GOODWOOD | ISSUE 11

FP CRUX UK Special Situations Fund

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

Quality driven - that’s the

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ORCHARD the perfect pairing

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A Percentage of each sale will go to the injured Jockeys’ fund.

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Theo Fennell, in conjunction with Goodwood, presents a Limited Edition of 250 solid silver paper knives.

This is the first in a series of ‘The Greatest Jockeys’ pieces.

For further information contact

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LETTER FROM THE DUKE OF RICHMOND

green shoots Welcome to the spring edition of Goodwood Magazine. The willow buds on

the cover of this issue give a nod to this most exciting of seasons, as the Estate bursts back into life. Away from the woodlands and hedgerows, the motorsport season begins again in earnest with our 77th Members’ Meeting, one of our favourite moments in the calendar. This year we celebrate NASCAR, that most American of motor-racing institutions. You can read about its extraordinary moonshine-running origins on page 80.

Over the years, of course, motorsport, as with so many of our favourite pursuits, has become a vast and ever-expanding global business. On page 34, writer and broadcaster Matthew Gwyther looks at what business has learnt from sport, whether it’s the notion of “marginal gains” pursued in cycling and Formula 1, or the nerve-conquering positive thinking of the world’s top golfers.

Elsewhere in this issue, we pay homage to Mary Quant, the subject of two forthcoming exhibitions – at the V&A and the Fashion and Textile Museum.

The British designer revolutionised fashion in the 1960s and named her most famous creation – the miniskirt – after her favourite car. Our kind of fashion designer. There are sure to be many visitors to Revival later this year wearing her creations. Also on the subject of design, Stephen Bayley writes for us on the influence of Bauhaus, the 100-year-old German art school whose impact on British architecture is still apparent, even in the Sussex countryside.

Back to more rustic matters, on page 72 we feature leading lights of the New Herbal movement. Our restaurant, Farmer, Butcher, Chef, makes plentiful use of fresh local herbs, and it’s encouraging to learn of the renewed interest in both their culinary and health-giving properties. Meanwhile, down at the Goodwood Aerodrome, we photograph aeronautical-inspired fashion.

So whether you’re planning to eat, stay, fly, putt or drive with us, we look forward to welcoming you to Goodwood very soon.

Duke of Richmond

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REVIVALISTS

TIME , A HE RMÈS OB JECT.

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

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CONTRIBUTORS

Guy is an author, journalist and broadcaster who has written widely about World War II. His books include The Voice of War and Berlin Games, a history of the 1936 Olympics. For us, he writes about the dramatic wartime role played by Goodwood’s neighbouring airfield, RAF Tangmere.

Matthew Gwyther

Liz Clarke

Having edited Management Today for 17 years to great acclaim, Matthew Gwyther is the perfect person to analyse the many lessons that business can learn from sport. Now a consultant, writer and broadcaster, he has also worked on two drama TV serials and is the lead presenter of BBC Radio 4’s In Business.

In this issue, Liz Clarke, a sportswriter at The Washington Post, charts the rise of NASCAR from its hooch-running roots to its status as America’s favourite motorsport. The author of One Helluva Ride: How NASCAR Swept the Nation, she has twice been honoured as the sport’s top print journalist.

Stephen Bayley

Alec Doherty

A leading design and cultural critic – and former head of the Design Museum – Stephen’s latest book (with Roger Mavity), a study of creativity entitled How to Steal Fire, is out now. In this issue, he writes about the influence of the Bauhaus school on British architecture and design.

Alec, who illustrated our feature on sport and business, is an artist and illustrator based in London. His clients include Apple, the Barbican and The New York Times, and his bold, character-based work has also been translated into large-scale murals and installations.

Art director Sara Redhead

Sub-editor Damon Syson

Picture editor Emma Hammar

Design Luke Gould Lesley Evans Ewa Dykas

Project director Sarah Glyde

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

Spring into action

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

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

X UK Special Situations Fund

estment approach, which Richard has used has delivered a solid track record over

more about the new FP CRUX UK Special uality driven holdings, visit our

£10.00

Spring 2019

X Asset Management Limited who are he income from it can fall as well as to future performance. A free, English mentary Information Document for the ng us (details above).

Guy Walters

Paula is one of the country’s most respected fashion editors, having worked for The Sunday Times, Grazia and Harper’s Bazaar before stints at Harvey Nichols and Mytheresa.com. As the author of the Design Museum’s Fifty Fashion Looks That Changed the 1960s, who better to explain the magic of Mary Quant.

Editors Gill Morgan James Collard

The front cover shows two willow catkins beginning to flower.

Cover, Start and Finish photographs by Louisa Parry

d

Paula Reed

Spring 2019

Spring into action 06/03/2019 17:04

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

LONDON · EDINBURGH · LEEDS

CONTENTS

Shorts

12 Full throttle Meet Ana Carrasco, the Spanish motorbike champ winning on her own terms 14 …and repeat The irreverent charm of Holly Frean’s multi-image art 16 Wild thing Celebrating the gastronomic gift of foraged wild garlic 18 The secret history A few miles from Goodwood, RAF Tangmere played a hidden role in World War II

26 In a class of their own Designed to excel in the toughest of races, Le Mans Prototype cars offer a unique blend of speed and endurance 29 Dream pig The fascinating genealogy – and superb flavour – of the Goodwood Estate’s very own porcine stars 30 Welcome to the future Eighty years ago, on the eve of war, architects, visionaries and carmakers tried to imagine the shape of things to come

JORGE MONEDERO

20 Starry, starry night How the South Downs became a world-class location for stargazing

25 Born to run The tale of legendary racehorse St Simon, who loved running so much, it was often hard to make him stop

ROGER RICH

START

23 Bath time A soothing return to the restorative and therapeutic pleasures of a good oldfashioned soak in the tub

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High fashion

The Goodwood Aerodrome provides a perfect backdrop for our spring fashion story, which sees jumpsuits, flying jackets and combat trousers reworked in tailored cuts and luxurious fabrics

64 Bauhaus in Britain

Founded 100 years ago, the architectural influence of the Bauhaus art school can still be seen the world over

From top: utility chic prepares for takeoff in our spring fashion special (p50); meet three young women championing the healing power of herbs (p72)

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Features

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In it to win it Ambition, resilience, teamwork, strategy – why sport has valuable lessons to teach the world of business

A mini revolution Celebrating Mary Quant, the fashion designer who popularised the miniskirt, invented hot-pants and introduced the London Look

The herbalistas For centuries, women have turned to their gardens for medical as well as culinary reasons. Now, with research lending scientific weight to folk remedies, a new generation of women are rediscovering the healing power of herbs

80 Speed racers How a dramatic trackside fight helped NASCAR become America’s most popular form of auto racing

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Day to night The unmissable events to look forward to at Goodwood this spring, including the hotly anticipated 77th Members’ Meeting Lap of honour Designing everything from watches to yachts, Marc Newson is one of the most revered creative forces of his generation. He’s also a classic car aficionado, Goodwood veteran and proud owner of a 1934 Bugatti Type 59

finish

Start

The silky, silvery willow catkins – known colloquially as pussy willow – beginning to burst into life on our cover herald for most of us the moment when winter becomes spring. Only the showy males of the Salix family produce these catkins, which, once the weather warms, “flower” with a halo of acid-green pollen stems – surely one of spring’s most spectacular shows. There are over 400 species of willow, many of them (like these, pictured) grown specifically for weaving, hedging and craft. Once cut and stripped, the willow is seasoned to make it suitable for working; if it’s too dry, the rods need soaking to make them flexible. Recent years have seen a revival of interest in willow work, from living willow hedging to artists producing sculptural designs.

Motorbike champion Ana Carrasco: “In this sport women can ride at the same level as men�

SHORTS ANA CARRASCO

Full throttle Meet Ana Carrasco, the first woman in history to win a motorbike world championship.

Impressed? She’s also studying for a law degree Words by Erin Baker

GETTY IMAGES; GEEBEE IMAGES

It’s somewhat depressing to find out that one of your motorsport heroes was born in 1997. It raises all sorts of existential questions for the rest of us about what we’ve been doing to fill in the time… Still, to look on the positive, Ana Carrasco, the hero in question, is a formidable woman whose appetite for success, and focus on goals, is so impressive, I’m happy to cede the ground.

Not only did Carrasco recently win the 2018 World Supersport 300 Championship, and in doing so become the first woman in history to claim a motorbike world championship title, but she’s also busy studying for a law degree back in her native Spain, because, as she explains it, “It is really important for my future to have the law career… in my family, the most important thing has always been the studies.”

Quite right, of course, but still, Carrasco’s family does a handy little sideline in motorsport victories. Her father was a motocross rider and Ana has been at it since her first race at the tender age of four. Her first bike, in case you’re wondering, was a Polini Minibike – “a sort of twostroke paddock bike with an auto gearbox,” as she

describes it. Not then, a Batman balance bike, like my kids had. Different (two-)strokes for different folks.

From then on, it was a case of racing with the support of her father, while she worked her way up through the race categories , until she hit the Moto3 World Championship in 2013. There, she became the first woman to score points in the series after finishing 15th in the Malaysian Grand Prix and 8th in the season-ending Valencian GP. In 2016 she switched to the Moto2 European Championship, where she struggled, but found success after moving to the newly formed Supersport 300 World Championship with Kawasaki. She won the 2018 championship on a Kawasaki Ninja 400.

Easy peasy, then. What next, apart from a glittering career in international law? “My main goal is to try to fight for the title again this year but… for sure, my dream would be to ride one day in Superbike or MotoGP.” And how does she think she will fare there, as a woman? It’s a tough playground, and while motorbike riders may not be subjected to the same physical rigours as Formula 1 drivers, there’s a huge degree of fitness and strength required to shift your weight under braking and acceleration, to get the bike down through the corners and back up again.

“I think in this sport women can ride at the same level as men,” she says. “Motorbike racing is not only about strength, but about technical points, your bike, your team…” And what about mental differences between men and women? Riding a bike exposes you to the parameters of safety like no other sport except, perhaps, horse-riding. Do women have more of a built-in aversion to risk, mentally? “Men normally are more impulsive and women think more about what they have to do,” she says, adding, however, that there are no differences in the two genders’ riding styles.

Carrasco doesn’t see the need for a women-only race series, and her own idols in the sport are Valentino Rossi (“a complete rider with a strong mentality”), and Casey Stoner (“incredible talent and a clear mind”). And her top tips for men or women looking to emulate her success?

“I work a lot in the gym to be as fit as possible – I do CrossFit, cycle and run.” And mentally? “I just try to be always thinking positively and to enjoy what I do.”

Wise words, even for those of us born before 1997.

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SHORTS HOLLY FREAN

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SHORTS HOLLY FREAN

…and repeat Famed for her witty animal-themed work and her quirky take on the lives of great painters, Holly Frean is an artist who revels in repetition

“54 DOGS IV” - GOUACHE ON 54 PIECES OF HANDMADE COTTON RAG (KHADI) PAPER, COURTESY OF ZIMMER STEWART GALLERY

Words by Gill Morgan

I talk to Holly Frean in her bright, high-ceilinged home studio overlooking a leafy South London common. On the wall behind her are four gouache dog portraits and a ceiling-high monochrome painting of a figure, jumping, which dates back to a much earlier body of work. Across the room is a set of ceramic animals, and she shows me some of her new works: oil miniatures of famous paintings, or indeed artists, painted onto used palettes, complete with the residue of the previous artist's paint. The portrait’s face often becomes a blank where the thumbhole is. “I’m not interested in reproducing the face exactly, it's more about the shape and the feel of the whole painting as an object. It's a portrait second and a painting first.”

Frean is hard to pigeonhole. A commercially savvy and sought-after artist, she also retains a restless, questing spirit.

The diverse range of her output has been a constant throughout her career and, as the daughter of parents who run their own design company, she has never been snooty about commercial applications of her work. She has collaborated with brands such as Burberry, Paul Smith and Anthropologie – most notably with her hugely popular chicken plates – and worked with interior designer Andrew Martin and hotelier Kit Kemp on fabrics, wallpaper and ceramics.

A recurring theme in her work is an almost obsessive drive to understand the essence of something by painting it many times, from many different viewpoints, or by juxtaposing it with lots of similar images. There’s something in the combination that both intrigues and amuses her. “It’s a kind of refining through repetition, really looking at something and working out what makes it what it is, reducing it to the essential,” she explains.

If this makes Frean sound po-faced, nothing could be further from the truth. There’s a sense of mischief and very English wit about everything she does. In her palette portraits, for example – on sale at the New Craftsmen gallery in Mayfair – you can probably guess where she's placed the palette's thumbhole in her take on Michelangelo's David. But it's animals that have really made her name: chickens, dogs, blue bears, you name it.

Her creatures are often depicted in crowds, a sea of bemused faces, posing as if for a school photograph or seated in a West End audience. "I don't know why it's funny, but it is,” she grins.

