GOODWOOD | ISSUE 12 by Uncommonly

FP CRUX UK Special Situations Fund

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

In it together - that’s the

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The manager has a significant amount of his own money in the Fund Richard Penny, the manager of the new FP CRUX UK Special Situations Fund, invests his own money in the Fund alongside his clients. This is something he has done throughout his career and is a practice employed by all the fund managers at CRUX. Richard is confident that his tried and tested investment approach will continue to deliver and maintain his solid

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track record over the long-term. The new Fund holds a core of mid cap companies topped up with some FTSE 100 names and a number of carefully selected small cap ideas. If you’d like to consider investing alongside the manager, find out more by visiting our website. You’ll have an experienced manager in the driving seat.

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LETTER FROM THE DUKE OF RICHMOND

a glorious summer There are few lovelier times of the year at Goodwood than early summer. The downs and woodlands are in full leafy pomp, the thwack of the cricket ball (as photographed on this issue’s cover) can be heard at Sunday matches – and the automotive thrills of Festival of Speed (FOS) and equine drama of the Qatar Goodwood Festival are just around the corner. In this edition of the magazine, we celebrate all these essential elements of the Goodwood summer. Andrew Frankel recounts the unforgettable story of Aston Martin’s triumphant racing season of 1959 (page 44), which will be celebrated at this year’s FOS, and we also pay tribute to a much-loved champion and friend of Goodwood, Sir Jackie Stewart (page 78). Looking forward, we also bring you some unmissable highlights from this year’s FOS Future Lab, a glimpse of some of the technological wizardry on the horizon. Elsewhere in the issue, we focus on a landmark exhibition at Dulwich Picture Gallery, which showcases the printmakers of the late 1920s who emerged from the Grosvenor School of Modern Art (page 66). Inspired by machines, speed and the modern age, the resulting artworks will strike a chord with many of us. A special mention, too, to our curator, James Peill, whose new book, Glorious Goodwood (page 30), brings to life the history of the estate and its many pursuits. And finally, a sartorial nod to this most stylish and sociable of seasons: nature-inspired fashion photographed in Goodwood’s flower-filled woodlands, and how the trusty linen suit, reworked in a rainbow of stylish shades, will be an essential part of our Glorious summer. We hope that you will join us.

Duke of Richmond

REVIVALISTS

TIME , A HE RMÈS OB JECT.

Arceau, L’heure de la lune Time flies to the moon. 7

CONTRIBUTORS

The front cover shows a cricket ball, to celebrate Goodwood’s role in the history of the game. Cover, Start and Finish photographs by Louisa Parry

Sarah Crompton

One of the country’s best-known motoring writers – for Autocar, MotorSport, The Sunday Times and Goodwood Road and Racing – Andrew has been racing cars for over 20 years and says that writing and driving are the only activities for which he has any talent. Who better, then, to write on Aston Martin’s glorious season of 1959.

A leading critic and, for many years, the arts editor of The Daily Telegraph, Sarah has written extensively about theatre, art and culture. She is also a passionate cricket fan – and recently joined the MCC after a 23-year wait. Here she writes about Goodwood’s pivotal role in cricketing history.

Florrie Thomas

Matthew Sturgis

A freelance stylist and contributing fashion editor at Harper’s Bazaar, Florrie worked on the fashion shoot in this issue of Goodwood magazine – with some of the new season’s most extraordinary, nature-inspired dresses photographed in and around the woodland on the Goodwood Estate.

An historian and biographer, Matthew is the author of acclaimed books on the lives of Aubrey Beardsley and Walter Sickert, and last year published his major biography of Oscar Wilde. For us, he writes on the speed-inspired artists who emerged from the Grosvenor School of Modern Art.

Peter Fiennes

Aleks Cvetkovic

Peter’s last book, Oak and Ash and Thorn, was named The Guardian’s Nature Book of the Year. His next, Footnotes, sees him traversing the country in the footsteps of well-known writers. For us, he looks at the history of the Trundle, from iron-age fort to Glorious Goodwood picnic spot.

Menswear journalist Aleks dispenses sartorial wisdom for Robb Report and The Rake and is the host of the HandCut radio podcast, in which he explores the world of men’s style with fashion industry guests. For Goodwood, he explains why the linen suit is cooler than ever.

Editors Gill Morgan James Collard Art director Sara Redhead

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

Picture editor Emma Hammar

Design Luke Gould Lesley Evans Margarida Ferraz Dias Ewa Dykas

Project director Sarah Glyde

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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

ong-term. The new Fund holds a anies topped up with some FTSE 100 of carefully selected small cap ideas.

r investing alongside the manager, ng our website. You’ll have an in the driving seat.

am.com

Sub-editor Damon Syson

In-House Editor for Goodwood Catherine Peel

oney in the Fund

£10.00

Summer 2019

CRUX Asset Management Limited who nt and the income from it can fall as not a guide to future performance. A t and the Supplementary Information RUX website or by calling us

Andrew Frankel

Summer 2019

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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.

CONTENTS

Shorts

14 The breakthrough Meet Reema Al Juffali, the first Saudi Arabian woman to compete in motor racing 16 Take a bough Channel your inner child with one of the cool new treehouse designs sweeping the nation 18 The painter in the woods Artist Ivon Hitchens made his Sussex woodland home his life’s work 20 Blast from the past For sale Nigel Mansell's iconic William Renault FW14B

28 Shore thing A seaside stroll is also a chance to find edible treats, from seaweed to samphire 30 The history man Goodwood House curator James Peill discusses his new book about the estate 32 Trundling on The fascinating history of one of Goodwood’s best-loved landmarks: the Trundle 34 Right off the bat The story of how the rules of cricket were first written down for a 1727 match at Goodwood

23 No man went to mow We have seen the future of tractors… and it’s driverless

26 In the swing How cutting-edge golf club design is enhancing the game for players of all standards

From top: fairytale fabrics and floaty frocks in our summer fashion special (p50); The Sunshine Roof by Cyril Power, a member of the Grosvenor School of Modern Art (p66)

Features The apprentices We talk to four young people learning a trade the oldfashioned way: a gunmaker, a jockey, a chef and an engineer

44 Glory days Remembering Aston Martin’s 1959 championship season, when the marque – with a bit of help from Stirling Moss – pulled off a racing miracle

SANDRA FREIJ

START

24 True colours The queen of print and colour on designing the silks for this year’s Magnolia Cup

If you go down to the woods today…

The beauty of Goodwood’s sun-dappled woodlands provides the perfect setting to showcase this season’s flamboyant, frothy, nature-inspired dresses

64 Beyond the crease The new breed of linen suit, sharply cut in a variety of vibrant colours, is redefining summer elegance 66

The fast show A new exhibition is rediscovering the graphic brilliance of the Grosvenor School of Modern Art, a group of late-1920s printmakers who set out to capture the speed of modern life

78 Man for all seasons The upcoming FOS will honour racing legend Sir Jackie Stewart, who won his first F1 championship 50 years ago, and who celebrates his 80th birthday this year

84 Hot shots Photographer Indira Flack’s remarkable portraits of motor-racing greats 87

Calendar The unmissable events at Goodwood this summer, including Festival of Speed, FOS Future Lab and Qatar Goodwood Festival

Lap of honour Montblanc’s creative director, Zaim Kamal, on aiming high, travelling light and driving the Goodwood hill

finish

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Start

The cricket season is now in full swing and at the Goodwood Cricket Ground, balls like the one gracing our cover will already have been sent arcing gracefully towards the boundary. Goodwood was one of the first places to regularly host cricket matches, and indeed the oldest existing rules of the game were drawn up for a 1727 match between the 2nd Duke of Richmond and Mr Alan Brodrick, which is described on page 34. Pictured here is a Stuart Surridge “Invincible”, almost a century old. Like most cricket bats, it consists of a cane handle spliced into a flat-fronted willow blade. Bats didn’t always look like this, however. Before the 18th century, they were often shaped like modern hockey sticks – a legacy, so one theory goes, of the game having originally been played using shepherds’ crooks. The bat, thought to be the oldest in existence, which is on display at The Oval, dates back to 1729, just two years after the aforementioned game between the 2nd Duke and Mr Brodrick – the first of the estate’s many noteworthy matches.

