of Gordon Castle. After World War II, the castle was bought by Lt Gen Sir George Gordon Lennox, a grandson of the 7th Duke. And although diminished in size from the vast pile it was in its heyday, today it flourishes as a modern sporting estate and exclusive-use venue, while its huge, carefully restored walled garden is a new focus for visitors. Not quite what the Gordons had in mind when they first built their Speyside tower, perhaps, but they would surely be pleased to learn that the house they built turned out, against the odds, to be a survivor.

Previous pages: Gordon Lennox family and guests (and much-loved gillie Geordie Shanks in the black bowler hat) enjoy country pursuits.

Below: Highland games at the castle. Right: the salon, with Pompeo Batoni’s portrait of the 4th Duke of Gordon

Hailed as the bright new star of haute couture, the sought-after designer Sohee Park is now taking inspiration from Goodwood. Catherine Peel meets her

Miss Sohee in the house

“I’ve been an artist my whole life,” says fashion designer Sohee Park, sitting down to talk in the Large Library on a visit to Goodwood. It’s a statement that the London-based South Korean designer, though shy and reserved by nature, is confident of making. Growing up in Seoul, Park signed all her childhood drawings “Miss Sohee” – now the name of her much-talked-about fashion label. Her couture designs have seen the Central Saint Martins 2020 graduate heralded as a bright new talent by everyone from Dolce & Gabbana, who praised her “creative vision”, to New York culture mag Paper, which hailed her as “London’s next rising fashion star”. Her designs have been seen on everyone from supermodels (Naomi Campbell, Bella Hadid) to Vice President Kamala Harris, and more than a handful of international pop stars, including Miley Cyrus and Ariana Grande.

Park is here today to soak up some inspiration in her capacity as Goodwood’s 2023 Talent in Fashion award-winner, a role that will see her presenting original designs that will debut at the opening ceremony of the Qatar Goodwood Festival this August. “Goodwood is such an Eden, with a very rich history. Every corner has a different story to tell. I could spend days wandering around all the breathtaking art pieces, and then you have the architecture and nature that surrounds Goodwood. And I’m inspired by all the Duchesses’ wardrobes!” laughs Park. “I feel so honoured that my designs will become a part of this beautiful estate, alongside so many classical and contemporary pieces.”

Park’s mother is a successful children’s illustrator in Korea and, like her, Park has always drawn prolifically. “But after I saw a Chanel couture show on television, I became obsessed with fashion,” she recalls. “Before that, the only way I knew to explore my creative vision was on paper or canvas. But through fashion, people live and breathe your creations – they become something entirely different. From then on, I watched all the shows I could on my iPod Nano – I would even sneak it into school and watch during class,” she admits with a grin. “The screen was so tiny the teacher didn’t know.” But when it comes to fashion, she’s definitely studious, spending every waking moment on her designs.

Graduating from Central St Martins during a 2020 Covid-19 lockdown meant that Park had no final year fashion show at which to present. Having interned during her degree with designers including Marc Jacobs (whose team in New York she joined for six months), Park was determined to present her own vision, and released a series of dramatic photographs of her debut collection, The Girl In Full Bloom. It would be a seminal moment for Park, catapulting her to global recognition. Her skill in creating sculptural, floral-inspired pieces in vivid, jewel-like colours immediately won her some highly influential fans, including the fashion designer Christian Cowan, who promptly invited Park to collaborate on looks for his show in New York in September. By 2022, she would have the opportunity to present her own runway show, this time during Milan Fashion Week, at the invitation of Dolce & Gabbana.

Since finding high-profile success, “the most touching moment for me was when I saw my pieces in the Victoria and Albert Museum,” says Park. “To think that they will stay there forever is such an honour.” Her designs feature in the V&A’s Korean Wave exhibition, which will travel the world for next two years, before joining the museum’s permanent collection. “I also created a Christmas tree for the V&A. In the studio, we made a dress that looked like an angel [for the top of the tree], which had to be created in a very short time and required vast amounts of material – and even its own three-metre mannequin.”

Previous page: Sohee Park photographed in Goodwood’s Egyptian Dining Room. Right: floral dress from Miss Sohee’s first collection, The Girl In Full Bloom

Requests from public figures and their stylists to wear Park’s designs have poured in ever since October 2020, when Miley Cyrus performed on The Graham Norton Show in one of Park’s colourful metallic gowns. Actress Gemma Chan has also chosen to wear Miss Sohee. Rapper Cardi B has been another prominent fan of the label, most notably asking Park to create her look for the 2023 Met Gala. Inspired by Karl Lagerfeld’s fall 2008 couture collection, Park – who cites Lagerfeld as one of her biggest influences – and her team created a gown for Cardi featuring 27,000 hand-embellished crystals and pearls.