Frean has worked on private commissions for fans as disparate as the Duchess of Northumberland, Ricky Gervais and Johnnie Boden and is now sold through Goodwood's nearneighbour, the Zimmer Stewart gallery in Arundel. She also has a US gallery, her own website and does frequent pop-ups and collaborations. Playful, irreverent and somehow quintessentially British, she may love repetition but Holly Frean is a one-off.

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SHORTS WILD GARLIC

WILD thing Perfect in pesto and piquant enough to liven up a wide range of recipes, small wonder wild garlic is a forager’s favourite. And it’s coming soon to a woodland near you

If you go down to the woods today (or certainly in a few weeks’ time), you’re likely to be greeted by great swathes of white flowers carpeting the leafy slopes and moist verges of our countryside. Yes, it’s wild garlic season, that glory of English springtime.

Known by many aliases – ramsons, wood garlic and allium ursinum to name but a few – wild garlic is a bulbous, perennial, flowering plant, famed for its pungent scent and flavour (somewhere between onion and garlic), its fleshy green leaves and, most strikingly, its delicate, pretty white flowers. But where wild garlic really comes into its own is in the kitchen. Its Latin name, which translates as “bear’s garlic”, refers to the fact that the brown bears and wild boars of Western Europe were very keen on digging up the bulbs to scoff. But now, with the ever-growing interest in foraging and local ingredients, we humans are getting in on the act.

There are recipes aplenty for what to do with this most pungent of woodland plants. It seems there's nothing wild garlic won't make tastier, from Thomasina Miers’ fishcakes with wild garlic to Jamie Oliver's wild garlic and sausage fusilli and Nigel Slater's roast chicken and, you guessed it, wild garlic. But the pièce de résistance is undoubtedly pesto, with wild garlic taking the place of both the more usual garlic bulbs and the basil. Simply wash the leaves, then whizz up in a food processor with olive oil, Parmesan, sea salt and ground black pepper.

Hugh Fearnley-Whittingstall does a version with pignuts rather than pine nuts, if you want to keep things really local. Thrifty, delicious and green – in every sense.

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GETTY IMAGES

Words by Gill Morgan

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SHORTS RAF TANGMERE

THE SECRET HISTORY Located just a few miles from Goodwood, RAF Tangmere was a key Allied airfield during World War II, firstly as a base for Supermarine Spitfires, and later with a more clandestine purpose Words by Guy Walters

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If you had lived near Goodwood during World War II, you would no doubt have become accustomed to your nights being disturbed by the sound of aircraft taking off and landing at the nearby RAF Tangmere. And if you had been particularly observant, you might have noticed that these nocturnal sorties normally took place around the time of a full moon, and – if you could have glimpsed them – that the aircraft appeared to be neither fighters nor bombers.

The aircraft were in fact Westland Lysanders, and although they were originally designed to be spotter planes and for ferrying around top brass, their role at Tangmere was far more secretive and exciting. For on board were some of the bravest men and women who ever fought in the war, and whose exploits would only be widely appreciated many years later. They were, of course, members of the Special Operations

SHORTS RAF TANGMERE

ALAMY

Left: an original station ensign flag for RAF Tangmere (photographed from reverse side). Above: SOE agent Noor Inayat Khan, who flew out of Tangmere and was posthumously awarded the George Cross in 1949

Executive – more commonly known as SOE – an organisation Churchill famously directed to “go and set Europe ablaze” by carrying out acts of sabotage and fomenting local resistance movements across Nazi-occupied territories.

Some of the most celebrated SOE agents flew out of Tangmere, including Noor Inayat Khan, the organisation’s first female wireless operator, who flew from the airfield on 16 June 1943, accompanied by two other women, Diana Rowden and Cecily Lefort, who were to work as couriers.

Tragically, all three women would never make it back to Tangmere. Khan would be arrested by the Gestapo in Paris in October, and despite attempting to escape, she would be executed at Dachau in September 1944. She was posthumously awarded the George Cross in 1949. Rowden and Lefort would also be captured and executed. As one Tangmere pilot, Hugh

Verity, later remarked, “Looking back to the operational supper at Tangmere Cottage with our cheerful passengers just before take-off, it was almost impossible to imagine that the group would all have such terrible fates.”

The pilots themselves were equally brave. Attached to No. 161 (Special Duties) Squadron of the RAF, they had to negotiate anti-aircraft fire, fog, perilous landing-strips and of course, hostile welcoming committees that would see their planes met with a hail of German gunfire rather than friendly words from local résistants.

Today, apart from Tangmere Military Aviation Museum, open every day from 1 February to 30 November, RAF Tangmere lies abandoned, although there is now a campaign to save the airfield’s control tower, from where so many flights were cleared on moonlit nights all those decades ago.

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SHORTS STARGAZING

STARRY STARRY NIGHT The South Downs National Park is one of only two International Dark Sky Reserves in England, making it a magnet for stargazers

While the South Downs became Britain’s newest National Park in the spring of 2011, newer still is the protected status given to the infinite and incalculably ancient starscape that wheels above it. It was less than three years ago that the park was awarded the status of International Dark Sky Reserve, making it the second such in England (Exmoor is the other) and one of only 13 in the world. Each February its mysteries are celebrated at the park’s annual Dark Skies Festival, a fortnight of family activities, talks and tours.

Man’s hand has of course been a factor in the gradual obscuring of the firmament. Stand high on the Downs on a clear night and your views of the middle distance are bounded by the dulling brightness (light pollution, in effect) of an urbanised England. Recent years, however, have seen a rearguard action. There are roughly 2,700 streetlights in the South Downs National Park, and the region’s local lighting authorities have been diligently replacing these to comply with Dark Sky standards, installing lamps that are angled groundwards, unlike their predecessors, which allowed a significant upward bleeding of light.

At the same time, some 25,000 measurements have been taken to map the quality of the night skies across the Downs. As a result of all this work, around 66 per cent of the 600-square-mile park can now claim Bronze-Level Skies, as assessed by the International Dark Sky Association.

Its stargazing “hotspots’’ include Winchester Science Centre & Planetarium, Old Winchester Hill, Butser Hill, Iping Common, Devil’s Dyke, Ditchling Beacon and Birling Gap (this photograph, right, was taken in Privett, Hampshire).

Much of the credit for this celestial re-opening goes to Midhurst ranger Dan Oakley. A physicist by training – and self-confessed Trekkie (Star Trek fan) – he has held this post since the park’s creation eight years ago. Oakley waxes existential when he contemplates the outward view from this planet, traversing hundreds of thousands of light years. Stargazing, he says, has been the closest thing he has experienced to mind expansion. If he had a God, it would be entropy, meaning a gradual decline into disorder.

“Our universe will get more and more complex,” he declares.

“It will eventually run out of fuel and fizzle away.’’

The end of the world? Not exactly. “For me,” he says, “one of the most exhilarating things is the sense that there has to be life out there somewhere. There are two trillion galaxies and innumerable stars, all with planets around them. As to the exact nature of that life, who can say?”

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CHRIS NESBIT

Words by Alan Franks

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MARTIN-BAKER

The edge is calling

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cars.mclaren.com

SHORTS BATHING

bath time The Japanese swear by it. The ancient Romans built entire towns devoted to it. And new studies are now confirming the therapeutic benefits of a nice hot bath. So come on in, the water’s fine

ILLUSTRATION BY CHARLOTTE AGAR

Words by Gill Morgan

Churchill composed speeches in his, booming out dictation to his secretary in the next room. Freddie Mercury wrote Crazy Little Thing Called Love in one. And we're told fashion designer and film director Tom Ford takes several a day.

The bath has in recent years been forced out of favour by its pushy sibling, the power shower, judged to be more in keeping with our hectic times. But now the tub is fighting back, and one woman is leading the charge. Suzanne Duckett has been writing about wellness for 20 years and was editor of the Tatler Spa Guide for seven of them. Her recent book, Bathe: The Art of Finding Rest, Relaxation and Rejuvenation in a Busy World, is a scholarly paean to the benefits of bathing. The accompanying podcast features “immersive” interviews with stars of the wellness world, sharing wisdom with Duckett in a steamy Russian banya.

“In every spa in the world I've visited, however new or sophisticated the treatments on offer, the thing that really makes it come together is the bathing,” says Duckett, who believes that water is “the cornerstone of wellness. We’re hard-wired to feel comforted in water because of our time

in the womb. It makes you feel cocooned, nurtured. And with mental health such a pressing concern at the moment, the opportunity to escape from technology for a short time – after all, it's one of the few places most of us don’t take our devices – should not be underestimated.”

The science behind the benefits of being in hot water is well documented, she adds. “People who are lonely spend a lot of time in hot baths; they instinctively know it makes them feel better. A study published in Germany recently concluded that depression is connected to our circadian rhythm, which is linked to body temperature. There is evidence that a really hot, 30-minute bath, twice a week, helps people suffering from mild to moderate depression.”

According to leading bathroom company Aston Matthews, big, beautiful, cast-iron baths that take pride of place – much as they do in the bathrooms at Goodwood's Hound Lodge - are very much in vogue right now. Duckett sees a move towards transforming the home bathroom into a mini-hammam, where you can step from your deep, hot tub into the spritz of a cold shower, and back again.

For her own bathroom ritual she adds Epsom salts, mixed with an aromatherapy oil, to her bath. The salts contain magnesium and sulphate, which relax tense muscles, ease fatigue and counter inflammation. “The water needs to be as hot as you can stand for 30-40 minutes,” she says.

“When I get out, I towel myself dry, put on my robe and sit outside in the garden in the cool air for five minutes. I promise you, you’ll have the best night’s sleep ever.”

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SHORTS ST SIMON

BORN TO RUN Headstrong, spirited and extraordinarily fast, St Simon was a Thoroughbred who loved winning so much, it was sometimes hard to make him stop

BRIDGEMAN IMAGES

Words by Tom Peacock

A 19th-century photograph of unbeaten horse St Simon

Widely regarded as one of the greatest racehorses in the history of the Thoroughbred – so much so that his skeleton now resides at London’s Natural History Museum – the legendary St Simon is inextricably linked with Goodwood, as he began and ended his unbeaten career on the Downs.

The dark-coloured colt with a small white star was bred in 1881 by Prince Gustavus Batthyany, but shortly before he was ready to race, the Hungarian émigré died and he was sold to the Duke of Portland. On 31 July 1883, St Simon was ridden on his debut by the great Fred Archer in Goodwood’s Halnaker Stakes, winning so effortlessly that he repeated the feat in another race the very next day. By the following season, he had added the Epsom, Newcastle and Ascot Gold Cups to his collection, on the latter occasion taking full circuit of the track before he could be pulled up.

St Simon was a spirited individual with an elastic stride; Archer once rode him on the Newmarket gallops and said famously, “This isn’t a horse, it’s a blooming steam engine.”

Indeed, the only way he could be manipulated in his stable was by pointing an umbrella or a hat on a stick at him.

This headstrong tendency resurfaced in that summer’s Goodwood Cup, when he not only finished 20 lengths ahead of the field but continued galloping over Trundle Hill and into the distance. That was to be the last of his nine starts but he went on to become an exceptionally influential stallion whose very distant relatives, including the modern champion Frankel, continue to win races today.

St Simon Lager, named after the legendary racehorse, is available at Goodwood’s Farmer, Butcher, Chef

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SHORTS LMP CARS

in a CLASS of their own Developed to withstand the rigours of 24-hour racing, Le Mans Prototype cars combine speed and endurance in equal measure. See them in action at the next Goodwood Members’ Meeting Words by Rob Widdows

Above: Emanuele Pirro's iconic LMP1 – the Infineon Audi R8 #1 – in the 24 Hours of Le Mans

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Every summer, 200,000 fans flock to Northern France for the legendary test of endurance that is the 24 Hours of Le Mans.

The sight and sound of powerful sports cars racing through the night is one of motor racing’s most exhilarating spectacles.

The cars competing in this gruelling race underwent a dramatic change in 1992, when the governing body of motorsport in France, the Automobile Club de L’Ouest, decided to introduce a new class of faster cars. The resulting “Le Mans Prototype” category describes a broad range of racing automobiles. The best known, and the fastest, are the LMP1 machines, most famously the Audis and Porsches that have dominated the race over the past 25 years. Powered by complex hybrid power units, the most recent examples, while not quite as fast as open-wheel Formula 1 cars, remain the world's fastest closed-wheel racers.

These days few F1 drivers choose to tackle the endurance discipline of a 24-hour race (the only driver to have completed the “Triple Crown” – the Monaco Grand Prix, Indianapolis 500 and Le Mans – is Graham Hill). But former Grand Prix racer Emanuele Pirro proved that there’s life after Formula 1 by winning Le Mans five times and appearing on the podium a record nine times in a row. Still keen to race after his F1 career, Pirro took his maiden win at Le Mans in 2000, the first of three driving the all-conquering Audi R8. In 2006, he took his fourth victory in the team’s R10 TDi, the race's first ever win for a diesel car.