Motorbike champion Ana Carrasco: â&#x20AC;&#x153;In this sport women can ride at the same level as menâ&#x20AC;?

SHORTS REEMA AL JUFFALI

the breakthrough This year, Reema Al Juffali became the first Saudi woman to compete in motor racing – just months after her country lifted a ban on women driving. So how did she do it? Words by Erin Baker

There are two ways, it transpires, to become a successful racing driver. One is to start racing karts as a child, enjoy plentiful support from family and friends, grow up living and breathing cars, progress through the national ranks, encouraged at every stage by town and country, and finally, get into a championship series. The other way is to have grown up female in Saudi Arabia when women were banned from driving. You grow up not knowing what it’s like to hold a steering wheel, have no knowledge about cars, then head to the US to study, think to yourself, “Motorsport looks fun,” and bingo, you’re making your debut in Formula 4. Bonkers, eh? True story, though. This April, Reema Al Juffali, a 27-year-old Saudi woman, made the headlines by competing in the British F4 Championship at Brands Hatch, less than a year after her home country lifted its ban on female drivers. Everything about Al Juffali’s approach to motorsport is unconventional, but miraculously it appears to be working. It wasn’t the glitter of Formula 1, for example, that first attracted her to the sport, but the hard slog of the 24 Hours of Le Mans endurance race. “I thought there was a lot more strategy involved,” she says, applying typical intellectual rigour to her approach (she studied International Affairs at Northeastern University, Boston). “I was so used to the F1 format of racing, where the leading car generally wins the race. In endurance racing there seemed to be more variables to play with – it was unpredictable.” She also liked the fact that the average age of endurance racing drivers was higher than in F1; it made the whole sport seem more accessible to such a late-comer. Then, of course there’s the small matter of her homeland’s attitude towards women driving cars. Al Juffali is back in Jeddah these days, where she drives a VW Golf GTI (“It’s a fun car,” she says, “but I do like my classics. I’m a big fan of 1960s Mustangs, Porsches and Mercs”). Just a few years ago, “going racing” wasn’t remotely on her radar. “I had no aspirations [to race]. I didn’t grow up around a racing culture and at the time women couldn’t drive in Saudi Arabia. And I’m now representing my country as a female

racing driver. Who would have guessed?” So how did she feel when the Saudi ban was lifted? “It was a moment I’d always looked forward to,” she says. “I knew all the roads and how to get places, so it felt natural. But being behind the wheel for the first time at home… I couldn’t help but smile. It was a great feeling.” Despite the apparent liberation, I wonder if women are still nervous about driving in Saudi Arabia, and whether there is still opposition. “Saudi women have come a long way and I’m very proud of their accomplishments,” she says. “Women driving in Saudi is undoubtedly something new to all and, like everything new, it will take some time to sink in,” she adds diplomatically. Al Juffali has built a career on the strange foundation of more disadvantages than your average female racing driver – not just the lack of driving experience on the road, but also, no background in karts. She is sanguine about this, and argues that while her competitors on the track might have had more experience, she can “learn everything from scratch and build on it in the best way possible”. Like all the female racing drivers I’ve ever spoken to, she doesn’t believe there’s an inherent physical disadvantage for her as a woman in racing. “Many female racers have proven that [there is no physical disadvantage] already. The disadvantage women face in motorsport is opportunity,” she says. “Inside a car, men and women are no different. I really believe that as long as women have been given the same opportunity from the start of their training, we will see them in F1.” If optimism could secure you a podium finish, Al Juffali would walk away with top honours at every race. Finally, I ask this newly minted petrolhead for her feelings on the growth of Formula E and electric motorsport. Does a fresh pair of eyes mean a fresh approach to the industry? “I love the fact that Formula E races are all on street circuits, but I’m a motorhead at heart,” she says – which I find inexplicably comforting.

Reema Al Juffali will be appearing at Goodwood Festival of Speed, which takes place July 4 – 7 2019

SHORTS TREEHOUSES

TAKE A BOUGH Treehouses have morphed from bashedtogether childhood dens into high-design pods for playful grown-ups – and one Bristolian maker is leading the way Words by Alex Moore

Oh, to have had a treehouse – the ultimate secret lair, the den of all dens, perfectly out of parental earshot. Alas, for many of us, treehouses were the stuff of fiction – from Peter Pan to The Swiss Family Robinson. But if you missed out on having a treehouse as a child, what’s to stop you having one now, especially as there are so many innovative designs out there? Bristolian Luke Leppitt mastered the art of creating these arboreal dwellings while living with the Tree House Community in Auroville, India. Founded in 1968 by the spiritual leader Mirra Alfassa, aka “the Mother”, Auroville is a utopian township – the

Hanging out: Treetop Co's The Chrysalis makes a perfect den without damaging the tree

biggest of its kind in the world – and one that many a backpacker has visited while passing through Pondicherry. Leppitt stayed there for three years, studying sustainable forest management and treetop construction. During that time, he was part of a team that built 30 treehouses around Auroville, including, he says proudly, a palatial four-storey number in mahogany. Since returning home, Leppitt has set up Treetop Co, a construction company with treehouses at its heart. It seems he’s very much in tune with an architectural zeitgeist. In Sweden, the acclaimed Treehotel has seven avant-garde treetop suites. In Costa Rica, Finca Bellavista is a treehouse community set in 600 acres of rainforest, connected via zip wires and suspension bridges. And in America, treehouse expert Pete Nelson has built spa retreats, cottages and breweries over the course of 11 series of Treehouse Masters on US television network Animal Planet. “The main idea of the business was to create sustainable housing – treehouses, log cabins, stilt houses, that sort of thing,” explains Leppitt. “So I thought, why not build something a bit different as a way of kick-starting the project?” Two months later he revealed Treetop Co’s signature The Chrysalis, the UK’s first mobile treehouse pod. The company’s ethos is never to drill, bore or screw into a tree, because, as Leppitt explains, “Holes in trees cause rot; the more holes, the more rot.” Instead he carefully places his structure within the tree, or in the case of The Chrysalis, hangs it from a sturdy branch. Now that our imaginations are running wild, what sort of tree works best? “There’s an abundance of ancient oak trees,” says Leppitt, “and they also have the country’s hardest wood. They’re a true symbol of England. Beautiful, gnarly old trees.”

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the painter in the woods The vibrantly coloured work of painter Ivon Hitchens – who lived for 40 years in a secluded corner of Sussex woodland – is celebrated in two exhibitions this summer

We're used to stories of famous artists living in chilly Paris garrets or New York lofts; less so, perhaps, caravans in rural Sussex. But this is where celebrated painter Ivon Hitchens – whose work is held in the Tate and many other public collections – lived and worked for 40 years until his death in 1979. Hitchens, whose gloriously colourful paintings (like Red Centre, 1972, pictured right) command increasingly high prices at auction and who will be celebrated this summer with exhibitions at the Pallant House Gallery in Chichester and at the Garden Museum in London, moved to Lavington Common, outside Petworth, in 1940, after his Hampstead studio was bombed. Educated at Bedales and the Royal Academy Schools, Hitchens had become a founder of the Seven and Five Society, a group of abstract artists that included Ben Nicholson, Henry Moore and Barbara Hepworth. But Hitchens was drawn to the countryside and in 1939 had bought six acres of woodland near Petworth to use as a painting retreat, not realising that a year later he would be towing a caravan there with horses, to set up home with his musician wife Mollie and young son, John. The move was to impact dramatically on his work, as Hitchens immersed himself in the landscape, interpreting the surrounding woodlands, flowers and ponds through the prism of the changing seasons and leaf-filtered light. He experimented with structure and ever more abstract forms, developing his panoramic style. From then on, the artist rarely left his woodland home, something that Andrew Lambirth, curator of the Garden Museum show, believes, ironically, afforded Hitchens a huge creative freedom. Over the years, the family added to the cramped caravan with a studio, and eventually a house, which they called Greenleaves. Mollie created a courtyard garden of flowerbeds filled with poppies, sunflowers and dahlias, which became a great source of inspiration. And what had begun as a temporary solution to a wartime crisis became the defining feature of Ivon Hitchens’ life – and his riotously colourful, prolific work.