“People assume I’m closely connected to these celebrities, but I didn’t know anyone; people only came to me after seeing my work,” says Park. “My tutor from university came to the studio last month and saw that I was exhausted, but he told me to appreciate how special this moment is. And he’s right – I feel privileged to have this opportunity.”

The designer has built her reputation from the UK, and feels settled here.“London is home for me now. For someone in fashion there’s so much more to see in the UK. I’m a creative and I thrive here, and the countryside is so pretty. I especially love the Cotswolds, and Cornwall, and the Downs around Goodwood.”

Park is looking forward to debuting the designs that she has created drawing inspiration from the treasures and history of the Goodwood Estate, and she is thrilled that her Miss Sohee Goodwood gowns will be kept for future generations as part of Goodwood’s Collection. She also has plans for a capsule collection to be debuted towards the end of the year. Park jokes that the true CEO of Miss Sohee is her white rabbit Munchie, who sits in the studio and observes everything. “I’ve had rabbits all my life and I’m very good with them. Alice in Wonderland is my favourite book and Munchie is my white rabbit, leading me in all the right directions!” It has certainly worked for her so far.

Miss Sohee’s gowns for Goodwood will be debuted at the opening ceremony of the Qatar Goodwood Festival on Tuesday 1 August (goodwood.com/horseracing/qatar-goodwood-festival/); missohee.com

Left: Miss Sohee fall/winter ’22 collection. Above: the designer’s first haute couture collection debuted in Paris in spring 2023

*Based on an EQE 300 AMG Line and a fully charged battery. UK spec may vary. Official government consumption in kWh/100km (combined) for the EQE Saloon –224-165. CO2 emissions in g/km (combined): 0. Further information about the test used can be found at www.mercedes-benz.co.uk/WLTP. Correct as of print, 06/23.

Keep going: the EQE Saloon with a range of up to 376 miles* on one charge.

INNOVATIONS BY

Some would argue that the current space race being conducted by the world’s biggest entrepreneurs is driven by little more

than ego and one-upmanship. But as Alex Moore reports, space exploration could offer untold benefits for the human race

n Christmas Eve, 1968, while orbiting the moon for a fourth time, NASA astronaut Bill Anders captured what is now considered the most influential environmental photograph ever taken. Earthrise, as the shot has come to be known, wasn’t the first photo of Earth from space, but none before it had captured the planet’s vast loneliness, fragility and striking beauty in quite the same way. National Geographic photographer Brian Skerry likened the image – often credited with helping to launch the environmental movement – to humanity seeing itself in a mirror for the first time.

Earthrise was the first and arguably the most poignant example of how our being in space can benefit humanity. For the most part, space exploration feels like our way of preparing to disembark from Earth rather than nurture it, but perhaps that’s more to do with how science fiction tends to portray it. At the same time, without at least an elementary grasp of astrophysics, much of the work done in space is difficult to fathom – abstract, almost. It’s easy to assume, for example, that Juice, the European Space Agency’s mission to find water on Jupiter’s icy moons, will have little bearing on our day-to-day existence. Or that NASA’s $10 billion James Webb Space Telescope (JWST) – which will have an exhibit at Future Lab at Goodwood’s Festival of Speed this year – might strike some as a self-serving investment. US President Joe Biden’s comments about the telescope embodying how America leads the world, “not by the example of our power, but the power of our example”, have done little to suggest otherwise.

But let’s not forget that behind the technology required to see 13 billion years back in time, there is a global team of over 10,000 scientists. “Science is all joined up so the more we understand about the universe, the more we understand about everything,” explains Gillian Wright, the European principal investigator for the Mid-Infrared instrument (MIRI) on the JWST. “If we understand more about the chemistry and atmosphere of other planets then we can understand more about the chemistry and atmosphere of our own. And we certainly care about that.”

Dr Matt Greenhouse, Project Scientist for the JWST, has rather juicier news. “There are billions of habitable worlds in our galaxy,” he says. “We know how to search for life on them by studying the chemical composition of their atmosphere with spectroscopy. The search for extra-terrestrial life is now very much a major scientific objective of NASA.”

Still, how does that help us in the short term? “With projects like this there are typically lots of spin-off applications of the technologies that we develop, and with the JWST this is already occurring,” explains Greenhouse. “From medical eye surgery techniques to specific integrated circuits, society gets back much more that it expends in doing projects like this.”