“Racing LMP cars for Audi was a wonderful time,” he recalls.

“Endurance racing is a real team sport, with three drivers sharing the car. And getting the first win for a diesel car was such a fantastic feeling. I loved those cars because I’ve always been passionate about new technologies and Audi was at the forefront.”

The 77th Goodwood Members’ Meeting (April 6 - 7) features high-speed demos of classic LMP1 cars at dusk; the Graham Hill Trophy honours the Triple Crown winner.

‘…a fantastic audio package.’

What Hi-Fi? 27

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ALEX BENWELL

Right: Goodwood's pigs are a blend of Gloucestershire Old Spots, British Saddleback and Large White Boar

dream pig A rare hybrid of classic British breeds, Goodwood’s prize-winning porkers are a cause for celebration Words by James Collard

We have now entered the Year of the Pig – the 12th year in the 12-year cycle of the Chinese Zodiac. What better time, therefore, to celebrate Goodwood’s pigs? Especially given that in the Japanese and Tibetan zodiacs, the pig of Chinese tradition becomes a boar – for Goodwood’s pigs are a mix of two rare breeds of pig plus the Large White Boar.

They’re part Gloucestershire Old Spots – that tastiest of porkers, long championed by culinary pioneers such as London’s St John restaurant, and now a classic item on gastropub menus. And they’re part British Saddleback, itself an amalgam of two breeds: the Wessex

Saddleback and the Essex, or rather the “Improved Essex”, whose oh-so-British genes were jeujed up in the early-19th century with the addition of a dash of Neapolitan porcine DNA. Who knew? And if you’re thinking that piggy provenance is more complicated than you’d ever imagined, the gist of it here – as outlined by the British Pig Association’s Michaela Giles, is that rare breeds are survivors, the result of “a few stubborn old diehards” who refused the Ministry of Agriculture’s advice that pig farming in Britain be limited to just three officially sanctioned breeds.

The sows of both the Gloucestershire Old Spots and the British Saddleback are renowned for their maternal qualities, while on a less sentimental note, the Old Spots used to be known as “the pig with built-in apple sauce”, as it enjoys rummaging around in orchards searching for apples that have fallen from trees. All have a decent amount of fat on them, which is also on-trend, now that the 1970s notion that “low fat” equals healthy has largely been debunked, and they’re dual-use pigs – grown for both their pork and their bacon.

Telling, then, that Goodwood should have won prizes for both.

Tom Kerridge, the star chef who last year had a pop-up at Goodwood’s Farmer, Butcher, Chef restaurant, sums up its qualities thus: “Outdoor reared pork has a phenomenal taste and the use of heritage animals provides longevity within the breed – which is great for British farming and most importantly, for flavour.”

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welcome to the future With its streamlined automobiles and sci-fi cityscapes, the 1939 New York World’s Fair gave visitors a vivid sense of stepping into the future.

Eighty years on, it still provides a fascinating vision of tomorrow’s world, yesterday Words by Oliver Bennett

It had a 65-foot statue of George Washington and a sevenfoot robot called “Elektro the Moto-Man” that smoked cigarettes. There was an “Arctic Girl in her Tomb of Ice”, while trilby-clad voyeurs furtively queued up to enter the “Living Magazine Covers” stand where, for a small fee, they could photograph topless burlesque models in mock-ups of popular magazine covers of the era.

In so many ways, then, yesterday’s world. But 80 years ago, the New York World’s Fair of 1939 was the most cuttingedge place on the planet. This was the future, right down to its stargazing slogans like “Dawn of a New Day” and “The World of Tomorrow”, and architectural fixtures such as the skyward-reaching 700ft Trylon. Looking at it now is to see a cityscape like a celestial chessboard, as if Fritz Lang’s 1927 film Metropolis had been brought to life. It tore up the old brick-and-tenement American city and helped everyone forget the calamitous Great Depression. Like our own Millennium Dome, the World’s Fair was about renewal. Even the site of the fair, Corona Park in Queens, NY, had formerly

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SHORTS WORLD'S FAIR

been a huge refuse-burning operation – the inspiration for the “valley of ashes” in F Scott Fitzgerald’s The Great Gatsby, itself a symbol of the transition to an American future.

But the World’s Fair had another vast claim: it ushered in the age of the automobile at a time when there was no freeway system and few people owned a car. Of all its various zones – Communications, Food, Business Systems – it was the Transportation Zone that really grabbed the public attention. Detroit’s Big Three – General Motors, Ford and Chrysler – certainly saw a huge opportunity in the Fair. Ford’s pavilion was the biggest, “a journey of imagination across time and space” that included “The Road of Tomorrow”, an elevated cork and rubber highway. But it was arguably General Motors that took the gold medal, because it had a key weapon in Norman Bel Geddes. An ex-theatre designer and automotive visionary known as the father of “streamlining”, Bel Geddes’ concept – outlined in his 1932 book Horizons – was to design cars as sleek as seals, and his Futurama exhibit showed how in the impossibly distant year of 1960, these objects of desire might travel along shimmering multilane superhighways, above cities as well as through them. As architectural historian Adnan Morshed wrote in a paper about the exhibit, Bel Geddes’ designs “prophesied an American utopia”. Adding to the considerable “gee-whiz” factor, visitors looked down upon the Futurama model from a conveyor belt.

No wonder it was the fair’s most visited attraction.

Then there were the individual cars, including vehicles that still induce gasps today. Among them was the so-called “ghost car”, a Pontiac Deluxe Six clad in Plexiglas; a 1939 Plymouth P8 Deluxe with a clear acrylic top; and a Delahaye Type 165 Cabriolet. Most impor tantly, a streamlined transcontinental bus gave visitors a luxurious taste of how they’d get around the country in the future – complete with dining section and panoramic observation lounge.

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Some 45 million people attended. The writer EL Doctorow captured some of its dizzying sense of vertigo in his 1985 novel, World’s Fair : “What was small had become big; the scale had enlarged and you were no longer looking down at it, but standing in it, on this corner of the future, right here in the World’s Fair!” At the end of the fair, visitors were given a badge bearing the message: “I have seen the future.”

Yet you may have noticed those baleful dates. Within six months of the fair, World War II started. Quite apart from the cataclysmic events, the whole idea of progress was tainted. The Polish statue of King Jagiello and the French staff remained exiled as their countries were occupied. Big Joe, the 79-foot steel statue on the Soviet Union Pavilion, also looked somewhat tarnished. And as the years developed, the ideas of the ideal urban environment changed, too. In 1962, a New York Times writer said, somewhat ruefully, that the fair had “proved its point so well that the whole countryside is a Futurama now”. There’s still a time capsule, prepared by the electrical company Westinghouse, which is due to be opened in the properly impossible year of 6939 (the 5000th anniversary), bearing camera film, a razor, a packet of cigarettes and a dollar in change.

It’s easy, perhaps, to deride outdated symbols of modernity, but every generation conjures up fresh visions of the future – which is why the robotics or space technology at Futurelab has become an integral part of Goodwood Festival of Speed.

Nor does our taste for futures past appear to be abating: in 2011 that Plexiglas-bodied Pontiac sold for $308,000.

ALL IMAGES: GETTY IMAGES

Opening pages, left: Alice Mumford Culin’s 1939 World's Fair poster; and right: crowds queue for the Perisphere, which celebrated the “World of Tomorrow”.

Below: visitors to GM’s Futurama exhibit were conveyed in chairs mounted on a conveyor belt. Right: the Ford Pavilion

SPORT AND BUSINESS

From getting into “the zone” on the golf course to the power of marginal gains in professional cycling and Formula 1, the fiercely competitive world of sport has plenty to teach business managers Words by Matthew Gwyther Illustrations by Alec Doherty

IN IT TO WIN IT Time was when sport was an amateurish business.

Contests, competitions and chukkas were conducted in the Corinthian spirit and money didn’t sully outcomes.

But sport has now become big, globalised and lucrative, and the wider business community is increasingly envious of this success and keen to learn some lessons.

Just consider the triumph of professional football in the UK. In 1992-93 the average basic wage for a Premier League footballer was £77,000 a year, four times the average salary nationally in the UK. By 2018 that had risen fortyfold to £2.99 million a year before bonuses.

Top players now demand in excess of £250,000 per week.

Much of the money comes from broadcast rights. Sky’s TV deal is worth £1.71 billion a year, or £85 million a club, with about an extra £1.1 billion from overseas TV deals.

The UK’s other great sporting export, Formula 1, displays similarly impressive numbers. It was sold to Liberty Media in January 2017 for £6.4 billion. Horseracing in the UK and Ireland combined is thought to contribute £5.5 billion to both economies, according to Deloitte. And there are now 34,000 golf courses around the world serving an estimated 60 million players who don their spikes at least once a month.

So what do football, Formula 1, horses and golf contribute to management theory? Why do managers like Sir Alex Ferguson get invited to lecture at Harvard Business School? How do so many retired international rugby three-quarters make such a healthy living on the motivational speaker circuit recounting their past

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glories? There is a strong desire for those who have enjoyed sporting success to spill the secret sauce.

In recent years the concept of marginal gains has attracted a lot of attention. Sir Dave Brailsford from cycling’s Team Sky once said: “The whole principle of marginal gains came from the idea that if you broke down everything that could impact on a cycling performance – absolutely everything you could think of – and you then improved every little thing by one per cent, when you clump it all together, you’re going to get quite a significant increase in performance. So we set about looking at everything we could.”

The team started to make use of antibacterial hand gel to cut down on infections. The team bus was redesigned to improve comfort and recuperation. On the tours, they even carried custom-made pillows around for each rider to ensure a good night’s sleep in hotel rooms. They even rubbed alcohol on the bike tyres for better grip.

Many businesses have picked up on this philosophy, especially in the world of tech. Large quantities of data are ideal for the marginal gains treatment. Google now runs in excess of 10,000 data-driven tests each year in order to reveal small weaknesses and enable small improvements. Every little helps. One such experiment found that by tweaking the shade of the Google toolbar from a darker to a lighter blue, it increased the number of click-throughs. This marginal change meant big bucks.

Marginal gains were not invented by Formula 1 or cycling. They have a long history in engineering and

SPORT AND BUSINESS

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SPORT AND BUSINESS

“Blame kills risk. If you tell an F1 driver not to crash or else, they’ll comply and brake early. But you’ll never win a race” what used to be known as good old-fashioned research and development. In other words: trying something new – innovating – and then refining the results little by little until you come up with something that performs better.

Nothing-new-under-the-sun sceptics also note that this approach has clear links with the Japanese concept of kaizen or “continuous improvement” – enhancing every little thing in the manufacturing process.

Nick Fry was the CEO of the Mercedes F1 team and is best known for winning the World Championship in 2009 with near-penniless underdog Brawn GP (after Honda had pulled the plug in 2008). He had big corporate jobs with Ford and Aston Martin outside sport before entering F1 and was fascinated to see what there was to be learned. “My first impression was how unruly meetings were,” he recalls. “No agenda or etiquette – just a free-for-all. They even threw paper about. But what impressed me above all was their entrepreneurial drive, their speed of decision-making and a risk appetite that would never be possible in a corporate environment.

And it was often their own money they were risking.”

Interestingly, Fry is sceptical about the philosophy of marginal gains. “Marginal gains is just doing your job properly – the day-to-day stuff. It’s the bigger picture that’s fundamental.” Marginal gains may matter but game-changers transform. He continues: “The number one priority that business should learn from F1 is this: get the best people. The best driver, body engineer, IT, accountants. And it’s not about paying them more. They

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get the same, they’re just good at what they do.”

And how you treat those people, says Fry, is critical.

“Don’t ever blame. Blame kills risk. Things will always go wrong and while you cannot have the same mistake happening repeatedly, F1 isn’t a hire-and-fire business.

You have front-line engineers who have worked together for 20 years. If you tell an F1 driver not to crash or else, they’ll comply and brake early. But you’ll never win a race.” People are key to everything: a fast F1 pit stop (the record is 1.92 seconds for all four wheels) isn’t just about endless practice – it’s also down to trust and fellowship between colleagues.

Next? “Accountability. Right down to your interns.

Give people a proper job and get them aligned. In big companies you see far too many people second-guessing what the boss wants. In F1, it’s simple – you want to win.

You never, ever want to be second-best. There’s no hiding place every Sunday.”

Fry now travels the world on the lucrative speaker circuit and works with e-sports business Fnatic. And he consults, which must be scary for his clients. He laughs: “I would not dream of telling them what to do.

I just try to understand their problems and give them a bunch of ideas to consider that worked for me.” And he’s actually scathing about Formula 1’s broader business sense. “Collectively, the teams don’t function well.