Ivon Hitchens: Space through Colour is at the Pallant House Gallery, Chichester, until October 13 2019. Ivon Hitchens: The Painter in the Woods is at the Garden Museum, London SE1, until July 15

IMAGE COURTESY OF THE PALLANT HOUSE GALLERY © THE ESTATE OF IVON HITCHENS

Words by Gill Morgan

SHORTS IVON HITCHENS

SHORTS "RED FIVE"

BLAST FROM THE PAST Back in 1992, Nigel Mansell swept to victory in the Drivers’ World Championship behind the wheel of an automotive marvel: the Williams-Renault FW14B. Now one of these iconic F1 cars is set to go under the hammer at the Bonham’s auction at the Festival of Speed

Words by Peter Hall

Remember Mansell mania? “Our Nige” might not have been the most lovable character ever to grace the world of F1, yet almost three decades later, fans still celebrate his heroic drives and wheel-to-wheel battles, not to mention the flag-waving track invasions at the British Grand Prix. No less vivid in the memory is the fearsome wail of the Williams-Renault FW14B, “Red Five”, that took the moustachioed 39-year-old to a long-awaited Drivers’ World Championship in 1992. Usurping McLaren-Honda’s four-year reign over F1 was a formidable challenge, but Williams’ FW14B was a technical tour de force. An evolution of the previous year’s FW14 (which had been hampered by teething troubles with its new semiautomatic transmission), the FW14B harnessed the power of its 3.5-litre V10 Renault engine with traction control to prevent wheelspin. And even more significantly, it had a self-levelling active suspension system that used computer-controlled hydraulics to maintain a millimetre-precise ride height, optimising the car’s aerodynamics and thus maximising grip. This suited Mansell’s muscular approach: even without power steering, the bull-necked Brit could push exceptionally hard through high-speed turns, generating cornering forces of 4.5g at 170mph-plus and slicing whole seconds off his rivals’ lap times. Team-mate Riccardo Patrese later conceded that Mansell’s greater upper-body strength gave him the edge, whereas his own driving skills were effectively neutralised by the car’s traction control system. Either way, the FW14B was almost unbeatable. Mansell (who once described the car as "an animal”) became Britain’s most successful F1 driver with his 28th GP victory (at Silverstone) and set records that stood for a decade or more: the most pole positions and wins in a season (14 and nine respectively) and a title secured in the fewest races (11). Patrese scored nine podium finishes to take second place in the Drivers’ Championship and Williams walked away with the Constructor’s crown. The car’s technology was nevertheless controversial: electronic driver aids overshadowed the sport’s human factor and were precipitously banned for 1994. As a result, the FW14B remains one of the most sophisticated F1 machines ever built. Many also rate it among the most beautiful, and there may indeed be echoes of Mansell mania when FW14B chassis number eight goes under the hammer at Bonhams’ Goodwood sale on July 5. This is the very car in which Mansell won the first five races of 1992; after two more outings, including a thrilling duel with Ayrton Senna at Monaco, it was assigned to Patrese. Remarkably, it is still in full working order, having had just one careful owner since it left Williams. Bonhams is reluctant to estimate its value, but if you wish to own this awe-inspiring piece of F1 history you will surely need at least £3 million in your pocket, not to mention a bulldog spirit and nerves of steel. The moustache is optional.

SHORTS NIGEL MANSELL CAR

SHORTS TRACTOR

No MAN WENT TO MOW With forward-looking manufacturers pushing agricultural technology into new and exciting territories, what does the future hold for the humble tractor? Words by James Collard

We’ve all heard about Tesla’s driverless cars, but driverless tractors, controlled by the farmer using his smart phone? Who knew? The driverless tractor – and another designed to run on methane, which farming produces naturally in abundance – are part of a new wave of agricultural technologies emerging from CNH Industrial. With the Agnelli family’s Exor group as its largest shareholder, CNH Industrial is in the same stable as Fiat Chrysler and Ferrari, headed up by Gianni Agnelli’s grandson, John Elkann. The idea that the dashing Agnelli-Elkann clan should know a thing or two about tractors might come as a surprise to some. But the connection between making cars and making tractors has often been a close one. The Agnellis founded Fiat Trattori in Turin in 1919, just 20 years after launching the Fiat car-making business. Renault only stepped away from making tractors a decade ago, while in the 1930s Hitler tasked Ferdinand Porsche with developing a “people’s tractor” or Volksschlepper at the same time as his new Volkswagen. Our own Aston Martin was owned by tractor manufacturer David Brown for many years, while back in Italy, the business founded as Lamborghini Trattori only moved into making sports cars as part of Ferruccio Lamborghini’s furious rivalry with Enzo Ferrari. Given that it’s the Italian-American offspring of both Fiat’s and Ford’s tractor-making businesses, CNH Industrial has impeccable automotive DNA. But wedded to that is

the farm-tech know-how of the former New Holland Machine Company, founded in 1895 in New Holland, Pennsylvania by Abram Zimmerman – a brilliantly inventive Mennonite blacksmith who helped transform American farming. But for all the diverse richness of its pedigree, CNH Industrial is very much future-focused – and bent on radically transforming the way we farm. Witness this driverless tractor, the Case IH, and its methane-fuelled sibling – the fruit of what CNH Industrial’s design director David Wilkie describes as “our focus on three key megatrends: automation, digitisation and alternative fuels”. That, and an R&D investment of more than a billion dollars last year alone. “These concepts serve to stretch our designers – to get them to look beyond what is in production today or even tomorrow,” Wilkie explains, and to forge “innovative ideas which can then be applied to production machines”. Wilkie acknowledges the ongoing parallels with developments in the automotive industry, with its interest in driverless and eco-friendly technologies, although he argues that we’re likely to get accustomed to driverless tractors working our fields more rapidly than we are to driverless cars on our roads. And he goes on to mention the rather more complex tasks these tractors will perform, such as distinguishing crops from weeds and controlling not just their own movements but those of the equipment they’re towing. It’s all very impressive, brainy stuff. But you also sense that just as car designers have fun with concept cars, the design team got a kick out of envisaging an autonomous tractor. “It’s very rare in industrial design to be presented with a blank sheet of paper,” say Wilkie, “and that is exactly what we had when designing the cabless autonomous concept tractor. So one of the main challenges was delivering a striking, eye-catching design that would grab people’s attention – that encapsulated the groundbreaking nature of this technology. Breaking free of those long-held conventions was both a challenge and a fantastic opportunity.” And who said farming couldn’t be fun?