Similarly, over the years, the International Space Station has proven to be a hotbed for scientific research and innovation (just try inventing Bose-Einstein condensate, a fifth state of matter, on Earth), but after more than 177,000 laps of our planet, it’s due to be retired in January 2031. Which of course leaves the door open for any number of commercial space “destinations”.

“We have all these problems on Earth, so why does space matter?” asks Dylan Taylor, the founder and CEO of Voyager Space, one of the companies behind Starlab, a new international space station due to launch in 2028. “Well,” he answers, “for developing life-saving drugs that can only be developed in space. Or AgTech solutions that will address food scarcity. Or big data regarding climate change that can only be gathered in space.”

Space Forge, a Cardiff-based startup enabling low-orbit manufacture across a range of industries, predicts that the next industrial revolution will be in space. It’s a grandiose claim, but as the brand’s business development manager, Neil Monteiro, explains, working in a vacuum in microgravity allows us to create incredibly valuable materials that we have long theorised about but previously never had the means to create. “We’ve known what we’d make in these environments for 50 years or so,” he says. “We’re starting with semiconductors, fibre-optics and alloys, materials that will make certain processes on Earth unimaginably much more efficient. We estimate that for every kilogramme of CO2 we produce, we’ll save 80 tonnes.”

Another grandiose claim, but this seems to be the nature of space, an industry built on unbridled ambition. And Monteiro can back it up. One application of these semiconductors would be to dramatically speed up EV charging stations. There is talk of making single fibre-optic cables long enough to reach across the Atlantic. And while still hypothetical, the aim is to make alloys better capable of withstanding the heat required for nuclear fusion. Dr Greenhouse says that as the advancement of science and material development reaches the limits of what can be achieved in an environment affected by gravity: “The opportunity to operate in microgravity could be as meaningful as the switch from analogue to digital.”

Of course, to be deemed an industrial revolution, these materials need to be made on an industrial scale, and Monteiro admits it’s SpaceX – whose Falcon 9 rockets will transport Space Forge’s unmanned manufacturing platforms into low-Earth orbit – that is making this possible. In fact, more than 60 per cent of the global launch market is now controlled by Elon Musk’s space enterprise. No surprise then that SpaceX is leading the way in the “new space race”. That is, the race to build a satellite network capable of bringing the Internet to the estimated 4.4 billion people currently living without access to the “worldwide” web. Starlink, as Musk’s

THERE ARE LIFE-SAVING DRUGS THAT CAN ONLY BE DEVELOPED IN SPACE AND BIG DATA THAT CAN ONLY BE GATHERED IN SPACE

ever-growing constellation of satellites is known, already provides Internet access to over 50 countries and plans to begin Satellite 5G Cell Phone Coverage – eliminating signal dead-zones worldwide – in August this year.

Richard Garriott, America’s only second-generation astronaut, and the current President of the 120-year-old Explorers Club, has devoted his life to the advancement of commercial space exploration. He was one of the original founders of the Ansari X Prize, a global competition that offered $10 million to the first privately financed team that could build and fly a three-passenger rocket into space twice within two weeks. The prize was won in 2004 by SpaceShipOne, a spacecraft designed by Burt Rutan and financed by Paul Allen, the co-founder and former CEO of Microsoft, and eventually bought by Richard Branson, paving the way for Virgin Galactic.

“Falcon 9 has been revolutionary in terms of lowering costs and increasing payloads,” says Garriott, whose family office, Global Space Ventures, works closely with the US military on its galactic endeavours. But Starship [SpaceX’s new fully reusable launch vehicle] will be a game changer. Already, we’re having the conversation about mining asteroids. They say that whoever manages that will become the world’s first trillionaire, yet as recently as 20 years ago, it was very difficult to raise even a few million dollars for anything to do with space. How times have changed.”

Nowhere are the tides of change more evident than in the space tourism sector, where the opportunity to behold the Earth in all its glory may also have unforeseen benefits. Cosmologist and author Carl Sagan wrote, “There is perhaps no better demonstration of the folly of human conceits than this distant image of our tiny world. To me, it underscores our responsibility to deal more kindly with one another, and to preserve and cherish the pale blue dot, the only home we’ve ever known.” For if Earthrise, a single photograph, could have caused such a monumental impact, imagine witnessing Earth’s majesty first-hand.