They’ve done a poor job on marketing. It needs more colour, action, drama, and it just hasn’t modernised like cricket. One and a half hours is far too long for a race.

EDWARD JAMES

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SPORT AND BUSINESS

But its weakness is that the winners will always want to maintain the status quo.”

Formula 1 is about teams but golf is, for the most part, a solo effort. It’s in the area of psychology and individual performance that golf has been influential in business – and not just because so many deals have traditionally been sealed by the 18th green.

Back in the 1970s, Timothy Gallwey launched his Inner Game series of books with The Inner Game of Tennis, dedicated to his spiritual adviser, Guru Maharaj Ji, leader of the Divine Light Mission. It sold over two million copies in the US alone. Gallwey, who had become familiar with meditation techniques to improve his powers of concentration, pushed things even further with The Inner Game of Golf. His was a gentle, thoughtful voice that used both science and metaphor to promote the notion that top performance and mental equanimity would emerge if tennis and golf players could just get a grip on anxiety and negative self-judgements. One of his favourite expressions is, “When we plant a rose seed in the earth, we notice that it is small, but we do not criticise it as ‘rootless and stemless.’”

On court or in the office, players had to get over the legendary “screaming abdabs”, the insistent voice in the head that expressed doubt. “People have more potential than they think they do,” he has said. This applies both in sport and business. With his mantra, “Performance

can be enhanced either by growing ‘p’ performance or by decreasing ‘i’ interference,” Gallwey is the true godfather of the modern coaching movement. At 81, having worked with huge corporates such as Apple, AT&T, Coca-Cola and Rolls-Royce, he is still on the motivational circuit.

Much of what Gallwey advocates is in line with what we now term “mindfulness” – a deeper psychosomatic awareness that is of as much value to performance in the boardroom as it is to your golf swing. This is about allowing the body and mind’s innate intelligence to be freed up and properly focused. Getting “into the zone” is another oft-heard expression.

Getting into the minds of professionals and teams is what Pam Billinge and her unusual business Equest is all about. The company’s website is straightforward about what its programmes offer: “We help companies develop more effective leaders. We do this with horses and a team of experienced facilitators. The horses do the coaching.”

Equestrianism can apparently teach business a great deal: “A horse isn’t taken in by our public masks, how we want others to see us or how we want to see ourselves. To lead a horse requires authenticity. Without authentic leadership a horse doesn’t feel safe. And when a horse doesn’t feel safe it will let you know. The flick of a tail, the movement of a hoof. Small gestures that might go unnoticed to the untrained eye but not to a trained facilitator. Working with horses enables us

Much of what he advocated is now termed “mindfulness”, a deeper psychosomatic awareness that’s as valuable to performance in the boardroom as it is to your golf swing

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SPORT AND BUSINESS

MAYFAIR, NOT MAYDAY.

Big Pilot’s Watch Edition “Boutique London”. Ref. 5010: Nobody wants to hear mayday while up in the air, but watch lovers prick up their ears at the bare mention of Mayfair these days: In IWC Schaffhausen’s boutique in this part of London, a one-of-a-kind Big Pilot’s Watch has just made its landing. The blue dial and strap, as well as red and white details on the hands, represent the colours of the Union Jack. The limited production of 138 numbered watches hints at the address on New Bond Street, where this spectacular avia-

tor’s timepiece is exclusively sold. So you better fly over to Mayfair today and strap one of these rare beauties to your wrist.

IWC . E N G I N E E R E D FO R O R I G I N A L S .

Limited edition of 138 watches · Mechanical IWC-manufactured movement 52010 calibre · Pellaton automatic winding · 7-day power reserve · Power reserve display · Date display · Soft-iron inner case for protection against magnetic fields · Screw-in crown · Small hacking seconds · Sapphire glass, convex, antireflective coating on both sides · Glass secured against displacement by drops in air pressure · Special back engraving · Water-resistant 6 bar · Diameter 46.2 mm · Stainless steel

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

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SPORT AND BUSINESS

to unearth those self-limiting beliefs that would have us lead ourselves from a place of fear, self-doubt or manipulation.” To some businesses – not to mention employees – this may sound like the stuff of HR awayday nightmares, but plenty of serious operators have bought into it, including Nationwide Building Society, management consultants AT Kearney, the London Business School and MAN Truck & Bus. Billinge, who trained as a psychotherapist and coach, says, “It sounds quite mysterious but I know it works. I once had a pretty macho group of senior men and one woman from a retail group. From the first introduction, the horses picked up on the tension and started playfighting and intimidating each other. The colour drained out of the group, who thought they were going to be sent in to sort it out. They were curious about the dynamic in the arena. Then one said, ‘That’s like us.’ They ended up talking more openly than they had ever done about leadership and bullying. You achieve a lower level of resistance and defensiveness. That’s one of its powers.

They make of it what they will. I don’t interpret.”

Billinge’s and Fry’s focus on people is echoed by Simon Mottram, the founder of upmarket cycling brand Rapha, which, 18 months ago, was sold to the heirs to the Walmart fortune for £200 million. “It’s all about human beings, not technology,” he declares, adding that there are four main things that business can learn from sport: “The first is mission and a clear sense of purpose. You have to know in crystal-clear terms what you are trying to achieve. Secondly, you must never stop measuring how the actual performance of your business stacks up against the mission. Data gives you that lens. How many businesses relentlessly monitor their KPIs? Thirdly, a sense of having a foe to defeat. I love this. Sometimes I think we lost that a bit at Rapha and I want it back. Of course, we don’t want every rival brand to disappear but the benefit is powerful and it allows you to make instinctive decisions. Fourthly, professional sport has an amazing connection with a broad public: its ritual, its folklore, its DNA, its spectacle.”

This is undoubtedly true. It’s all about bread and circuses, as Juvenal wrote in the 2nd century AD. This is acknowledged by Christopher Satterthwaite, who, having begun his career at HJ Heinz, recently stepped down as CEO of Chime, the international sport, entertainment and communications group. “Welcome to the experience economy,” says Satterthwaite. “Disney understands it, as do the best sporting events. Look at the Madrid Tennis Open, where, for example, women can get their hair done while watching Nadal. Goodwood gets it, as does Wimbledon. Retailers have learned from sport – just look at how Apple does retail, with its understanding of the theatre of a store and the drama of a new product announcement. Next has learned drama whereas maybe M&S has still to pick it up or re-find it. You have to turn customers into fans. Look at the whole artisanal movement and the way, for example, micro-breweries are into the theatre of beer production. It’s a restless sense of innovation that sport possesses – cricket launches 20/20, rugby goes with sevens.”

What sport offers to its constituency is drama, involvement and unpredictability. Gambling on its

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Sport displays many qualities that business seeks to emulate: skill, diligence, teamwork, strategy, resilience

outcomes, after all, is a huge industry in itself. There is no more compelling stakeholder than a committed sports fan. Satterthwaite acknowledges that few want or expect such excitement from a tin of Heinz baked beans.

Yes, through marketing and advertising you can imbue a product with character, but the intellectual property itself hasn’t changed in 118 years.

There are drawbacks to working the sport/business knowledge transfer too hard. The main one is that it’s not necessary for every company in business to be a winner. The final of the 100 metres in the Olympics might be winner-takes-all, zero-sum-game, but selling consumer goods usually isn’t. Samsung, Apple and Huawei can tough it out for top spot and still do very nicely. Sainsbury’s managed perfectly well trailing behind Tesco during the Noughties. (And indeed, Tesco came a cropper for running their business far too hot, which led to disgrace, a plummeting share price, and even the attentions of the Serious Fraud Office.)

Sport displays many qualities that business seeks to emulate: skill, diligence, teamwork, strategy, resilience.

But pushing it to the limit, whether by marginal gains or lack of ethics, can lead to the poor behaviour and complete disregard for standards of corporate governance that were exposed in the FIFA bribery scandal, the numerous doping instances in cycling and ball-tampering in cricket.

The action of sport is time-limited to 90 minutes, 18 holes or one mile and four furlongs. It isn’t the relentless grind of the nine-to-five in an office or factory. This is the world in which normal businesses operate. Nick Fry admits that after Formula 1, “Most people find it very hard to go back into mainstream business. The slow pace of change is almost impossible to adapt to.”

To excel at sport, one cannot – as an individual competitor or a team – be half-baked when it comes to discretionary effort. But businesses are often enormous, and cajoling a workforce of thousands to operate consistently at a peak level, cranked up, Spinal Tap-stye, to 11, is entirely unrealistic, however much that particular business’s leaders might wish it. Sport and business may have a great deal in common, but in business there’s more than one winner.

SPORT AND BUSINESS

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MARY QUANT

A MINI REVOLUTION Words by Paula Reed

As two major exhibitions celebrate Mary Quant, Paula Reed describes the fashion and cultural influence of the ultimate Swinging London designer, while friends, fans and commentators explain what she meant to them

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MARY QUANT

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MARY QUANT

Sixties London was a city of, and for, the young. Creative energy, a new sense of autonomy and a taste for rebellion didn’t just drive a wedge between generations, it jimmied the gap unbridgeably wide. As the Daily Telegraph commented at the time, “Youth had captured this ancient island and taken command in a country where youth had always been kept properly in its place.”

This new London “society” was a heady mix of singers, actors, models, hairdressers and designers. And among the designers, Mary Quant was a trailblazer of the new creative class – a quietly spoken commercial powerhouse with cover-girl charisma. In 1962, Vogue called Quant and her husband Alexander Plunket Greene the “ultra front room people”.

In the ’60s, fashion was more than a passing fad. It was a call to action.

Mary Quant’s career epitomised London in full swing. The city was the crucible of what Vogue editor Diana Vreeland dubbed the “youthquake”, the impact of which would radically alter the landscape of Europe and America. In the ’50s, wardrobes were dictated by Paris couturiers and designed for 30-year-olds. The shops were full of matronly clothes: black dresses, twinsets and pearls. Mary Quant said in her biography, “To me, adult appearance was very unattractive. I wanted to make clothes that were fun to wear.” She was one of the first designers to realise that her customers didn’t want to dress like their mothers. And she made clothes for them that their mothers would have looked ridiculous in.

Quant opened her first shop, Bazaar, in 1955 in the Kings Road, the promenade for London’s competing style tribes. Unable to find the clothes she wanted on the wholesale market, she soon took to making them herself. Working from her bedsit, she fast-tracked her skills with a few frantic evening classes in cutting and, unaware that fabric could be bought wholesale, invested in materials at Harrods haberdashery.

Quant’s designs were an instant success. Within days of re-stocking, she had next-to-no merchandise left to sell. Her customers routinely stripped the store, often while she was dressing the windows. As she recalled in her biography, “People were sort of three-deep outside the window. The Royal Court Theatre people were mad about what we were doing. And it was very much the men who were bringing their girlfriends around and saying, ‘This is terrific. You must have some of this!’”

The young entrepreneur had a shrewd instinct for social change. And word soon spread beyond the “Chelsea set”. Her clothes became regular staples of magazine spreads, devoured by fashion followers in search of new trends. In this new world, the ’50s fashion categories of “formal” and “casual” ceased to have any meaning. As if to illustrate the point,

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a 1960 issue of Vogue photographed Mary Quant’s dark-striped pinafore with a black sweater for day, and on its own for going out to dinner.

Quant took her inspiration from the utilitarian outfits she’d worn as a child at school and at dance classes. She styled short tunic dresses with tights in bright, stand-out colours – bright scarlet, zingy orange, lush purple. And taking a leaf from the playbook of another irreverent trailblazer, Coco Chanel, she raided men’s wardrobes, reinventing comfy cardigans that were just long enough to wear as dresses, and using white plastic collars to finish sweaters and dresses.

Her meteoric success was built on a perfect storm of demographics and cultural change. An increasing number of women were joining the workforce and had independent means. And they alone decided where their money was going. As fashion historian Colin McDowell noted, “Her customers had considerable spending power because clothes were at the centre of their existence.” The new boutique customer dressed simply to have a good time.

There is still controversy as to whether it was Mary Quant or French designer André Courrèges who invented the iconic 1960s miniskirt.

Courrèges insists, “I was the man who invented the mini. Quant only commercialised the idea.” Quant’s response was typically chilled: “I don’t mind but it’s just not as I remembered it… Maybe Courrèges did do miniskirts first, but if he did, no one wore them.” Famously, she named the skirt after her favourite car, the Mini Cooper. And regardless of official authorship, extremely short skirts and shift dresses rapidly became Quant’s trademark, and were popularised by the era’s poster girl, Twiggy, whose willowy figure helped turn super-short hemlines into an international trend.

Quant’s success was a harbinger of Britain’s potential as a global fashion superpower. By 1966 (when she was still only 32) she had been summoned to Buckingham Palace to accept an OBE. She had launched her own make-up line. She had added a collection of hosiery and underwear to complete the miniskirted Quant wardrobe. And she had spearheaded the export of the London Look in the US, reaching thousands of American girls through a partnership with JC Penney before the Beatles had even made it Stateside. Her models, wearing thigh-length dresses, stopped the traffic on Broadway. All over the world, Mary Quant became the byword for contemporary British style.