The Case IH will debut at FOS Future Lab, July 4-7

SHORTS MARY KATRANTZOU

true colours Celebrating a decade at the top of fashion, Mary Katrantzou is famed for her virtuoso use of colour. So who better to design the racing silks for this year’s Magnolia Cup

Mary Katrantzou likes to keep the fashion world guessing. The Greek-born, London-based designer is best known for colourful prints – very colourful prints – on textiles that explore the limits of digital printing, depicting anything from blown-up banknotes or stamps to Bauhaus posters, Fabergé eggs, World of Interiors layouts or even Greek vases, giving a nod to her Athenian roots. Or perhaps fabric that looks like a page from a giant paintingby-numbers book, half painted, half not, as seen on the dress worn by Cate Blanchett at the Cannes Film Festival this spring, which managed to be both playful and chic – a signature Katrantzou combination. But then suddenly, to keep everyone on their toes, Katrantzou might produce a collection from which print seems almost entirely absent and the palette monochrome. “I don’t like to be pigeon-holed,” is her response when questioned about this trait. Similarly, this queen of colour (pictured, right, with one of her signature “lampshade” creations) is generally to be seen in a black A-line dress by Azzedine Alaïa (“I own quite a few”), which she wittily dubs a “palette cleanser” – presumably quite handy if you’re working all day with colour. Critical success came early for Katrantzou, whose collection was picked to start the MA show at Central Saint Martins – a notable honour – and whose quirky, playful brilliance has inspired comparisons with fashion luminaries such as Schiaparelli or Moschino. Her first decade in fashion is the subject of an exhibition, Kaleidoscope Katrantzou, currently touring the US, and she now enjoys backing from Chinese entrepreneur Wendy Yu and an ongoing collaboration with adidas. Also this summer, and rather closer to home, Katrantzou is designing the racing silks for the competitors in this year’s Magnolia Cup. This hotly competed charity race is a highlight of Ladies’ Day at the Qatar Goodwood Festival, aka Glorious Goodwood – and the fashion stakes run as high as those of the equine variety. And although Katrantzou likes to surprise us, we think bold colours are a pretty safe bet.

The Magnolia Cup 2019 takes place on Thursday 1 August

GETTY IMAGES; GEEBEE IMAGES

Words by James Collard

SHORTS GOLF CLUBS

in the swing Innovative golf club design is good news for decent players and even better news for mediocre ones

Words by Alex Moore The fairway: a hotbed of tantrums. If a groundskeeper had a pound for every wrath-induced divot they had to iron out… we’d all be groundskeepers. Only, it’s getting increasingly difficult to blame your club for those rotten shots. For golf’s equipment manufacturers are tireless in their innovation, and the fruits of their labours are genuinely transforming players’ games – with technical improvements that can potentially turn any half-decent player into, well, a decent one. “Every year, the manufacturers come out with something new, better, more exciting,” says Bunkered magazine’s Michael McEwan. “And just when you think they’ve reached the pinnacle of what they can achieve, they amaze you with something else.” Callaway Golf has always been among the most pioneering of manufacturers. The brand used artificial intelligence to develop its latest clubs, the Epic Flash series, using a machinelearning algorithm and supercomputer to reduce what might have been 30 years of product design to a matter of days. The club’s “Flash Face” is the product of 15,000 virtual prototypes, each developed from the previous one, until the computer arrived at the best design to match the brief. It bears no resemblance to anything else Callaway has ever designed. “Manufacturers have been focusing on clubs that help you hit the ball further since the days of hickory clubs,” explains McEwan. “These days, however, as much thought goes into the size of the ‘sweet spot’. It’s larger now, so there’s a better chance of hitting the ball with the right part of the clubface. We call it a more ‘forgiving’ face. There’s more room for error.” It’s this kind of development that is quite literally a game-changer. What’s more, some of the best off-the-rack clubs are now fully customisable. TaylorMade’s new M5 employs moveable weights in the clubhead that can be repositioned to get the optimal launch conditions for a player’s individual swing. This allows club engineers to “dial in” the club to specific settings – 21,000 specific settings, to be precise. “Ultimately, club manufacturers aim to increase people’s enjoyment of playing golf and they do that in two ways,” explains McEwan. “One: the ability to hit further. And two: the ability to hit the ball and keep it in play. If you can do both of those things, chances are you’re going to be a good golfer. And a good golfer tends to be a happy golfer.”

From top: Callaway Big Bertha; TaylorMade M5; Callaway Epic Flash; TaylorMade MCGB

If you are interested in upgrading your clubs, the Golf At Goodwood Academy offers a complimentary custom fitting service using the latest technology in Trackman and the SAM PuttLab system. Take your pick from the latest clubs from Callaway, Mizuno, Titleist and Ping.

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Simon Kidston. Classic car collector and broker.

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

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SHORTS COASTAL FORAGING

South Coast foragers can find wild produce such as seaweed and samphire (right)

Shore thing For the UK’s growing number of foraging enthusiasts, the Sussex coast isn’t just blessed with spectacular views and iconic walking trails, it’s also home to an abundance of culinary delicacies

Words by Charlotte Hogarth-Jones

On a balmy summer’s day, the prospect of a walk along the beautiful Sussex coastline can be hard to resist, and even more so if you’re able to gather a few delicious ingredients for supper at the same time. From lime-green and yellow Alexanders, whose aromatic seeds can be used as a spice, to coastal plants like sea kale and sea radish – and even the odd shrimp, crab or razor clam for lucky hunters – there’s an abundance of wild produce out there, if you know where to look and what to look out for. Both Nick Weston, founder of Sussex foraging and cookery school Hunter Gather Cook, and private Sussex foraging tutor Sarah Watson of Wild Feast agree that novices should start off with seaweed, which is easy to identify, and generally safe to eat, so long as you avoid collecting in deep water. Both stress, though, that you need to educate yourself, either with a course or by using a trusted foraging reference book. “It’s always good to go in June,” says Weston. “Make sure you go at low tide so you can get at the seaweeds, and head for areas with rock pools, where you’ll usually find some plants.” Watson advises keeping an eye out for “bright green seaweeds, sea lettuce and gutweed, purple laver and those with branched, ribbon-like fronds, such as serrated wrack and bladder wrack”, while also recommending John Wright’s Edible Seashore: River Cottage Handbook No 5 as a useful reference book.

The plants, she says, aren’t always at their best raw, and different seaweeds require different cooking methods to bring out the best of their flavours. To make traditional Welsh laverbread, for example, laver seaweed is cooked over a low heat for up to six hours, while other varieties are delicious slow-roasted in the oven with lamb, when they “break down and take on a delicious umami stickiness”. It's important to gather living seaweed rather than anything that’s been washed up by the tide and which could have come from deeper water – and take scissors with you so you can snip off the top third of a plant rather than pulling it straight out of the rocks, as some seaweeds can continue to grow for up to 20 years if left to their own devices. If you do find a bountiful patch, it's vital not to take too much and avoid concentrating your picking on one area, so there’s plenty left for local wildlife. And crucially, as with any plant you forage, make sure you’ve identified what you’ve gathered before eating it. Sussex’s salt marshes are also bursting with produce; you’ll find coastal succulents like samphire and sea beet as well as fennel and Hottentot figs, which can be used to make a sweet-and-sour-tasting jam. Japanese rose bushes can also be found. More fragrant than our native version, their bright pink petals can be picked in the summer and used to make a floral jam or jelly. And, as the seasons turn, their rosehips can also be put to good use in syrups too. “Every great plate of food should have a story behind it,” says Weston. “It’s the adventure in wild food that makes it taste the best.” Watson concurs: “You should expect to put time into learning how to forage,” she adds. “It takes a while to be able to identify plants, and then to work out where to find them and how to cook them. But once you start, you might not be able to stop.”