The “overview effect” is a cognitive change of consciousness reported by some astronauts while observing Earth from space. Many claim to have experienced a transcendent sense of awe and an urge, like Sagan, to protect the planet at all costs. That’s all very well, but presumably most of the people who have had the privilege of regarding Earth from such a distance meant it no harm anyway. Very soon the world’s wealthiest jetsetters will be able to book a long weekend at The Hilton Starlab (which is actually a thing). Or for something slightly more chic, French industrial designer Philippe Starck has taken care of the crew quarters on the Axiom Space Station. Neither are explicitly offering bed and breakfast, but Garriott surely won’t be alone in fancying his chances of a visit. So what happens when scientists and astronauts are joined by artists, poets, politicians and thinkers? The first guests are bound to be among the world’s most influential people. Is a weekend long enough for this supposed cognitive shift?

Scotland’s first astronaut, Dave Mackay is the Chief Pilot of Virgin Galactic and has experienced the overview effect on several occasions. He says, “Reflecting on what you’ve done, where you’ve been and what you’ve seen is something that happens over days, weeks, months, and even years. I still feel very emotional when I think about it now. I have these images seared into my mind and I’ll describe them as best as I can but often what I say feels inadequate. Someone with a background in the humanities could convey these emotions, feelings and sensations far better than an engineer or test pilot.”

“That’s actually a big part of what it is to be an astronaut these days,” says Sian Cleaver, a Chelmsford-born engineer working on NASA’s Artemis programme. “There’s a heavy emphasis on whether you’re a good communicator. Those who go to space represent the human race, so they have a duty to share their experiences and to inspire the rest of us.”

The aim of the Artemis programme is to send astronauts to the moon, and then Mars, while “diversifying space”. Artemis was the sister of Apollo, so it’s a fitting name for a mission to put the first woman, and indeed the first person of colour, on the moon. “I think that’s what space is about,” says Cleaver. “If you’re up there looking down at the Earth, you don’t see any borders, you don’t see any divisions. Here at the European Space Agency, I work directly with people from 10 different countries. It’s international, it’s collaborative, and I think that really embodies the whole spirit of space exploration.”

Fifty years to the day after taking the Earthrise photo, Bill Anders observed, “We set out to explore the moon and instead discovered the Earth.” That, it would seem, is the beauty, and indeed the value, of space exploration.

Discover more at “Beyond Earth, For Earth” at FOS Future Lab (13-16 July).

THOSE WHO GO TO SPACE REPRESENT THE HUMAN RACE, SO THEY HAVE A DUTY TO SHARE THEIR EXPERIENCES

Opening pages: Bill Anders’ iconic Earthrise. Above, left: Aurora is back in town, taken by astronaut Scott Kelly from the International Space Station in 2015

The world’s oldest endurance race celebrates its centenary this year, yet petrolheads have been flocking to Le Mans for even longer. In 1906 this ancient city on the river Sarthe hosted the very first French Grand Prix, on a 64-mile road circuit to the west.

Five years later an unofficial Grand Prix de France set a 40-mile course to the south, heading out via the villages of Les Hunaudières and Mulsanne towards Écommoy. The 1920 French motorcycle Grand Prix took the same road to Mulsanne, then returned to Le Mans via Arnage, establishing the basic layout of today’s 8.4-mile Circuit de la Sarthe. Although modified several times, it still includes stretches of public road, not least the 3.7-mile blast to Mulsanne, properly called the Ligne Droite des Hunaudières but known to generations of British enthusiasts as the Mulsanne Straight.

An endurance race was conceived in 1922 when the French subsidiary of British bike and wheel manufacturer Rudge-Whitworth offered a prize fund of 100,000 francs to Georges Durand, secretary of the Automobile Club d’Ouest (ACO). Recognising the potential of an event that promoted reliability rather than speed, Durand consulted ACO president Gustave Singher and journalist Charles Faroux, who suggested a series of 24-hour races held over three consecutive years, with the car travelling the greatest overall distance winning the Rudge-Whitworth Triennial Cup. First run on 26-27 May 1923, the Grand Prix d’Endurance de 24 Heures dropped the multi-year format after 1928 and has been an annual fixture ever since, bar 1936 (general strike) and 1940-48 (world war).

One might suppose that the earliest races were the most difficult, running on gravel roads at average speeds approaching 60mph, yet in 1923 no fewer than 30 of the 33 starters finished. As speeds have risen, reaching a peak in the late 1980s, when sports prototypes rocketed past Les Hunaudières at 250mph, the strain on the machinery (not to mention the drivers) has only increased.

The challenge remains, as ever, to cover the greatest possible distance in 24 hours, which requires speed, fuel efficiency, reliability, stamina, strategy, courage and luck, not to mention innovations in aerodynamics, braking and power systems. Of 25 marques that have secured outright victory, only 12 have managed it more than once.