Mary Quant opens at the V&A Museum, London SW7 on 6 April; Swinging London is at the Fashion and Textile Museum, London SE1, until 2 June.

BMW GROUP ARCHIVE; DA PRINTS; INTERPHOTO ALAMY STOCK; GETTY IMAGES

Opening pages: Mary Quant’s Carnaby Street shop; designer and models pose at the launch of her footwear collection in 1967. These pages, clockwise: the Mary Quant Beauty Bus, 1971; Mary Quant at home in 1967; George Harrison and Pattie Boyd

MARY QUANT

JASPER CONRAN Designer “When my mother [Shirley Conran] was pregnant with me, she had a very smart grey Christian Dior pleated flannel skirt. Mary took it, added a bib and made it into a maternity smock, so from the outset I was covered in Mary Quant and Christian Dior. Alexander [Mary’s husband] was my godfather – a wonderful, hilarious man. Mary democratised fashion. She gave young people what they wanted. She was there at the right time in the right place with the right ideas.”

PATTIE BOYD Model From her memoir, Wonderful Tonight: “I bought a Mary Quant pinky-red shot-silk dress [for her wedding to George Harrison], which came to just above the knee, and I wore it with creamy stockings and pointy red shoes. On top, because it was January and cold, I wore a red fox-fur coat, also by Mary Quant, that George gave me. She made George a beautiful black Mongolian lamb coat.”

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“Mary Quant’s work defined an era – she pioneered some of the Sixties’ greatest trends and democratised fashion” – Tommy Hilfiger

TOMMY HILFIGER Designer

BARBARA HULANICKI Designer

“England was home to my favourite rock ’n’ roll icons, and their stage looks mostly came from incredible design partners in London. That’s what led me to visit the city for the first time. I had heard about Mary Quant’s iconic designs – I was just starting my business as a fashion designer and loved how she revolutionised not only fashion for women but also her approach to retail. Mary Quant is a fashion icon whose incredible work defined an era.

She pioneered some of the Sixties’ greatest trends and democratised fashion. I first visited London in 1972. I would walk up and down the King’s Road every day, going into the most incredible jeans shops and boutiques, and being inspired by what everyone was wearing. The Brits were so much more stylish. Their flares were wider at the bottom.

Their jackets were more squared at the shoulders. They wore scarves. They all looked like rock stars!”

“I met Mary Quant when I was working as a fashion illustrator, around 1962, and I was asked to go along by Women’s Wear Daily and draw a skinny jumper she’d done.

She was lovely, and her husband was amazing – I think he gave her amazing strength. She got tremendous press, and she did do lovely shapes, but you didn’t see her stuff in the streets so much. Her clothes were for debs. It wasn’t mass market – for the secretaries and shop girls. Of course I was always more into the vintage look, but I think she was great.

And she was amazing with her cosmetics. I remember when we [at Biba] first went to talk to cosmetics manufacturers it was really difficult – they just wanted to make the same three coral lipsticks and you really had to fight them to get them to make brown lipsticks or anything new. I admired her courage – she was way ahead of her time.”

HILARY ALEXANDER Fashion editor “I remember making a Mary Quant design from a pattern – a mini-dress with an A-line skirt in white with a black zip down the front. And I wore it when, as a young reporter in New Zealand, I was trying to get an interview with the Rolling Stones, who were touring at the time. They were staying in a hotel in Wellington and I somehow managed to get in with a friend of mine. I remember Keith Richards came up to me, pulled down the zip and said, ‘Very nice!’ and then zipped it up again and walked away. Mary Quant will of course be remembered for popularising the mini skirt and for inventing hot pants – I think those were her two main things. But she was brilliant at merchandising – at projecting this image, with the haircut by Vidal Sassoon and so on, and using that to market everything from tights to make-up, all with the daisy logo, which was very big. I think, like Pierre Cardin, she was very good at conveying a sense of the future. She was very much part of that swinging London moment, with David Bailey and Twiggy and the Beatles.”

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Above: Quant and husband Alexander Plunket Greene in 1960. Right: Twiggy, models a Mary Quant mini-dress in 1966. Left: Quant pioneered fashion’s move into cosmetics

TERENCE PEPPER COLLECTION ©JOHN COWAN ARCHIVE; GETTY IMAGES; ADVERTISING ARCHIVES

MARY QUANT

MARY QUANT

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MARY QUANT

“I remember Mary’s shop, Bazaar. Conran did the interior… and her husband’s restaurant was below. It was like a club. I went all the time” – Nicky Haslam

interview Mary Quant and she was charming, really lovely to me. She gave me a little black skirt that I held on to for ages. What I remember was the freshness and modernity and bold colours. You have to remember that fashion and beauty were so much more middle-aged then – those scary women selling cosmetics in department stores. Mary Quant offered a real alternative to what there had been before. I remember Quant as a beauty brand as much as a fashion brand. I had one of her make-up palettes, with the daisy, of course... I think I still have it. Combining it all – the clothes, the beauty, the whole brand - was very clever and ahead of its time. And of course it was all very London: the beginning of the whole Swinging London thing. I remember walking down the King’s Road, gazing in the window of her shop at Markham Square. And I wore minis, of course! But I had a very strict father, so my miniskirt had to be hidden when he was around.”

CARYN FRANKLIN Fashion academic, broadcaster and commentator “I’ve spoken to Mary a couple of times in the past and what really struck me was her desire to democratise fashion and give her generation great clothes that were entirely different from her mother’s generation. She created an image that was very much about a generation taking control of what they wanted to say about themselves and the way they wanted to look. She drew on the future, as opposed to channelling ideas of traditional femininity, so there were none of the drawn-in waists or conical busts of the ’50s. It was much more about pared-down, bold, square shapes – more androgynous. There was nothing that alluded to historical tailoring or tricksy pleats or folds.

This is what the ’60s brought to female dressing – it wasn’t a grand, class-based projection of femininity that required wealth. Her portrayal was almost classless, and connected with what life could be for young women: a career, having fun, spending money on themselves. It makes sense that punk fashion included references to the ’60s, because it was anti-establishment and against traditional ideas of femininity and ‘please like me’ clothes and beauty.”

Above: Swinging London hairdressing icon Vidal Sassoon puts the finishing touches on Quant’s trademark five-point bob in 1964

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NICKY HASLAM Designer “It all began in the Fifties for Mary Quant rather than the Sixties. I remember Bazaar: Terence Conran did the interior, and the sign on the door said ‘Contract by Conran, pizazz

by Bazaar’. Mary’s husband Alexander had a restaurant below the shop. I used to go there all the time – it was like a sort of club. That whole Chelsea set used to go there: Caroline Coon, Mark Sykes, Jane Vane-Tempest-Stewart, and what was called the English Boy, these beautiful, lanky, long-haired, string-beans toffs who were models – Chrissie Gibbs, Hercules Bellville, Mark Palmer; there were about six of them. Alexander was very funny – witty and sardonic.

Mary was very sweet, rather gentle. We didn’t talk about brand back then but Quant was so strong, she became a brand. The make-up came later. We were amazed when she branched into make-up, because no one had really done it in England before. We had Yardley and that was about it.”

BEL MOONEY Writer and broadcaster “When I bought my first long black dress for a university ball in 1966, I customised it by stitching daisy braid around the empire bust-line. When I sewed my own mini-dresses, I added fresh white collars and cuffs. When I got married in 1968, I wore a purple flowery needlecord dress and coat with a distinct look of Mary Quant. Of course! I copied her style from magazines and set the Singer whirring. Quant was the high priestess of fashion. Sadly, all I could afford by her was a black shiny powder compact with that iconic white daisy on it. How clever she was! Branded merchandise is the norm now, but back then it was unusual – and it gave us ordinary girls the chance to own a Quant ‘original’. Even though it was made of plastic, it moved us up the style ladder from Rimmel and made us feel modern, chic and, above all, cool. Ah, those were the days, my friends…”

©RONALD DUMONT/STRINGER/GETTY IMAGES; THE DAISY DEVICE CID:IMAGE004.PNG@01D4A82E.8D0DF090 IS THE REGISTERED TRADE MARK OF MARY QUANT LIMITED

EVE POLLARD Editor and broadcaster “In 1968 I was working at Honey magazine. I went to

MARY QUANT

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This spring, jumpsuits, flying jackets and combat trousers abound, reworked in tailored cuts and luxurious fabrics. So where better to put the ultimate utility chic look through its paces than the Goodwood Aerodrome‌ Welcome to the real-life project runway

H I G H FASHION Photographer Roger Rich

Stylist Florrie Thomas

Art direction Lyndsey Price

P.51: navy leather jumpsuit, £2,120, by Yves Salomon, yves-salomon.com; silver ‘Cutwalk’ crocodile-effect leather cowboy boots, £980,

by Fendi, fendi.com; smooth chunky silver ring, £230, and ‘Knot’ silver ring, £285, both by Ming Yu Wang, mingyuwangnewyork.com P.52-53: (left) blue wool top, £349, by BOSS, boss.com; (right) ‘Zippy Safari’ brown wool jumpsuit, £995, by Zimmermann, zimmermannwear.com; ‘Noomi’ technical belt bag, £355, by Isabel Marant, available at matchesfashion.com; olive green calf leather pumps, £520, by Bottega Veneta, bottegaveneta.com P.54-55: red cotton canvas jumpsuit, £3,645, by Hermes, uk.hermes.com; pink suede boots, £625, by Malone Souliers, malonesouliers.com P.56-57: (left) pink cotton utility trousers, £490, by JW Anderson, and beige cotton shirt, £345, by Isabel Marant Etoile, both available at matchesfashion.com; rings, as above; (right): cotton jacket, £905, cotton trousers, £545, cotton crochet top, £635, and leather belt, £198, all by Alberta Ferretti, albertaferretti.com; black calf leather snow boots with heated soles, £1,295, by Jimmy Choo, jimmychoo.com P.58-59: nylon jumpsuit, £429, by Polo Ralph Lauren, ralphlauren.com; silver ‘Cutwalk’ crocodile-effect leather cowboy boots, £980,

by Fendi, fendi.com P.60-61: (left) ‘Alma’ sand twill jumpsuit, £1,080, by Stella McCartney, available at Harvey Nichols, harveynichols.com; (right) belted denim jumpsuit, £1,020, by Prada, available at mytheresa.com; ‘Mock’ red leather biker jacket, £1,200, Acne Studios, acnestudios.com Hair LUKE BENSON at FRANK AGENCY, Make-up SHAMA SAHZAYASIN, Photographer’s Assistant JAMES REES, Stylist’s Assistant FLORRIE ALEXANDER, Model LEILA ZANDONAI at NEXT MODELS.

Shot on location at Goodwood Aerodrome. Visitors to the Aerodrome have the chance to fly in the 1943 historic Harvard (pictured above and on pages 57–59), renowned as the training aircraft for Spitfire pilots during World War II. For more details go to goodwood.com. With thanks to SportAir, sportair.co.uk

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BAUHAUS

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S U A H S U E A B M O Y C T H O T IG L B Words by Stephen Bayley

The influence of the Bauhaus art school, founded 100 years ago in Weimar, Germany, can be seen the world over – those cool, modernist lines even made it to the Sussex coast 65

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Opening page: the Isokon Building. Right: De La Warr Pavilion. Below: Walter Gropius in 1928; JM Richards’ 1948 book depicting Sea Lane House; Impington Village College

Professor Otto Silenus made his first appearance in this country in 1928 on the pages of Evelyn Waugh’s Decline and Fall. To Waugh, he was a ridiculous figure of fun: a dementedly serious and humourless German architect, commissioned by socialite Margot Beste-Chetwynde to design “something clean and square”. He had attracted her attention when his designs for a chewing-gum factory in Hungary, never built, had been reproduced in a progressive quarterly. Waugh facetiously explains Silenus’ design philosophy: “The problem of architecture as I see it is the problem of all art – the elimination of the human element from consideration of form.” Soon after her house was built, a horrified Mrs Beste-Chetwynde promptly demolished it.

The second appearance of Professor Silenus was on 18 October 1934 when Walter Gropius, escaping Nazi Germany, arrived at Victoria Station. For Gropius was almost certainly Waugh’s model. He was the director of the Bauhaus, an art school, founded in Weimar in 1919, which then moved to a remarkable building Gropius designed in Dessau, a small town in Saxony-Anhalt. Shut down there by restive authorities concerned about its “bolshevism”, the Bauhaus then moved briefly to a disused factory in Berlin before the Gauleiters finally put the jackboot in. That was 1933.