For more information on foraging courses in Sussex, visit wildfeast.co.uk and huntergathercook.com. Hunter Gather Cook: Adventures in Wild Food is out now

LEA MORICHON

SHORTS JAMES PEILL

the history man To celebrate the publication of his new book, which delves into the estate's glorious history, we talk to Goodwood House curator James Peill

JONATHAN JAMES WILSON

Words by James Collard

“As a child I loved going to country houses,” says James Peill. “I was always inspired by the history, the art, and the stories of the families.” And one way or another, such houses and the treasures they contain have been his career – first at Christie’s in London and New York, then at Goodwood, where he became curator of the Goodwood Collection in 2009, and as an author of several books on the subject, the latest being Glorious Goodwood: A Biography of England’s Greatest Sporting Estate. Peill’s CV reveals a singular focus. The avid young countryhouse visitor who knew before he was 10 that he wanted to work at Christie’s went on and did precisely that, joining as a graduate trainee after completing a History of Art degree. At Christie’s, Peill (pictured, above) trained as a furniture specialist and auctioneer – an experience he likens to doing “a one-man show, only with quite a lot of money at stake”. With a big house sale, “you’d get the complete picture – furniture, silver, porcelain, maybe books”. And while Peill’s work brought him close to exceptional pieces, such sales can also signal the dispersal of a great collection, amassed in precisely the kind of country house that he has always loved. So it’s doubtless more of an unalloyed pleasure to be the professional custodian of one of the great surviving collections

Above: a recent acquisition for the Goodwood Collection – a 1787 cartoon depicting the 3rd Duke and his wife (in the box) at the theatre he had built at his London house, where amateur theatricals were performed to great acclaim

at Goodwood House – tasked with maintaining and even adding to it. For that, the questions Peill and the current Duke ask themselves are these: “Can we afford it? Does it look good? Does it need a lot of money spent on restoring it? Does it fill a gap in the collection? Is it something that was in the collection that we want to have back?” And, of course, a question perhaps more familiar to the rest of us: “Do we have room for it?” At Goodwood, there are pieces that proclaim the grandeur of the Dukes’ public lives: tapestries given by Louis XV to the 3rd Duke, ambassador to Paris; Napoleon’s campaign chair, given by Wellington to the 4th Duke, his comrade-in-arms; ancestral portraits aplenty. But others speak to the family’s sporting pursuits, which Peill describes with such infectious

enthusiasm in his book: Stubbs’s paintings of the Charlton Hunt; Jane, Duchess of Gordon, fishing; the 7th Duke on the golf course; and shooting parties at Glenfiddich. Asked to explain this continuity of “sporting passions, which the family act out and share”, from all of the above to Thoroughbred racing and Formula 1, Peill suggests that “it’s partly the place – and it’s a lovely place. And there’s been this very strong desire, passed down through the generations, to share it with others. And there’s a great enjoyment in sharing. And maybe that’s something you only learn by doing it.”

James Peill’s Glorious Goodwood: A Biography of England’s Greatest Sporting Estate is out now, published by Constable

SHORTS LMP CARS

Left: racing fans in the early 1920s strolling on the Trundle and racecourse at Goodwood

trundling on Better known as the Trundle, St Roche’s Hill is a favourite with racing enthusiasts and detectorists alike, thanks to its fascinating history and commanding views Words by Peter Fiennes

The sharp green swell of the Downs that rises to the west of Goodwood Racecourse is called St Roche’s Hill, named after a medieval French saint, but everyone knows it as the Trundle. That’s because at the very top you will find the nine-sided earthwork remains of a near-circular Iron Age fort, and “trundle” is an Old English word for circle. St Roche’s Hill has been inhabited for thousands of years. There’s the faint outline of a Neolithic causeway and enclosure inside the Iron Age fort, dating from around 4,000 BCE; the Romans were here of course; and in about 1475 a chapel was built in honour of St Roch, the patron saint of plagues, in an attempt to contain yet another outbreak in the local villages. The chapel was pulled down in the Reformation, but the mossy remains of its walls make a pleasant place from which to enjoy the extraordinary views. St Roch is also the patron saint of dogs, which may explain many hounds’ hectic love of this wild place. The panorama

(blanking out the two radio masts, if you can), takes in hedgerows, large fields and ancient woodlands north to the Weald, or sweeps across the coastal plain and over to the Isle of Wight. Towards Cocking, you can look down on the restless green tops of Charlton Forest, one of Europe’s largest beech plantations. There’s history here. During the Civil War a group called the Clubmen gathered on the hill to defy the armies of both sides, fed up with incessant pillaging and press gangs. In the succeeding centuries there has been a windmill, a masonic lodge, a gibbet (gallows) and, during World War II, a fort and trenches, but now the Trundle has been absorbed by the South Downs National Park and set aside for nature to reclaim. And that’s the best reason of all to visit. You can see buzzards, red kites and kestrels in the skies, wild thyme, marjoram, orchids, bellflower and rampion underfoot (well, mind how you go), and local wildlife groups make regular butterfly field trips, looking for brown hairstreaks and grizzled skippers. If you choose to linger late as the light fades in the summer months (trying not to think about that gibbet), keep an eye open for a glint of gold. It is said that Aaron’s golden calf was buried here, long ago, although as soon as it is seen, it disappears in a thunderclap and moves to the other side of the hill. The other treasure here, sought by generations of detectorists, was apparently buried by a Viking army, on its way to fight in nearby Kingley Vale. The Vikings never came back, but they left their loot under the protection of yet another magical golden calf. You will hear it moo or whimper if you’re getting close. It’s something to tell the children, while you sink back in the sweet meadow grass and enjoy free grandstand views of Goodwood Racecourse from the north-east slopes.

SHORTS RULES OF CRICKET

right off the bat The early history of cricket is interwoven with that of the Goodwood Estate. Indeed, the rules of the sport were first written down in 1727, on the occasion of a match between the 2nd Duke of Richmond and a sporting rival Words by Sarah Crompton

The high-octane, big-money world of international cricket today might seem a million miles away from the pastoral setting of the Goodwood Estate. Yet it was here, historians believe, that the foundations of the modern game were laid. In the flurry of sporting activity that followed the restoration of Charles II, cricket grew in popularity – both on its own merits and thanks to the heavy amounts of gambling that took place on the side. As interest developed, the King’s grandson, Charles Lennox, 2nd Duke of Richmond, became one of its most powerful patrons, assisting cricket’s evolution from a village game to a first-class sport. In the 1720s, the Duke’s team played all over Sussex. But it was his two matches in 1727 against Alan Brodrick, son of the 1st Viscount Midleton (an Irish statesman who had settled in Surrey), that mark a key moment in cricketing history. These matches – one near Godalming on 27 July, the second at Goodwood on 28 August – required articles of agreement to clarify the generally unwritten rules of the game, and the 16-point agreement (pictured above) became the earliest rules to be written down. In them you can trace the lineaments of today’s cricket, but there are some discrepancies. Players are called “gamesters”, the wickets are 23 yards apart rather than 22, and there are 12 players on each side rather than 11

(unusual even at the time). Best of all, even though there are two umpires overseeing the play, the rules explicitly do not apply to the Duke of Richmond and Mr Brodrick. Although the 2nd Duke’s cricketing career came to an end when he broke his leg in May 1732, his team remained one of the best in the land, with early stars such as his groom Thomas Waymark impressing with “his extraordinary agility and dexterity”. He also took the neighbouring Slindon team under his wing, and under his patronage it became the greatest team in England, winning 43 out of 44 matches played in 1742, partly thanks to the efforts of the three Newland brothers, who all played for England. Looking back at the French Revolution, the historian GM Trevelyan famously suggested: “If the French nobility had been capable of playing cricket with their peasants, their châteaux would never have been burnt.” It’s a persuasive thought, although social distinctions were observed at Goodwood: after a match, the gentlemen would go through the house’s front door to enjoy a supper of game pie and meats, followed by plum pudding, with claret to wash it down. But estate workers made their way to the Servants’ Hall by the back door, to eat meat and vegetables, apple pie and cheese, with tankards of ale. Goodwood’s cricketing tradition persisted with the 4th Duke, an accomplished right-hand bat and noted wicketkeeper, who was a prime mover in the foundation of the MCC, since he and George Finch, 9th Earl of Winchilsea, offered Thomas Lord a guarantee against any losses he might suffer on opening a new cricket ground. And the Estate’s deep roots in the sport mean that through the centuries it has held a special place in every cricket lover’s heart. Its lovely ground has attracted luminaries such as Sir Colin Cowdrey, Graham Gooch and Nasser Hussain to play under the cedar of Lebanon planted by the 3rd Duke in 1761 – a magical setting for this great game.