Nevertheless, for the quarter of a million racegoers who make the annual pilgrimage to northwest France, the technical competition is only part of the attraction. Like campfires, fireworks or sci-fi movies (and standing trackside in the small hours is as close an encounter as you could wish for) the mysteriously romantic spectacle of night racing draws spectators as moths to a flame. It’s little wonder that the ACO’s promotional posters often featured illustrations of blazing headlamps, at least until the 1960s, when photography took the lead and focused on daylight scenes.

Whether illustrations are more evocative than photographs is a moot point. Vintage Le Mans posters of any type can sell for huge sums and reproductions are common; the ACO now sells copies in the hope that enthusiasts will be less tempted to snatch them from public spaces. After all, who wouldn’t want a souvenir of the world’s greatest race on their wall?

RACING COLOURS

An epic test of skill and character, the 24 Hours of Le Mans has been challenging drivers and constructors for 100 years – and its promo posters, writes Peter Hall, are now highly coveted collectors’ items

1958

Jaguar’s D-Types had won Le Mans three times on the trot, yet the 1958 poster artist appears to have correctly predicted a win for Ferrari’s 250 Testa Rossa, as driven by Olivier Gendebien and Phil Hill. Unless it’s meant to be a D-Type, painted Italian red (rather than British Racing Green) for graphic effect? Colour theory dictates that red cars are always the fastest.

Every Le Mans poster from 1923 to 1959 featured an illustration, better than any photograph in conveying complex information, not least the romance of night racing. It also permits visual tricks such as this trompe l’oeil depiction of a car bursting through a circuit map. The race itself was won by a French team, Robert Bloch and André Rossignol in a Lorraine-Dietrich.

1959

Until 1970, the 24 Hours of Le Mans race started with a sprint, the drivers running across the track, jumping into their cars and roaring away, but speed is nothing without endurance. After years of effort, Aston Martin finally secured outright victory in 1959, despite winning drivers Roy Salvadori and Carroll Shelby between them suffering flu, burns, dysentery and heart trouble.

1960

It’s easy to forget that colour photography was still something of a novelty in 1960 and the first such Le Mans poster captures the race start as cars roar away from their pit boxes. The pit lane had at least been widened after the catastrophic accident of 1955 (in which 83 spectators were killed and hundreds more injured) allowing cars to arrive and depart without obstructing 120mph race traffic.

1963

Illustrated Le Mans posters often featured a clock face, here superimposed on a remarkably abstract background. The car pictured is a Ferrari 250 Testa Rossa of the type that won in 1961. To the delight of poster designers, scarlet Ferraris dominated the race in the early 1960s, taking six consecutive victories until Ford stole the show in 1966.

1967

Heralding a four-year winning streak for the GT40, Ford’s three-car photo finish of 1966 had been photographed in black and white. However, as colour photography became ever more reliable and affordable, it came to dominate Le Mans posters, with a consequent focus on daytime scenes. Red cars still drew the eye, however, as in this pre-start shot of brightly coloured Ferraris.

A return to illustration for the 1972 poster, with a dynamic graphic design that fortuitously incorporated the blue, white and red of the French tricolore; the race was won by Henri Pescarolo and Graham Hill in a Matra-Simca MS670, the first French car to win Le Mans since 1950 and the first of a hat-trick for Matra.

1978

Another return to graphic simplicity, albeit using a modified photograph, and another nod to the colours of the French flag, which proved appropriate as the Renault-Alpine A442B of Jean-Pierre Jaussaud and Didier Pironi secured a popular victory. It wasn’t an easy win: having driven a double stint to the finish, Pironi was so exhausted he had to be lifted out of the car.

1988

This was the third Le Mans poster to feature one of Jaguar’s XJR sports prototypes. Having won five times in the 1950s, the marque returned to Le Mans in 1984, turbocharging British interest in the race. The team’s efforts paid off in 1988 with victory for the 7-litre XJR-9, breaking an eight-year winning streak for Porsche.

2023

As photography edged aside illustration and focused on daylight scenes, so digitally modified images may reclaim the night. This year’s centenary poster echoes the first edition of 1923 with a purple sky, headlights, fireworks and even an owl perched on a tree branch (an owl appeared in the first-ever poster for the race, in 1923). The cars are very different, but the allure of the Le Mans 24 Hours remains the same.

THIS SPORTING LIFE

The Goodwood Collection isn’t fixed or static – and we are always looking out for artworks and artefacts that help us to tell Goodwood’s story. Last year, the Collection made one of its most exciting and important acquisitions in decades: an oil sketch by the famous 18thcentury horse-painter, George Stubbs. Acquired by private sale, the artwork complements the existing sporting scenes by Stubbs in the State Apartments of Goodwood House and highlights the significant link between the artist and the 3rd Duke of Richmond.