The Bauhaus was not just a school, it was an idea. And that idea was, largely, based on a reverence for the machine in the same way Renaissance architects had revered God. Gropius was an officer-class Prussian who came from a family line of architects. His Bauhaus was intended to make “art and technology a new unity”. It was to realise contemporary possibilities to the full – at least as they were understood in the 1920s. To suggest something of Gropius’ austere swagger, unusual vision and mighty confidence, Paul Klee and Wassily Kandinsky were members of his staff.

In London, Gropius had an extraordinary welcoming committee. Philip Morton Shand translated his first lecture at RIBA (the Royal Institute of British Architecture). Shand was a booster of modernism and a much-married oenophile.

And with a nice irony – since her husband is so virulently anti-modern – he was Camilla, the Duchess of Cornwall’s grandfather. Nikolaus Pevsner was in the audience. The year after his 1934 lecture, Gropius published The New Architecture and the Bauhaus. The introduction was by Frank Pick, the inspired public administrator who had made London Transport an international exemplar of modernism.

Fair to say he was a Gropius fanboy.

Jack Pritchard was in the audience too. He was the plywood entrepreneur whose Isokon Flats in Hampstead became Gropius’ London home. The Isokon building was designed by a buccaneering expatriate Canadian architect called Wells Coates. It was the first significant Bauhausinspired building in Britain: a social laboratory, undeniably elitist but communal at the same time. Agatha Christie was another resident and Gropius was soon accustomed to meeting the likes of Henry Moore, Ben Nicholson and Barbara Hepworth at the Isokon’s bar, the Isobar.

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OPENING PAGE: THE MODERN HOUSE. THESE PAGES: AP/REX/SHUTTERSTOCK; COURTESY OF JOHN PARDAY ARCHITECTS; RIBA PIX; GETTY IMAGES

BAUHAUS

Earl De La Warr was a socialist with a taste for statement staircases, industrial lighting, optimism and white render

For the three years he was in London, Gropius was homesick and restless, building little – this hiatus before his eventual move to America is described in Alan Powers’ Bauhaus Goes West, which was published in February of this year, the centenary of Bauhaus’ founding. He did have a hand in two houses built during this time: one in Shipbourne, Kent, for Jack Donaldson, a wealthy socialist who later became prominent in Callaghan’s government, and another at 66 Old Church Street, Chelsea (recently on sale for £45m) for Benn Levy, a Hitchcock scriptwriter and Labour MP. The latter is

still there but was controversially “restored” in 1969.

The spy Anthony Blunt complained in The Spectator that Gropius’ domestic architecture was not “homey”, but John Betjeman, flirting briefly with modernism, defended it, saying Britain needed a Bauhaus all of its own. It never got one, but Gropius did design Impington Village College in Cambridgeshire, open in 1939, a utopian initiative to raise the school-leaving age to 19.

Chelsea’s Peter Jones department store does not have Gropius’ name in the credits, but it is certain he

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dedicated to the therapeutic effects of sun worship.

Also in Sussex was the De La Warr Pavilion in the town of Bexhill-on-sea, designed by Erich Mendelsohn, who also designed a house next to Gropius’ in Chelsea. Earl De La Warr was a committed socialist with a taste for heliotherapy – as well as Vitrolite opaque glass, statement staircases, industrial lighting, optimism and white render.

In 1937 Silenus/Gropius left for America. His greatest monument in New York was the bullying Pan Am (now MetLife) Building of 1963, a dark presence straddling Park

PHILIP HARBEN, COURTESY OF ISOKON PLUS ARCHIVE AND PRITCHARD PAPERS, UNIVERSITY OF EAST ANGLIA

influenced its design since he became close to its architect, the affable head of Liverpool School of Architecture, Sir Charles Reilly. Otherwise, the immediate evidence of Bauhaus building in Britain is surprisingly small, although its esoteric influence was eventually enormous.

At East Preston in West Sussex, Marcel Breuer built Sea Lane House in 1936. Breuer was the Bauhausmeister who designed the famous tubular steel “Bauhaus chair”, popularised by Habitat. A hymn to contemporary living, one wing was raised on pilotis and the entire property was

COURTESY OF ISOKON PLUS ARCHIVE AND PRITCHARD PAPERS, UNIVERSITY OF EAST ANGLIA; COURTESY OF ISOKON PLUS;

Clockwise, from far left: Isokon logo by László Moholy-Nagy; Isokon Penguin Donkey; Isokon Long Chair by Marcel Breuer

BAUHAUS

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Avenue. A more successful testament to the Bauhaus aesthetic is the nearby Seagram Building by his colleague, Ludwig Mies van der Rohe. Indeed, the big irony of the socialist Bauhaus was that its greatest monument was in capitalist America. Similarly, Gropius’ last building in London was the Playboy Club on Park Lane of 1969.

Waugh was not the only writer to satirise Gropius. In 1981 Tom Wolfe published From Bauhaus to Our House – a funny, but supercilious, account of Bauhaus influence. Taking his cue, perhaps, from that Hungarian chewing-gum factory, Wolfe writes that because of the Bauhaus, “Every child goes to school in a building that looks like a duplicating-machine replacement-parts wholesale distribution centre.”

Gropius himself wrote his own Testament in 1933, a full 36 years before he died: “It would be beautiful,” he said, “if all my friends of the present and past would get together in a little fiesta – à la Bauhaus – drinking, laughing, loving.

Then I shall surely join in, more than in life.” Perhaps in this anniversary year, this great, austere, disciplined, visionary man will get the celebration he always wanted.

Bauhaus Goes West: Modern Art and Design in Britain and America by Alan Powers is published by Thames and Hudson

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From top: Sea Lane House in West Sussex; Impington Village College in Cambridgeshire

ALAMY; RIBA PIX

A hymn to contemporary living, Sea Lane House was dedicated to the therapeutic effects of sun worship

BAUHAUS

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T H E H E R B A L I S TA S Words by Charlotte Hogarth-Jones Photography by Jorge Monedero

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For centuries women have turned to herbs for everything from cooking and housewifery to childbirth and folk cures. As research increasingly shows a scientific basis for these “old wives’ tales”, a new generation of women are championing their efficacy

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HERBALISTAS

THE USE OF herbs in cooking and therapies may be timeless, but it’s having quite a moment in 2019. Herbs and botanicals are everywhere, whether in beauty products, health supplements, books – or gin. And at the forefront of the trend is a new wave of herbal enthusiasts – growers, writers, makers and campaigners – many of them women, aiming to re-educate us in the almost magical properties of these plants. Most exciting of all, much of the folk wisdom about the power of herbs is increasingly supported by the latest scientific thinking.

Today, we think of herbal remedies as alternative, but for centuries the plants around us were our only option for medicinal care – apart from magic. Archeological evidence reveals the use of herbs as treatments way back into prehistory, and they appear in writings across the ancient world, from the Greek Hippocrates to the Roman Pliny, and the Indian authors of the early Ayurvedic texts.

For centuries, men had the exclusive voice of authority in medicine. Yet there was often a parallel network of women keeping herbal traditions alive, from nuns working the convent gardens of Catholic Europe to village “wise women” the world over. Their work was complex and sometimes the line between herbal medicine and hocus-pocus wasn’t entirely clear. So if crops failed and misfortune arrived, such women became an easy target, and many in England would be persecuted as witches. Yet their knowledge was vital in a pre-scientific society.

The advent of printing in Europe in the 14th and 15th centuries encouraged a flurry of “herbals” – books seeking to define the qualities and uses of herbs. Published in 1551, William Turner’s A Newe Herball – the first herbal to be published in English – can be seen in part as an attempt to wrest the masculine science of herbalism from feminine superstition, so that readers need not find themselves, as Turner put it, “trustinge only to the olde herbe wives”.

In time, however, women herbalists also documented their knowledge, from Elizabeth Blackwell, who produced her hand-drawn, engraved and coloured A Curious Herbal in 1737, to Maude Grieve, who sought to educate the public on the healing power of plants when medical supplies ran low during World War I, publishing A Modern Herbal, Volumes I & II, which remains a respected text today.

That herbs might be something we turn to even when conventional medicines are available is a recent phenomenon – as what was deemed alternative or hippy becomes more mainstream. This is surely part of a broader shift in the culture, in which all things organic and natural are seen as benign, while the industrial is no longer to be trusted. And the scientific world is now realising that those “old herbe wives” might have been on to something.

Recent studies have shown that rosemary – long prescribed by herbalists for memory loss – does seem to improve memory, acting in the same way as the current drugs that are prescribed to treat dementia. Meanwhile, Chinese research showed that thyme oil inhibited some cancer cells and showed strong cytotoxic (toxic to cells) properties against some prostate and lung cancer cells.

The conditions are perfect, then, to revive our old herbal traditions, combining time-honoured remedies with sophisticated modern research. And once again, women are at the forefront of a broad movement exploring and championing the diverse ways herbs can improve life.

Let’s meet some of these – the new herbalistas.

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Opening pages (left) yarrow, one of the oldest medicinal plants known to humankind; (right) Maya Thomas on Barnes Common, which has a profusion of herbs with healing properties.

Right: Anna Greenland in her greenhouse in rural Suffolk

This is surely part of a broader shift in the culture, in which all things organic and natural are seen as benign, while the industrial is no longer to be trusted

Anna Greenland, 37 THE GROWER HERBALISTA “Being into herbs is super-trendy now,” says organic grower and herb consultant Anna Greenland. “‘Botanical’ has become a bit of a buzzword, remedies are all over Instagram, and I’ve even been asked to do some consultancy for drinks companies that want to liven up their products. But when I got into herbs about ten years ago, people were asking, ‘Oh my god, what’s happened to Anna, is she OK?’ It was like I’d lost my way somehow.”

Greenland came to herbalism by chance, when, at the age of 23, she moved to a cottage on the north coast of Cornwall to live with her surfer boyfriend. “I worked for a local radio station, which wasn’t very exciting, and we had a little garden, so I started playing around with growing stuff, just for us.” Shortly afterwards, in 2006, Jamie Oliver’s restaurant, Fifteen Cornwall, launched in the area, and Greenland started doing waitressing shifts there.

“One day I was talking to people at work about what I was growing, and I asked if they would consider taking some of it. They said yes and from then on I just got the bug.”

Greenland would work in her garden during the day, harvest for the restaurant in the evening, and then

serve her produce to customers that night. Soon she was tasked with creating a large-scale herb garden for Soho Farmhouse in Oxfordshire, and she went on to consult for big-name chefs such as Tom Aikens and Raymond Blanc.

“As well as the health benefits, I began to understand the sensory value of plants,” she says. “People would be walking through the gardens at Soho Farmhouse and smell or touch the plants. When I did a herb garden at Hampton Court last year it was the same; there was a huge amount of interest in a tiny little patch – people just didn’t realise how beautiful herb gardens could be.”

Today, Greenland runs workshops all over the country, attracting everyone from older locals to a trendy urban crowd – arguably more keen on “making nice Christmas presents for people” than pursuing herbalism as a longterm life choice. “I do think our generation is going back to a lot of homestead-y stuff,” she says. “Fermenting, pickling, foraging… there’s a definite desire to get back to our roots. It’s a natural reaction to the unhealthy culture that’s built up, especially as it’s increasingly clear that the drugs don’t always work. If you look at the old herbals, the remedies were essentially food: mainly things like nourishing broths or stews with a lots of herbs – and that’s something that’s still so easy to do today.”

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HERBALISTAS

Maya Thomas, 36

THE ACTIVIST HERBALISTA

Above: Maya Thomas believes that “it’s time to give women their rightful place in the history of herbalism”

FURTHER READING theherbalacademy.com/herbalism-a-history A comprehensive introduction to herbalism. broughttolife.sciencemuseum.org.uk Brief, well-written entries on everything from wise women to herbalists across Europe. herbsociety.org.uk Using herbs for health and wellbeing.

Superherbs Recipes, remedies and beauty treatments.

The Kew Gardener’s Guide to Growing Herbs A practical guide to starting a herb garden, brought to you by the Royal Botanic Gardens, Kew.

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“I was in my late twenties, living in London, and struggling with life,” explains Maya Thomas, a selfconfessed “herb evangelist” who came to herbalism after suffering from a bout of ill-health. “I had hormonal imbalances, polycystic ovary syndrome, general fatigue, and I was told I could either go on antidepressants or the pill. For me, those things aren’t a cure – they just mask the symptoms, so I started to look into the alternatives.”

Thomas tried everything from reiki to acupuncture before making the decision to move up to live on a Scottish estate in East Lothian that historically had belonged to the Balfours (Eve Balfour was a founder of the Soil Association), so perhaps it was inevitable that she would eventually turn her attention to the earth.