The Duke of Richmond’s XI play Goodwood CC on July 28

A matching numbers example 1935 ALFA ROMEO 8C 2300 ‘LE MANS’ TOURER

The first 4½-Litre model; 1928 Le Mans-winning, Barnato/Rubin; Richard Marker; Stanley Mann 1927 BENTLEY JACKSON SPECIAL ‘OLD MOTHER GUN’ Chassis no. RRJ1/ST 3001

One of only 14 examples built and displayed at the Geneva and New York motor shows 2013 MCLAREN P1 XP EXPERIMENTAL PROTOTYPE

Call to Consign Important Collectors’ Motor Cars and Automobilia Chichester, Sussex | 5 July 2019

Bonhams is delighted to announce the 26th annual auction at the world-renowned Goodwood Festival of Speed. Some of the world’s finest motor cars have been sold at the Bonhams Goodwood Festival of Speed Sale and this year will continue that tradition with this 1992 Williams-Renault FW14B.

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

The ex-Nigel Mansell, Riccardo Patrese, five time Grand Prix-winning, Adrian Newey-designed 1992 WILLIAMS-RENAULT FW14B Chassis no. FW14-08 35

THE APPRENTICES Words by Laura Lovett

Photography by Alun Callender

APPRENTICES

On-the-job training reached its peak in the 1960s but then went into sharp decline. Now, with apprenticeships back in vogue, we talk to four trainees – from jockey to chef – learning their trade the traditional way

“THIS IS A LIFELONG JOB FOR ME,” says Danial Rivers, an aspiring gunmaker at Holland & Holland, one of the four apprentices or trainees we interviewed for this feature, all young people learning their trades: a gunmaker, a jockey, a chef and a mechanic. “I know I won’t learn it all any time soon, but I can take things steadily and not feel a pressure to rush,” adds Rivers. Apprenticeships have always been about putting in the hours to gain skills that lay the foundations for a lifetime of gainful work – an exchange of youth for experience, labour for knowledge. In a system that emerged from the craft guilds of the middle ages, a master craftsman would take on a limited number of apprentices as relatively cheap labour in exchange for providing food, lodging and training in their chosen craft. The Elizabethans enshrined this convention in law, and although the rules evolved, and the food and lodging part of the arrangement didn’t survive into the modern era, apprenticeships very much did – actually reaching a peak in the 1960s. But it was also during that decade that public opinion seemed to turn against a practice that perhaps smacked of paternalism in what was becoming a more egalitarian era. Suddenly professional qualifications and higher education were preferred to the old apprenticeship model. Today, however, there’s a growing recognition that passing on skills and mentoring young people is good both for society and for industry – especially in the luxury trades within which the need for craftsmanship has never gone away. And in recent years the government has championed apprenticeships – with schemes that help employers fund all kinds of on-the-job training. Danial Rivers, for example, is the beneficiary of Holland & Holland’s recent revival of its apprenticeship scheme, where the decision to bring the trainees back after a 34-year hiatus was made by manufacturing director Mick White, who joined the heritage gunmaking brand last year from Elon Musk’s futuristic SpaceX. For White, this was about “future-proofing the business”, and heading off a “talent shortage” that was looming a decade or so down the line, when many of its leading craftsmen would be contemplating retirement. In charge of the scheme? The company’s longest-serving gunmaker, Paul Yelverton – who set out to learn his own lifelong skills on the very same course in 1973. Young dogs, old tricks… Left: apprentice jockey Poppy Bridgwater rides for Mill House Racing

APPRENTICES

Left: Poppy Bridgwater, who won an impressive 33 races in her first year. Right: Rolls-Royce trainee Mohammed Rokan is driven by a passion for engineering

“It’s crazy how much work goes into those few moments, but when you win nothing compares to it” Poppy Bridgwater JOCKEY | TONY CARROLL MILL HOUSE RACING “It all comes down to the winners,” says trainee jockey Poppy Bridgwater, who left school at 15 to pursue her dream of becoming a professional jockey. “There is no better feeling than seeing a happy trainer, happy owner and happy horse. It’s crazy how much work goes into those few moments after you’ve won, but you can’t compare the feeling to anything else.” Bridgwater, 20, who has already raced at Goodwood many times, grew up around horses. Her mother Lucy is a show jumper who writes a blog for Horse & Hound; her father David, a former jockey, is now a trainer in the Cotswolds. Poppy began by taking up show jumping, but soon realised that what she really wanted to be was a jockey – much to her father’s initial reluctance. “Because he was a jockey himself, he knew how tough it was – with the early mornings and late nights,” she admits. “He thought a nine-to-five job with weekends off would be a lot easier for me, but when he eventually realised I wasn’t willing to do anything else, he came round – and he’s been my biggest supporter.” Bridgwater’s exceptionally successful first year, competing with her apprentice jockey licence, clearly helped. Her initial goal when she was signed up by trainer Tony Carroll was three or four wins. Instead, she bagged 33. There’s clearly a competitive spirit to Bridgwater’s calling that makes it unlike other apprenticeships, and despite working long hours, it’s that drive to succeed that keeps her going. But luck also plays a massive role. “You can work as hard as you like,” she explains, “but if you’re not on the right horse, you’re not going to win. If the best jockey always won, it would be simple, but that’s not the case. It’s all about getting on the winning horse.”

Mohammed Rokan “I’ve changed my life to be here,” says Mohammed Rokan, “but I always knew I would do something positive – and work for a prestige brand.” Rokan, 21, was at college studying engineering when he applied to join Rolls-Royce’s over-subscribed apprentice scheme – launched in 2006 – which, like most programmes of this type, combines college-based learning with in-business training. On the Rolls-Royce scheme, Rokan spends four days a week at college and one day in the marque’s impressive manufacturing plant at Goodwood. And while many of his peers

Rokan’s course does include “hands-on experience of more average, normal cars, and learning about cars from the ground up – things like welding, which we don’t do here”, but it’s apparent that he is quietly, discreetly smitten by the aura of excellence at this fabled brand – one that, more than a century after its foundation, people the world over still use as a byword for prestige and excellence. “I knew from day one what a privilege being here would be, but I continue to be humbled by it,” he says. And alongside the state-of-the-art technology at this futuristic plant, tucked away in the Sussex countryside, there is an equally impressive, oldfashioned camaraderie among the people who work there, which

could be described as car nuts, for Rokan, it’s a passion for the science of engineering that drives him. In this case, however, the science is deployed in some of the world’s finest motor vehicles.

feels remarkable. “What we do relies on teamwork,” says Rokan. “Without all the lines working together you wouldn’t have an assembly line. So communication is key.”

MECHANICAL ENGINEER | ROLLS-ROYCE

APPRENTICES

Xjiio iejiejeoi JOCKEY | EAST SUSSEX

Some see more. 720S Spider Super Series

Tem faccusc iaecea vendignias explia serum que nus, officipidis rernam fugit illa esti atem latis posandi Official fuel consumption figures in UK L/100km (CO2 grams per km) for utemporrovid the McLaren Super et, utSeries aut 4.0L

(3,994cc) petrol, 7-speed Seamless Shift Dual Clutch Gearbox (SSG): Low 23.3 (528), Medium: 12.9 (293), High, 9.2 (209), Extra-High, 10.2 (230), Combined 12.2 (276). The efficiency figures quoted are derived from official WLTP test results, are provided for comparability purposes only, and might not reflect actual driving experience.