The study, an oil sketch on three separate sheets of paper stuck together on panel, depicts the 3rd Duke of Richmond’s younger brother, Lord George Lennox, mounted on a bay hunter with a hound in the foreground. Lord George has his back to the viewer and wears the blue livery of the Charlton Hunt; his gilded buttons denote full membership. The Charlton Hunt, which took its name from the nearby village of Charlton, was the oldest fox hunt in England and the reason why the 1st Duke of Richmond first came to Goodwood in the 1680s. In the study, both horse and hound are captured mid-movement, the horse in a gentle trot and the hound leaping forward, hot on the trail of a scent. In the background, foliage and trees are hinted at by shadowy forms.

The sketch is a preparatory study for a larger painting the 3rd Duke commissioned from Stubbs in 1759, entitled The 3rd Duke of Richmond with the Charlton Hunt. This was the first of three sporting scenes Stubbs painted for the Duke while staying at Goodwood for a period of nine months in 1759-60. Together with Racehorses Exercising at Goodwood and Shooting at Goodwood, it would launch Stubbs’s career. Like his father, the 2nd Duke, who had helped establish Canaletto in England, the 3rd Duke was an important artistic patron. It is easy to see why the 3rd Duke gave the commissions to Stubbs, whose curiosity about the anatomy of horses complemented the Duke’s own interest in science and the natural world. The Duke would later allow Stubbs to paint a portrait of the first male moose to be brought to England, which was kept in the grounds of Goodwood. The Duke would also go on to purchase a painting of a lioness and a lion, an allusion to his father’s menagerie at Goodwood, which had housed exotic creatures, including lions. The three large sporting scenes the Duke first acquired were hung in the Banqueting Hall of the Jacobean part of Goodwood House, where members of the Charlton Hunt would dine after a day’s hunting.

For The 3rd Duke of Richmond with the Charlton Hunt, Stubbs was tasked with capturing the hunt in action. The scene depicted the Duke and Lord George on horseback, surrounded by huntsmen and hounds, with a full cry occurring in the background. Its purpose was to

A study by Stubbs is returning to Goodwood where it was first painted, explains curator Clementine de la Poer Beresford

celebrate the revival of the Charlton Hunt by the 3rd Duke in 1757. To ensure his composition was a success, Stubbs made several preparatory oil sketches and pencil drawings. The artwork recently acquired is one such sketch. Further studies for the painting exist in other collections depicting individual fox hounds and a grey hunter with a hunt servant adjusting the saddle. These preparatory sketches reveal much about the method Stubbs employed in his earlier career while at Goodwood. They were intended as elements that could be moved around a large canvas to fine-tune his composition.

The preparatory study of Lord George is easily identifiable in the larger scene. Lord George appears virtually unaltered, sitting astride his hunter with his back to the viewer. He is positioned towards the centre, near his brother, the 3rd Duke, who rides a black hunter and gesticulates to him. The hound in the sketch is also discernible, although in the larger scene it is elongated and positioned near the rear of the horse, rather than in front of it. The individuals, horses and hounds in the scene are all portraits, so it is likely that other studies were created but may not have survived.

The study of Lord George is thought to have been given by Stubbs to the 3rd Duke, who in turn gave it to his brother. It then passed by descent through Lord George’s daughter’s family, the Earls Bathurst, until 2014. In 2022, it came home to Goodwood after just over 260 years.

Above: the oil sketch depicts the 3rd Duke of Richmond’s younger brother, Lord George Lennox

Above: The 3rd Duke of Richmond with the Charlton Hunt by George Stubbs, 1759-60. The Duke is the tall figure at the centre, turning towards his brother, Lord George Lennox, the subject of the study shown on the previous spread which has just rejoined the Collection at Goodwood. The hunt itself can be seen beyond in full cry. Each horse and hound in the foreground is a realistic portrait; the Duke was fascinated by the hounds’ bloodlines and could identify them all individually

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HIGHLIGHTS

JUNE - SEPTEMBER

May – October

GOODWOOD HOUSE TEA & TOUR

This year’s summer exhibition at Goodwood House celebrates the involvement of the Dukes of Richmond in past coronations, bringing together coronation robes, Queen Victoria’s glove and other fascinating treasures. After a guided tour of the House, enjoy a splendid afternoon tea in the Ballroom, made using estate-reared, organic produce from Goodwood Home Farm.