“My mum’s Sri Lankan and growing up in the countryside she’d always believed that herbs were the cornerstone of every good meal,” she says. “Her herb garden had been a place of sanctuary for me as a kid, and as I began experimenting with my own I realised that I was reconnecting with nature – and healing myself of something deeper.” It wasn’t long before she had embarked on a course in Edinburgh under the tutelage of herbal pioneer Catherine Conway-Payne. “Before I even had my interview, I knew what I wanted to do,” she explains. “I wanted to focus on endochronic health and herbs for women. I did that and it changed my life.”

Today, Thomas describes herself as being part a “herbal network” of people who are passionate about herbs, and she has worked across a plethora of projects – with beauty brand Weleda, spending time at the Chelsea Physic Garden and more recently at Ballymoe’s celebrated cookery school. Next up for Thomas: writing a culinary history of herbs with Anna Greenland (see previous page), launching a podcast (which she is calling The Modern Herbal in a nod to Maude Grieve), and giving a series of lectures at the Royal Botanic Garden Edinburgh – designed to reclaim women’s leading role in the historical herbalist canon.

“It’s time to give women their rightful place in the history of herbalism,” Thomas insists. “Both those who had access to formal education and those that simply kept the tradition alive through their traditional role as nurturers and carers in their communities.”

Thomas believes that for herbal medicine to be most effective, we need to move away from the modern approach of looking for a “quick fix”. Herbs work for different people in different ways, and incorporating them into your regular diet is the easiest way to use them. “I make herbal pestos, herbal teas,” she explains. “When I feel a bit of a cough coming on I start mainlining sage tea like it’s going out of fashion.”

But despite her belief in the healing power of herbs, Thomas is also quick to recognise their limitations.

“People who get into herbal medicine often go through a stage of thinking modern medicine and Big Pharma are awful,” she says. “But I always say that if you get hit by a double-decker bus, no amount of comfrey is going to help you! We need to marry both these elements, so if someone is suffering from, say, depression, then you can take a two-pronged approach to treatment.”

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Nat Mady, 31

THE URBAN HERBALISTA Unlike Thomas and Greenland, Nat Mady came to herbalism via an urban environment. “I was moving in with some friends in Hackney and we wanted to meet people in the area,” she says, explaining how she came to join the local community garden. “At that time I was working full-time as a structural engineer, but in my spare time I started to get involved, and I began to understand how beneficial those spaces were to other people.”

The gardening crowd was a mixed one – couples with children, elderly people – and an incredible range of herbs was grown, thanks to the variety of different nationalities tending plots. “We didn’t really know what we were doing,” says Mady, “but we managed to get some funding to run workshops, and there was a lot of excitement around that.” Hackney Herbal, as it was called, had begun, and soon the local council began to notice the benefits, not only of people learning how to self-medicate, how to create products and use them for their health, and how to swap different cultural remedies, but also of attendees

From top: Nat Mady; kale, used by the ancient Greeks to remedy stomach ailments

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spending time in the fresh air, and having positive social interactions. Mady and others began to dry the herbs and sell them to a local café as teas, and by 2014 she was ready to leave her job and take the classes to a wider audience.

“My mum is a biology teacher and my dad is a doctor, and I think he thought, ‘Let’s see how long this lasts,’” she says. “He’s from Egypt and even now I have strong memories of his mother giving me chamomile and fennel tea as a child, so this knowledge is in his culture, too – even if I have to tease it out of him. They’re really supportive now – I think the concept of a social enterprise is quite new, and it’s harder for their generation to grasp.”

Hackney Herbal now runs six-week classes at the Hackney Centre for Better Health, a community hub where people with mental health problems can attend courses on everything from art therapy to yoga and ceramics.

Attendees at Hackney Herbal classes learn a variety of skills, including how to make herbal teas and their various properties (digestion, respiratory, congestion); how to make herbal bandages by rubbing yarrow, which can help with healing and blood clotting, into wounds, and then wrapping them up with plantain leaves; how to make a cough syrup and an antibacterial cleaning product.

“The feedback we get is always really good,” she says.

“People get really excited by making things themselves that they can take home – what they’re learning is good for their health, and they’re also building relationships with others over the past six weeks. They can have a rough day, and come to the course, and know that they’ve achieved something – we’re trying to remove the myth that you have to be really qualified to do this stuff.”

Hackney Herbal’s courses are now oversubscribed, and the group now runs private ticketed workshops for brands, with profits going towards keeping their mental health courses free and their public event ticket prices down. “The most important thing,” says Mady, “is that people are starting to challenge the received wisdom, whether it’s from politicians or doctors, about what is and isn’t healthy. They’re also starting to turn against instant gratification in favour of achievements that can take a lot longer, but are ultimately more rewarding.”

EDWARD JAMES

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The value of investments may fall as well as rise and you may not get back the amount originally invested. © UBS 2019. All rights reserved.

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SPEED RACERS 80

NASCAR has transformed US stock car racing from its lawless, moonshine-running roots into a billion-dollar industry‌ with the help of an epic trackside dust-up between drivers Words by Liz Clarke

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NASCAR

IT WAS THE GREAT FORTUNE of NASCAR founder Bill France that a snowstorm blanketed much of the northeastern US the weekend of the 1979 Daytona 500. The upshot of this – on the occasion of the first live, flag-to-flag broadcast of a NASCAR race on national network TV – was that a largerthan-expected audience got a riveting dose of the highoctane, fender-banging, hell-raising brand of stock-car racing that had until then been primarily a Southern phenomenon.

Just 32 laps into the 200-lap race around Daytona International Speedway’s steeply banked oval, hard-nosed driver Cale Yarborough tangled with brothers Bobby and Donnie Allison. Tempers flared, but all three cars motored on. On the last lap, Donnie led and ducked low to fend off a slingshot pass by Yarborough. Instead of backing off or darting high, Yarborough rammed his bumper, sending both cars spinning onto the infield grass while Richard Petty, running a distant third, sailed by for the victory. The melee, however, was just getting started. As CBS TV cameras rolled, Bobby

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Allison leapt from his car and ran to check on his brother; then a brawl began between Yarborough and the brothers.

The fracas landed NASCAR on the front page of the New York Times sports section. And the lesson for France and the marketing wizards at RJ Reynolds Tobacco Company – who bankrolled the competition as title sponsor of NASCAR’s Winston Cup Series – was that publicity was good for the sport, and controversy even better. Indeed, that wild finish to the 1979 Daytona 500 marked the beginning of a remarkable growth spurt for a humble sport that grew out of the dirt of the American South to become the most popular form of auto racing in the United States, fuelled by fierce rivalries and the visceral thrill for the crowd of watching close-quarters racing at 200mph – with its own distinctive, no-holds-barred appeal, dramatically different in both look and sound to Formula 1.

Formula 1 cars are aerodynamic, high-tech marvels with high-pitched engines that sound like a swarm of wasps, especially when overtaking. Yet overtaking is difficult, contact

NASCAR

Opening pages: Lee Petty leads the 1959 Daytona 500.

These pages, clockwise from right: the notorious fight between Cale Yarborough, Donnie Allison and Bobby Allison at the 1979 Daytona 500; Richard Petty in 1959; Junior Johnson, left, helps tune a souped-up car used to deliver moonshine; drivers Marshall Teague and Herb Thomas pose at the Daytona Beach-Road Course in 1952

is rare – and typically calamitous. NASCAR’s stock cars, by contrast, are hulking, ungainly faux-sedans that weigh more than twice as much and are powered by V8 engines (as opposed to F1’s V6), which emit a deafening, deep-throated roar. Equipped with bumpers, stock cars are designed to run nose-to-tail and withstand contact, whether it’s a nudge to the rear or a side-by-side jostle along those steep banks – whatever is required to pull off a crowd-pleasing pass.

Richard Petty, who is now 81, and who went on to win seven NASCAR championships and a record 200 races during his career, is clear about the lasting impact of the notorious 1979 Daytona 500: “That race woke everyone up. It was exciting for us because we won it, and it was exciting for the fans because they got to see a big brawl. It was the perfect storm – the perfect storm for us to take things to the next level.”

By the time the third generation of the NASCAR-founding France dynasty took over, top drivers were millionaires who hopped from one race to the next in private jets, and track owners were adding grandstands as fast as the concrete would set. But NASCAR’s rise was entwined with the American love affair with the automobile that blossomed in the decades of

prosperity following World War II. And its roots can be traced further back in time – to the wave of Scots-Irish immigrants who had settled in the mountains and hollows that formed a spine through western Virginia, North and South Carolina and Georgia. Many brought with them a tradition of making home-distilled liquor from sugar and surplus corn, which they handed down through generations. They also passed down a deep distrust of government and a disdain for paying taxes on the homemade whiskey that served as liquid currency, even after Prohibition had been repealed, through the lean times of the 1930s and ’40s. So a new profession was born, “moonshine running”, in which brave young men who’d figured out how to wring extra horsepower from a Ford V8 delivered contraband by outrunning the taxmen chasing them over backroads, with the light of the moon their only guide.

Junior Johnson soon became a local legend for his moonshine-running exploits through the North Carolina hills. His automotive smarts and daring behind the wheel translated well to the local dirt-track circuit, where drivers raced on weekend nights on tight oval tracks carved with bulldozers out of the red clay. Johnson, who is now 88, went

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NASCAR

on to win 50 NASCAR races as a driver and field front-running cars as a team owner. And there were scores of hellions just like him throughout the South, with as much personality as nerve, whom locals would happily pay to watch race.

As NASCAR grew in the 1960s and ’70s, the biggest attraction was Richard Petty, the son of three-time champion Lee Petty. Everywhere he raced, Petty would tow his No 43 Plymouth to the track, pull out his black pen and sign autographs until it was time to strap himself into the car.

Afterwards, win or lose, he’d sign autographs for hours more.

He knew that it was race fans who put bread on his family’s table. “If you go back to when I first started racing in 1959,” Petty recalls, “there was no sponsorship from the outside. If the fans didn’t buy tickets, the promoter couldn’t pay me. So when I talked to a fan it was my way of thanking them.”

The acronym NASCAR (the National Association for Stock Car Auto Racing) suggests that an impartial body owns and controls the sport. That’s not the case. It’s a family business, owned by the Frances of Daytona Beach, Florida, who also own many of the most important speedways on the presentday circuit. Bill France didn’t invent stock-car racing any more than he invented the automobile. His genius was in taming, controlling and promoting the unruly sport. A former gasstation owner turned race promoter, France was the driving force behind the 1948 meeting at which he convinced a group of the top racers, mechanics and track owners that stockcar racing was at a crossroads. To thrive, it needed rules, a governing body and a schedule with points and prize money.

The group named France president of the new entity called

NASCAR. Before long, he was the company’s sole shareholder.

An imposing figure at 6’5”, France ruled NASCAR with an iron fist, settling disputes, quashing attempts by drivers to form a labour organisation and keeping track owners in line by controlling the season’s schedule. He dreamed big, building the 2.5-mile Daytona International Speedway as both a challenge and homage to Indianapolis Motor Speedway, the revered home of the Indianapolis 500 and the open-wheeled cars that at the time represented the height of automotive technology and glamour.

While France coveted the Indianapolis 500’s prestige, he had a distinctly different vision for NASCAR. He wasn’t interested in creating a rich man’s sport; he was determined to keep stock-racing a common man’s sport, which meant limiting technology. France’s vision of an Everyman’s automotive sport was rooted in two fundamental myths that would become increasingly strained over time: that the Fords, Chevrolets and Buicks on the track were no different to the sedans in the typical family garage, and that the drivers were no different to the average American.

The appeal to fans was clear: Junior Johnson, Richard Petty and Bobby Allison were regular people. They could be your neighbour. In fact, the subliminal message was that they could be you! Detroit’s automakers clamoured to subsidise NASCAR’s top drivers and teams, for as the marketing adage said: “What wins on Sunday sells on Monday.”

But what transformed NASCAR into a billion-dollar business wasn’t simply fans’ fascination with cars or engines.

It was their fascination with the drivers, who took their cue

Bill France didn’t invent stock-car racing. His genius was in taming, controlling and promoting the unruly sport

Above: the original plan for Florida’s Volusia Speedway Park, opened in 1968; a 1954 programme for NASCAR’s beach-road racing Speed Week winter event

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ALL IMAGES COURTESY OF GETTY IMAGES

NASCAR

Above: Dale Earnhardt prepares for his first ever Cup Series race in 1975. He would go on to win a total of 76 Winston Cup races over the course of his career

Earnhardt was reviled as much as he was loved. But as long as fans came to cheer or boo, it was good for NASCAR

from Petty and understood the importance of putting on a show that was worth paying to see. NASCAR thrived on the cult of personality. Fans thronged to speedways, proclaiming their allegiance with T-shirts, caps, flags and beer-coolers emblazoned with the name of their favourite driver. Each time one beloved champion retired, another came along.

Jeff Gordon, the telegenic Californian with Hollywood looks and brilliant racing skills, brought a younger demographic and waves of female fans to NASCAR in the mid-1990s. His arrival dovetailed with NASCAR’s runaway growth and coast-to-coast expansion. National sponsors signed on, as did a handful of open-wheel racers who diversified the competitive ranks.