Itae verorep uditis eum corerio cus parcient odis ma volut es aut volest et, officia que sent exero est es dolorep udaepuditi officaecae la velicabo. Il experi num quos necus del ipid molupidunt omnihictur accum res ad ut est quo consequat faccum de nam et quae num conestibus sum sinumqui corepta quiae ventist, sant res aperesed modiscim audaepu daepudis modi que eos simpore ad quis rentist quis utat omnis eossinv eliquasint fugia cusapiet aut dus earion nectotatis iumquiant, offictaquia cum qui consequam rest eos dolupta adiates estium aut eat. Agnimusande aut dit quos ex et aut audae voluptatis nis ento di aut quod et ut ini nonseceatur sum vent faccae. Citaspitat veliciani tem. Uciisci ulluptis ut eni omnia consent voloremquat. Latium harcidu cimilitatat opta sitatus, tem rempor solumquis is nemporestio odi corerae. Si dolore volo que reped ut velitibus et qui quam as eum a eum hilis ma audam, culpa cor mint, te dolectesci voluptatur, omniass itiasiminti andis et libus, enihit od quossecepuda exceritiis es ducium ut aut rerroviducit a in eum saperferio magnient et vitiusa pernam uta por am voluptas alis sintium fuga. Optumquis et modigenieni consendam, voloriatem iunt endaerum sum fugia cus secatus quia quod eossit qui in eturepre dolessu scitio vollaborepe in corrovit perupta tenihicae. Itae qui ni to occateniet assuntum incim remporrum rehende quam eium eaturec atquam, a desti velis ium aut quuntiae omnihit ioreped qui quas aut ped molut undani omnisquo conempedist, saeria dit lab invenim iliquisitas inum cus. Solorep rovidel esciur, volupient eos doluptates pos endunt eum none alit excest laceped quiat ex eaquid magnis atur, ande as mint vellat. Turia neturitat et endusam audic temporia dias verspeliatus aceaquam fugias vereius animagnihit odit et quae. Nem aut as que enis eiunto doluptae et experum reratibusto te et occum ersperit as rendem inctatem quat ab int, es nimuscid etur, cusciis essiminci net optatur

cars.mclaren.com

APPRENTICES

“I was always a perfectionist, so it fits me, this impeccable, timeless craftsmanship”

Danial Rivers GUNMAKER | HOLLAND & HOLLAND

From top: apprentice gunmaker Danial Rivers; the ornately engraved action of a Holland & Holland shotgun

At 28, Rivers is the oldest apprentice in the 2018 intake at heritage gunmakers Holland & Holland. But after completing a BA in Design at Goldsmiths and going into teaching, he had become frustrated with the lack of hands-on craft work in his daily life. He knew little about Britain’s celebrated gunmaking industry, but a gunmaker friend thought Rivers might have what it takes to succeed in this world – where a gun is made entirely by hand in a process requiring hundreds of hours of highly skilled craftsmanship – and alerted him to Holland & Holland’s newly revived scheme. Now Rivers is learning the traditional techniques passed down by generations of gunmakers at the firm, based in the same North London workshops since the 1890s. Right now, however, like all the other apprentices, Rivers is spending most of his time crafting tools rather than guns – the tools that will become his own workbench partners for many years to come. The detail is obsessional. “I spent weeks filing an inch-square block, measuring it over nine points to make it perfectly level and square,” he says. “I was always a perfectionist, so it fits me, this impeccable, timeless craftsmanship; but it does take patience. We get to spend time with the really experienced guys up here, and our learning is often incremental. But watching something as simple as the way they file can be a light-bulb moment. It’s a simple back-and-forth motion but their understanding of the tool, knowing what to look for, knowing its application – that takes years and years of work.”

APPRENTICES A

Left: trainee chef Abigail Gaynor on the terrace of Goodwood’s Farmer, Butcher, Chef

“I understand the links back to the farm – you don’t get that kind of hands-on experience on any other courses” Abigail Gaynor CHEF | FARMER, BUTCHER, CHEF Much of Abigail Gaynor’s apprenticeship as a chef hasn’t been spent in the kitchen at all. She spent two months working with Goodwood’s farming, dairy, cheese-making and butchery operations before she even set foot in the kitchen to cook for customers at the estate’s Farmer, Butcher, Chef restaurant, which celebrates Goodwood’s organic produce. This experience has given Gaynor, 19, a keen understanding of what makes the estate’s produce so exceptional – and the singular benefits of this field-to-fork operation – in which animals graze in the nearby fields before coming to the inhouse butchery, while some of the milk from Goodwood’s dairy is transformed to an array of award-winning cheeses before arriving in the kitchen where the dishes are created. “I understand the links back to the farm,” she explains, “and you don’t get that kind of hands-on experience on any other

courses.” Gaynor’s appreciation for good produce has given her a passion for creating dishes that highlight the quality of their provenance – and sometimes makes her a stern critic of restaurant fare elsewhere. “I’m 100 per cent more fussy now after my training – it’s really bad for whoever’s out with me!” With a farmer grandfather and a culinary school-trained grandmother in Ireland (who made a superb, home-reared beef stew) for Gaynor, the appeal of cooking was perhaps rooted deep in her DNA. But she only considered professional life as a chef when she was 16 and working front-of-house at Arundel Castle. “I first came into the kitchen to help out, but I instantly thought, ‘I really love it in here.’” Nearly two years on, as she prepares to graduate from her apprenticeship, Gaynor’s peers and Goodwood tutors, who have become like a family to her, now consider her an “industryready” chef. “I know how lucky I am,” she says. “Even the other chefs in the kitchen would love the opportunities I’ve been given, so I try to take on as much as I can.”

APPRENTICES

ASTON MARTIN

For Aston Martin, 1959 was truly an annus mirabilis. The marque started the championship season with little chance of glory, but ended it – with a little help from Stirling Moss – having bagged sports-car racing’s biggest prize

GLORY

DAYS Words by Andrew Frankel

Left: Stirling Moss behind the wheel of the Aston Martin DBR1 he would drive with Jack Fairman at the 24 Hours of Le Mans in 1959

IF YOU SUBMITTED IT AS A TREATMENT for a film it would be sent back by return post stamped “too implausible”. A marque claiming a championship it didn’t intend to enter, beating the most successful and feared race-team of them all and winning the world’s greatest motor race in the bargain? And doing it with an out-of-date car and predominantly thanks to the heroics and other-worldly skills of just one man? This is comic-book stuff. And yet it’s also precisely how Aston Martin won the 1959 World Sportscar Championship (the first British manufacturer ever to do so). And they did it at Goodwood. It’s a matter of record that Aston Martin had no intention whatsoever of taking part in the championship in 1959. The reason was that just one of its five races mattered more than all the others put together: the 24 Hours of Le Mans. And the painful fact was that all attempts over the previous decade, since David Brown had taken over the company, had yielded three second places but never the most glittering prize in sports-car racing. What’s more, Aston’s DBR1 race-car was now entering is fourth season of competition. Team manager John Wyer knew this was the last chance. “It was to be our only race,” he said. “We wouldn’t tolerate any diversions.” Everything would be focused on Le Mans. In fact there was a lone Aston at the season-opening race at Sebring in Florida but only because the organisers had paid the team for it to be there. It retired before two of the 12 hours were complete, the race won entirely predictably by Ferrari, who’d only failed to win one round of the championship the year before. The title must already have seemed in the bag for the Italian marque. True, the small and agile factory Porsches clean-swept the next race over the tight and tortuous course of Sicily’s Targa Florio, but that was to be expected. With just the Nürburgring, Le Mans and the Tourist Trophy race

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Above: Roy Salvadori’s DBR1 on fire in the pits during the 1959 Tourist Trophy Race at Goodwood. Below: the Whitehead/ Naylor DBR1 leads the Clark/Whitmore Lotus Elite at the 1959 Le Mans

at Goodwood remaining, and with Aston Martin out of the picture, nothing could stop the mighty Ferrari now. Surely? Which is where Stirling Moss enters the story. The DBR1 had already won at the Nürburgring in 1957 and ’58, with Moss himself driving in the latter race, and he thought the car could do the hat-trick. The DBR1 suited the circuit and Stirling Moss was, well, Stirling Moss. He also knew there was a spare DBR1. Wyer still said no, and continued to refuse right up to the moment Moss said he’d pay all the expenses out of his own pocket. The spare was duly sent with a skeleton crew to take on three factory Ferraris. By the time Moss handed over to co-driver Jack Fairman after three hours’ driving, his lead was over five minutes. Which was fine until Fairman spun the car into a ditch. News came through that it was thoroughly beached, so Moss changed out of his overalls, presuming his race was run. Not so: Fairman, finding strength from who knows where, physically lifted the rear of the car back onto the circuit, fired it up and roared away. Nonetheless, by the time Moss was back at the wheel there were two Ferraris and 75 seconds between him and the lead. It took him three laps to eliminate the deficit. By the finish, and having driven the vast majority of the 1000km race, Moss won by over half a minute in what even he would call one of his greatest drives. Then came Le Mans, the race Aston Martin actually intended to enter. The team fielded three DBR1s in one last, desperate attempt to grasp the victory that had eluded them for so long. And not only did the Aston Martin of Roy Salvadori and Carroll Shelby win it, another came second. All the rival Ferraris retired. And yet you won’t see Moss’s name anywhere in the finishing list. Indeed his car was parked up, out of the race, before a quarter distance. So why, then, did Wyer write in his official race report: “It is impossible to over-estimate the part

ASTON MARTIN

Left: Carroll Shelby drives the victorious DBR1 into parc fermé at Le Mans in 1959, with (from left to right) Roy Savadori, David Brown and Stirling Moss hitching a ride

stayed away. Even so, Moss was more than capable of winning it, and if he did, Aston Martin would become the most unlikely of champions. Easy, then? As it happened, anything but.