July 13-16

GOODWOOD FESTIVAL OF SPEED

July 29

GOLF AT GOODWOOD INVITATIONAL

Golf At Goodwood invites members to bring a guest to experience a unique event on The Downs Course.

August 1-5

QATAR GOODWOOD FESTIVAL

August 1-5

THE KENNELS DINING & AFTERRACING MUSIC

The Kennels is the perfect place to start and end your day during the

Qatar Goodwood Festival, with a complimentary shuttle on hand to whisk you to and from the racecourse, and lunch and dinner served at the restaurant. The Putting Green will also be open for lunch, while in the evenings it will come alive with music.

August 5-13

CLUB CHAMPIONSHIPS WEEK

The pinnacle of the Golf At Goodwood golfing calendar, the Ladies, Seniors and Men’s Club Championship is a 36hole medal competition played over The Park Course and The Downs Course.

August 12

MONARCHY, QUEEN TRIBUTE BAND

An evening of entertainment featuring the music of Queen, performed live.

August 17

5-MILE HILLCLIMB RUN

We challenge you to join our 5-mile road race through the Estate in support of Dementia Support, including the famous Goodwood Hillclimb.

August 19

VINTAGE MARKET

Source your Revival look at our fabulous Vintage Market, which is filled with stalls showcasing stunning clothing and accessories from bygone eras.

August 30

WHISPERING ANGEL DINNER

Head down to The Putting Green for a gourmet four-course dinner paired with a selection of delicious Provence rosés from Château d’Esclans.

September 8-10

GOODWOOD REVIVAL

September 8-10

GET REVIVAL READY

Get set for the big event at The Kennels with the help of Betty’s Salon, then hop into a vintage taxi to the Motor Circuit.

September 8

REVIVAL GOLF

Join us on The Downs Course as we dig out our tweeds and plus-fours and take to the course with hickory golf clubs.

September 20

QUIZ

The return of quiz nights at The Kennels.

September 23

AFTERNOON TEA

Enjoy a delicious afternoon tea at The Kennels. Add a little sparkle to your day with a chilled glass of champagne and don’t forget to bring along your four-legged friend for their very own “doggy afternoon tea”.

July 13-16

festival of speed

This year the Festival of Speed will host Four F1 teams: McLaren, Mercedes-AMG, Ferrari and Williams. The teams will arrive straight from the British Grand Prix the weekend before, ready to show off a mixture of current and historic racing cars. The F1 paddock will be open on all four days of the Festival of Speed in 2023, with several teams running cars every day, including Thursday.

Sebastian Vettel will be attending on Saturday and Sunday. The former Red Bull, Ferrari and Aston Martin driver will star on the Goodwood Hill in multiple cars from his own collection including Nigel Mansell’s championship-winning Williams FW14B and Ayrton Senna’s McLaren MP4/8 from 1993, while all weekend there will be a display of his cars in the main paddocks for all to see. Vettel will also spend time talking to visitors about his work advocating for alternative fuels in the motorsport industry. On both days fans will be able to join us in celebrating Sebastian’s career as we host one of Goodwood’s legendary balcony moments.

This year Festival of Speed is celebrating its 30th anniversary. Our theme will be Goodwood 75, as we look back at our threequarters of a century of motorsport history. Porsche is to be the honoured marque, and is celebrating its own landmark: 75 years since the launch of its very first sports car, the 356. To find out more, visit goodwood.com/motorsport/festival-of-speed

From top: the Fiat S76 “Beast of Turin”; Nico Rosberg on his Mercedes W05 F1 car in 2017; fireworks over Goodwood House and the BMW M central feature

August 1-5

QATAR GOODWOOD FESTIVAL

There is, as always, much to look forward to at our flagship racing event headed by three Group 1 races, including the £500,000 Qatar Goodwood Cup, the £1 million Qatar Sussex Stakes, and the £600,000 Qatar Nassau Stakes.

After an extraordinary 35-year career, Frankie Dettori plans to retire from racing at the end of the 2023 Flat season and will compete at Goodwood for the last time in August. It was here, of course, that it all began for Dettori. As a 16-year-old apprentice for Newmarket trainer Luca Cumani, he celebrated his first-ever win at Goodwood in 1987, on Lizzy Hare. He soon went on to become the first teenager since Lester Piggott to ride 100 winners in a season.

Since then, Dettori has since become one of the most famous jockeys of all time, winning dozens of Group 1 races – including the Prix de l’Arc de Triomphe a record six times – 14 Breeders’ Cups, four Dubai World Cups and the Epsom Derby, twice. We can’t wait to welcome him back to Goodwood one last time.