But none sold more tickets than the late Dale Earnhardt, whose black No 3 Chevrolet was as menacing as he was. It wasn’t that Earnhardt was universally loved; he was reviled in equal measure. But as long as fans came to cheer or boo, it was good for NASCAR. Born to humble, hard-working circumstances, Earnhardt had dropped out of school at the age of 15, wanting to race on North Carolina’s dirt tracks like his father. But after getting his girlfriend pregnant, he was a father at 18 and stuck in a dead-end job, pumping gas as the world raced past. Desperate to make a name in the sport, on the weekends he raced salvaged cars that he and his siblings built – wrecking them as often as not, and spending their weekdays

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banging out the dents and slipping deeper into debt. There was a fury in the way he raced, as if finishing second would send him back to that gas-station job. And he never lost that fury, even after he won his first Winston Cup championship and went on to tie Petty’s record seven, a millionaire many times over by that point.

Earnhardt was much more than an on-track bully, however. He had exceptional peripheral vision. Rivals said he could “see the air”, his mastery of the aerodynamic draft on NASCAR’s superspeedways was so supreme. He could nudge a front-running car out of his path without making contact, simply by bearing down and disrupting the air. But if contact were required, he revelled in delivering that, too, generally without spinning out himself.

For many fans, NASCAR died with Earnhardt’s death in a last-lap crash in the 2001 Daytona 500. To be sure, a part of the sport’s soul went with him. And over the past decade, the runaway growth at its peak has subsided. But stock-car racing roars on. It’s the nature of oval-track racing: one left turn follows another, just as each generation of drivers is followed by the next. And there is only one trophy.

NASCAR cars will be appearing at the 77th Goodwood Members’ Meeting, which takes place on April 6 – 7, 2019

NASCAR

The power of control.

Model shown is a Fiesta ST-3 3-Door 1.5 200PS Manual Petrol with optional Full LED Headlamps.

Fuel economy mpg (l/100km): Combined 40.4 (7.0). *CO 2 emissions 136g/km.

Figures shown are for comparability purposes; only compare fuel consumption and CO 2 figures with other cars tested to the same technical procedures. These figures may not reflect real life driving results, which will depend upon a number of factors including the accessories fitted (post-registration), variations in weather, driving styles and vehicle load. * There is a new test used for fuel consumption and CO 2 figures. The CO 2 figures shown, however, are based on the outgoing test cycle and will be used to calculate vehicle tax on first registration.

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Important Sports, Competition and Collectors’ Motor Cars Chichester, Sussex | 7 April 2019

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Bonhams are delighted to return to the Goodwood Members Meeting to begin our UK auction season.

There are already a number of quality consignments including select Motor Cars from the Keys Collection in the auction. Should you be considering selling please contact the Motoring Team.

ENQUIRIES +44 (0) 20 7468 5801 ukcars@bonhams.com bonhams.com/cars

FINAL CALL FOR ENTRIES OVER 30 CARS ARE TO BE OFFERED FROM THE KEY MUSEUM COLLECTION (a small selection are illustrated)

CALENDAR

The Festival of Speed presented by Mastercard, is evolving, with the relocation of the road car paddocks making way for an all-new live action arena that is guaranteed to thrill. The four-day Festival is always looking to the future in making sure that the newest and most exciting cars, bikes and technologies are very much part of the mix.

The first change for 2019 will be the relocation of the Michelin Supercar Paddock from the Cathedral Paddock to the space adjacent to the start line of the Hill, previously home to the Moving Motor Show. A favourite with our younger visitors, they will be able to get up close and personal with the world's most exciting and inspiring road cars, all pushing the boundaries of technology.

With a large space now free in the Cathedral Paddock, an all-new attraction, “The Arena”, will be introduced here – an amphitheatre of extreme action. Throughout Friday, Saturday and Sunday visitors will witness drift cars shredding tyres, stunt drivers doing the daring, insane and unimaginable with car and motorcycle displays.

The First Glance Paddock, combined with FoS Future Lab, will be the hub for pioneering engineering, showcasing the latest technology and cars. Now in its third year, FoS Future Lab is an immersive experience, allowing visitors to experience tomorrow’s technology first-hand.

Finally, Sunday is getting supercharged! After three days of practice runs the fastest cars of

July 4 – 7 2019

THE FESTIVAL OF SPEED

Above, from top: the VW ID R set the electric car Hillclimb record at FoS 2018; jet pack man lifts off

the weekend will enter the Sunday Shootout and attempt to beat the 41.6-second record time that has stood for 20 years. Supercars, touring cars, electric cars and specially-built Hillclimb monsters will battle it out to be the fastest car of the event.

The Duke of Richmond, founder of the Festival of Speed, said, “While celebrating the Silver Jubilee of the Festival of Speed last year we enjoyed record attendance. We’ve seen an incredible four million visitors come through the event gates over the last quarter of a century. We’re always very conscious of looking to the future as much as we are celebrating the past. We hope with FoS Future Lab, and the relocation of the paddocks to make way for the new live action arena, there really is something to represent every area of motorsport and technology. There is something to appeal to all, from the youngest in the family to the most hardcore motorsport fan.”

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PERFECTION IN OLIVE GREEN Discover two new products with the popular special enamel finish – the Leica M10-P Edition “Safari” and the first ever olive green M-Lens, the Leica Summicron-M 50 f/2 Edition “Safari”.

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CALENDAR

Goodwood’s May Festival combines action-packed races with a chance to sample delicious treats and pick up valuable cooking tips

This year’s May Festival will be a celebration of Goodwood’s own food heritage and ethos, offering all racegoers the chance to sample a range of delicious treats, both from our own organic Home Farm, as well as those from the very best local artisanal producers and suppliers.

A new area on the East Parade lawn will become a foodies’ paradise with a hive of activity happening throughout the day. A demo kitchen will offer live cooking masterclasses and around 20 local artisan producers will all be providing a dream list of everything edible that you could possibly want to buy – from honey to cheese, cured meat to chocolate.

The event has been specially curated to bring together the very best local suppliers, who all share our ethos in delivering delicious food in a sustainable way – many have won Great Taste awards and offer organic as well as vegan/gluten-free products.

The demo kitchen will be run by the team behind Goodwood’s very own Farmer, Butcher, Chef restaurant, showing visitors how to recreate some of our most classic dishes using organic ingredients from Goodwood Home Farm. Learn how to cook some of the more unusual cuts of meat and pick up valuable tips from the experts.

Other excitement includes a great line-up of visiting chefs including James Golding from The Pig, John Williams from The Ritz London and many more.

Enjoy all this appetising culinary activity combined with three afternoons of thrilling horse-racing, set against the magnificent backdrop of the rolling South Downs.

May 23 – 25 2019

May Festival, featuring the Goodwood Food Show

Tickets can be purchased from only £12 in advance and children under 18 go free in all enclosures.

Please call 01243 755055 or visit goodwood.com Follow us on Instagram @goodwood_races

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CALENDAR

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

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CALENDAR With spring around the corner, now is the perfect time to start planning your social calendar. The Kennels has a range of exciting events to look forward to over the coming months, from an Easter chocolate masterclass to our ever-popular annual Dog Show, which takes place at the end of May. In addition to this, The Kennels has a new Wine Club, available exclusively for Goodwood members. This is a chance to grow your knowledge of wine through tutored tastings and discussions at our bi-monthly Wine Club meetings. Our sommeliers will take you through specialist subjects, giving you a chance to broaden your understanding, as well as taste selected wines and discuss them with like-minded members.

Themes range from learning the wine basics, such as topography and labelling, to more detailed subjects, such as the differences between a Burgundy and Bordeaux. Perfect for anyone who would like to discover more about wine, in a relaxed and sociable setting.

To join the Wine Club, please call The Kennels Reception on 01243 755132 or email sam.hay@goodwood.com

April – May 2019

The kennels UPCOMING EVENTS APRIL Dawn Gracie Vintage – April 6 Enjoy musical treats from the fab ’50s and swinging ’60s.

Easter Chocolate Masterclass – April 11 Learn how to make hand rolled truffles, dipped truffles and your very own Easter egg.

The Best of English Wine with The Bolney Estate – April 23 A delicious three-course meal paired with wines from The Bolney Estate, one of the oldest vineyards in the UK. MAY Only Fools: The (Cushty) Dining Experience– May 11 Think theatre, mixed with comedy, topped with tongue-incheek humour and a fabulous three-course meal.

Wine Market – May 17 Chat with the experts and gain a genuine insight into your favourite wine with a choice of wines to taste and buy.

Dog Show – May 27 The perfect day out for you and your four-legged friend, with a number of fun activities, and the chance to treat your dog to gifts from the market.

Picture-House Outside the Doghouse – May 31 Pull up a deck chair or picnic rug, snuggle beneath the stars and join us for the ultimate “Summer Night” starring Danny and Sandy. The Duchess’ Paddock will be lit up with the scenes and sounds of classic musical, Grease, as dusk falls.

Enjoy a wide range of events at The Kennels, from wine-tasting to our annual Dog Show

To find out more or to book, please contact The Kennels on 01243 755132

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finish The weaving of fences in willow or hazel is an ancient craft.

Thousands of years ago, such fencing would have been a familiar sight on the South Downs, and so hurdles – much like the willow one shown here – would have been as familiar to a Neolithic farmer as they are today to visitors to Goodwood, where hazel fencing is still used throughout the Estate. Long employed to mark out boundaries and enclose livestock, this craft is now undergoing something of a revival – appreciated for its environmental integrity and simple beauty – while a new generation of craftspeople and artists use the humble willow rod to create everything from exquisitely decorative baskets to large-scale installations. Durable and infinitely variable, if great design is defined by being as beautiful as it is useful, woven willow is surely a classic.

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XXX XXXXXXX

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LAP OF HONOUR

Marc Newson CBE is one of the most influential designers of his generation, having created everything from a pen for Montblanc to a boat for Riva, sneakers for Nike and timepieces for Jaeger-LeCoultre. Born in Sydney, he has homes in London, Gloucestershire and Ithaca, Greece

Marc Newson RIGHT NOW I’M BUSY WITH my ongoing design work for Apple, I’m designing some suitcases for Louis Vuitton and I’m working on a couple of 350m yachts. I don’t draw any distinction between the scale of something that size and designing a wristwatch. I never studied design formally. I was lucky enough to train as a jeweller, so I started on a very small scale. That level of attention to detail has to exist in every product, whether it’s a small object or a huge one. With a yacht, I’m doing everything, right down to the door handles.

IN A LOT OF CASES I’m working for companies that already make a recognisable, iconic object – a Riva speedboat, an Atmos clock and so on.

My job isn’t always imagining something from scratch. It can also be reinterpreting an iconic object for a contemporary audience. It’s not that these companies don’t have vast design teams – they do. But they see it as a chance to see the problem through a new set of eyes – and that’s where I come in.

VARIETY IS WHAT interests me, because I believe that’s the job of the designer – being able to solve all of these different problems.

That’s what a designer is supposed to do.

IF IT WEREN’T FOR the day-to-day realities of running a business, I’d probably get most of my creative work done in the afternoon. But we’ve always got about 20 projects going at the same time, all at different stages of evolution. No project takes less than two years, and a large yacht takes five years. The vast majority of my professional life is spent managing projects.

Time devoted to sketching in my trusty sketch book? Probably only 10 or 20 minutes a day.

I USE A SKETCH BOOK like other people use a diary. I’ve got bookshelves full of them. But most of my thinking is in my head and sketch books are a way of recording an idea.

I’M NOT REALLY a morning person. I always joke that I’m fundamentally lazy. I feel it’s easy to turn off. I really need downtime. The irony, though, is that downtime for me is creative time, which equals enjoyable time.

I LOVE DRIVING IN THE HIGHLANDS, and the Mille Miglia is also fantastic – I’ve done that 10 or 11 times. Italy is a wonderful place to drive through. But I dream of driving in Japan. It’s a country I’m very familiar with on the one hand, but you don’t see foreigners driving there – especially in a lovely old car like mine.

MY FAVOURITE GOODWOOD MEMORY would be driving up the hill in my Bugatti [a 1934 Type 59].

I’ve judged at the Cartier Concours d’Elegance about six times and that always brings really fond memories, but actually driving at Goodwood is a whole different experience.

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ILLUSTRATION BY ELIZABETH MOCH

I’VE ONLY EVER had old cars. My first car when I left school was a Fiat 124 – quite pedestrian, but nevertheless, exotic in its own way. The only new car that I’m drawn to is my new Land Rover.

Gerry [McGovern] offered me a drive in one a couple of years ago. I had no intention of buying one, but it’s changed my life – with two young kids and dogs and so on, I don’t know how we survived without it. I’m about to get another.

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