The much-anticipated 12th Markel Magnolia Cup will be held on Friday 4 August. A decade ago, the race was conceived to overcome the boundaries within the sport and create an inclusive community in support of women, their abilities, and their wellbeing. Since its inception, the philanthropic event has raised a phenomenal £2.1 million. This year, the Magnolia Cup will support the Education Above All (EAA) Educate A Child programme.

Qatar Goodwood Festival tickets, dining and hospitality are now on sale. To find out more, visit goodwood.com/horseracing/qatar-goodwoodfestival or call 01243 755055.

From top: Ashleigh Wicheard, winner of last year's Markel Magnolia Cup; the Qatar Goodwood Festival is one of the highlights of the flat racing season

finish

Automotive technology has come on in leaps and bounds – not to mention surges of turbo-powered acceleration – since that first race at Goodwood in 1948. And still more since the 1920s, when Freddie March took up motor racing. The same goes for the equipment used in motorsport. Take those goggles on page 10, for example, which Freddie would have worn with a separate helmet. In modern racing that combination has been superseded by the likes of this helmet with builtin vizor – an OMP GP-R of the kind worn today by drivers racing at club level. Although pleasingly retro in its lines, this up-to-the-minute helmet contains many contemporary safety features including HANS posts, designed to counter whiplash – a sign that motor racing today strives to be safer for all concerned. And with its handsomely old-school Porsche livery, this helmet also gives a timely nod to the fact that, like motor racing at Goodwood, the celebrated German marque will also celebrate its 75th birthday at the Estate this year. Many happy returns.

Alice Temperley MBE founded her fashion label Temperley London in 2000, after graduating from the Royal College of Art. Her extraordinary prints and fabrics – and a very British Bohemianism – have brought international success. The brand now extends to homeware, with sunglasses and swimwear on the horizon.

Words by Catherine Peel

Alice Temperley

THE JOY OF MY JOB is getting lost in the creativity. I’m trained in the textiles side and I love the technical process: seeing my weaving and printing mills in Italy and the remarkable machines – some dating back to the early 1800s. It’s wonderful to meet the makers and see that incredible craftsmanship being harnessed.

I’VE LEARNED THAT you must be true to yourself. Of course, there needs to be a commercial side, but it’s easy to think you have to follow certain rules such as x number of seasons and products. Why should you? It can take a year to work with true artisans. Things don't always need to be fast.

FOR THE JOCKEY SILKS I designed for this year’s Markel Magnolia Cup at Goodwood, we looked through the archives and selected our favourite prints, the ones with the most impact, and recoloured them onto the silks. They’re very colourful, which is part of our DNA, and I hope they make the jockeys feel as good as possible.

THE FASHION INDUSTRY is tough. I used to get stressed and work all night, but now I don’t. I don’t think I’ve really “switched off” for 20 years, but now we’re doing less, that side of things is more focused – and more enjoyable. I’m learning to live day by day and celebrate what we do.

MY MUM, AT 75, stills looks incredible, whether in a white shirt and jodhpurs or evening dress. She’s the most elegant woman. I am so inspired by people who know how to put things together –whether it’s vintage, designer or high street.

I GREW UP on a Somerset cider farm in the English countryside and I’m influenced by the seasons. My references for design are very English – the country, tailoring, etc – but there’s often a touch of tomboy alongside the fantasy. The influence of the dandy, Victoriana and art deco, mixed with a rock’n’roll style.

SOME OF MY FAVOURITE clothes are white shirts, and I love suits. But clothing should also be about escapism and fantasy. I hope that when people wear a Temperley wedding or evening dress, they feel comfortable, but special.

I WOULD WEAR ONE of my heritage gowns to Goodwood Revival – they transcend times and eras and are so comfortable. They’re as ornate as a Fabergé egg, which means everything else can be relaxed – flat shoes, natural hair and makeup – it’s all about the dress. Relaxed, uncontrived English romance and Bohemia – that’s what I am, and if people don’t like it, it doesn’t matter.

I USED TO HAVE A 1959 FORD THUNDERBIRD with a red and cream leather interior, but I sold it to my neighbour who had wanted it for years. I now have a G20 Chevy Van, with blue and white stripes, a Mercedes 560 SL with leopardprint seats, and a Land Rover that’s painted like a zebra. I have impractical cars!

THIS SUMMER I DON’T WANT to get on a plane, I want to be at home, gardening and visiting the Jurassic coast, which I’m lucky enough to live 20 minutes away from. Spring and summer are the most beautiful time to be in England.