Moss did what was expected, securing pole position and driving out of sight of the rest of the field after the flag fell. Paired with Salvadori, Aston’s second-fastest driver, it was now just a question of controlling the race. Moss handed over after an hour, and Salvadori maintained the lead. All was well – until Salvadori came in to refuel, whereupon petrol poured out of the refuelling hose before the nozzle had entered the filler and spilled onto the exhausts. In an instant, car and pits were ablaze (the pit plate, rescued from the fire, now resides in the Duke of Richmond’s office). Salvadori was lucky to emerge with only superficial burns, but for Aston Martin, not only was its lead car out of the race, it didn’t even have a pit from which to run its survivors, neither of which looked like winning. The race, the championship, the dream – all gone. Unless… There was another Aston Martin in the race, a privately owned car belonging to one Graham Whitehead. And for the greater good, he withdrew his car from the race and gave his pit to the team. I hope he got free Astons for life after that. All that was then needed was to call in the next best Aston of Shelby and Fairman, thank the drivers warmly for their contribution, and give it to Moss. He was a long way back when he rejoined, but there has probably never been a more harmonious combination of man, machine and motor circuit than Moss, the DBR1 and Goodwood. Within half an hour he was back in the lead and while the battle for second place raged between Porsche and Ferrari behind him, out in front, Stirling reigned serene. Now there would be no more mistakes. That day, Moss drove two cars for over four and half hours of a six-hour race. Against absurd odds, including a field comprising five former or future F1 champions and full works teams from both Ferrari and Porsche, he delivered to Aston what is considered the most important championship the company has won before or since. In the official history of the track, that race is described as “perhaps the most important race ever held at Goodwood”. It is a verdict with which few at Aston Martin would have disagreed.

GETTY IMAGES; ALAMY; LAT IMAGES; LAT IMAGES

played by Moss in our success at Le Mans.” It was all part of a strategy that not only took account of the fact Moss might not finish, it actually made his retirement far more likely. Indeed, Wyer himself regarded Moss’s car as “semi-expendable”. Wyer knew that if he planned a normal race, Ferrari would win. The six-cylinder DBR1 might have been more than a match for the Testa Rossas at the sinuous Nürburgring, but the long straight at Le Mans conferred a huge advantage on Ferrari’s V12 enginepower. In practice even Moss was seven seconds off their pace. So Wyer gave Moss a different engine to his other drivers, one with four rather than seven main bearings. This meant less internal friction and, therefore, more power, but at the price of greater inherent weakness. His job was to go out and drive the wheels off the car, in the hope that the Ferraris would over-tax themselves trying to keep up. The plan worked beautifully: Moss charged into the lead and instead of biding their time, the Ferraris rose to the bait. Two were out before midnight. One remained. Whether you think Aston Martin was lucky the final Ferrari retired from the lead with barely four hours remaining, or you take Wyer’s view that the seeds of its downfall were sown over the preceding hours by the relentless pressure applied first by Moss and then by the Salvadori/Shelby car, all that really matters is that by using iron discipline, the greatest driver in the world, and just a bit of cunning, Aston Martin won Le Mans. Which meant that within two weeks and two races, Aston Martin went from having no points in a world championship it hadn’t planned to enter to being within one race of winning it. That race was the six-hour Tourist Trophy held at Goodwood, and as the cars lined up for the start, Ferrari, Aston Martin and Porsche all had a shot at the title, so all brought full factory teams. But unlike Le Mans, Goodwood suited the DBR1 beautifully: the year before, they had come first, second and third, albeit without the presence of Ferrari who, title already captured, had

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I F YO U GO DOWN TO THE WOODS T O D AY Photographer Sandra Freij

Stylist Florrie Thomas

Art direction Lyndsey Price

Fantastical frocks in nature-inspired fabrics transform Goodwood’s woodlands into a midsummer day’s dream

First spread: blue chiffon dress, £3,620, by Alberta Ferretti, albertaferretti.com; pearl ring, £238, by Apples & Figs, applesandfigs.com; black ‘Academy’ ballerina pumps, £490, by Dior, dior.com Second spread: (left) yellow silk twill organza dress, £3,595, and pink silk embroidered dress, £7,000, both by Roksanda, roksanda.com; (right) dress, £POA, knit bra, £840, and knit panties, £700, all by Dior, dior.com; gold-plated pearl earrings, £275, by Ming Yu Wang, mingyuwangnewyork.com; dress, £1,000, knit bra, £840, and knit panties, £700, all by Dior, dior.com; gold-plated pearl drop earrings, £275, by Ming Yu Wang, mingyuwangnewyork.com Third spread: pink silk chiffon pleated mini-dress, £1,960, by Jenny Packham, jennypackham.com; pink, orange and red lace dress, £1,110, Bora Aksu, boraaksu.com; pearl ring, £238, by Apples & Figs, applesandfigs.com Fourth spread: pale pink cotton tweed mini-dress, £POA, by Chanel, chanel.com; viscose silk printed dress, £POA, by Moschino, moschino.com; yellow gold, bi-colour tsavorite and diamond ‘Winter to spring’ ring, £17,500, by Theo Fennell, theofennell.com Fifth spread: white embroidered dress, £750, and white and blush tulle cape, £750, both by Bora Aksu, boraaksu.com; gold-plated pearl earrings, as above Sixth spread: (left) silk printed dress, £2,690, and cotton printed dress, £2,200, both by Valentino, valentino.com; gold-plated pearl earrings and gold-plated pearl drop earrings, as above; leather brogues, £330, by Paul Smith, paulsmith.com; black socks, stylist’s own; (right) flocked tulle dress, £POA, by Erdem, erdem.com; gold-plated pearl earrings, as above Above: rose design silk printed dress, £600, by Kenzo, kenzo.com

Hair BIANCA NUOVI, Make-up SHAMA SAHZAYASIN, Lighting assistant SACHA PHILLIP, Digital assistant LUA PRITCHARD, Stylist’s assistant TIM BROOKS, Models ELISE CLARKE at THE SQUAD and ELISA M at MODELS 1

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WHAT COMES TO MIND WHEN YOU THINK of the linen suit? It might well conjure images of those summery style icons of yesteryear, fictional or otherwise: Gatsby, Mr Ripley, Sebastian Flyte and the like. Or less glamorously, a crumpled-looking relative at an overcast garden party, looking hot and bothered in a baggy linen suit with shirt and tie. But this summer, the linen suit is enjoying something of a renaissance, with news options in both cut and colour – particularly among British heritage brands and interesting independent designers – and a fresh, more casual approach to linen and what it can be worn with. And men are responding enthusiastically to such possibilities. As Savile Row tailor Terry Haste puts it, “Lately, men are getting much more bold – including with colour, opting for pale blues and pinks and even checks, rather than plain blue or parchment.” And whether you sport a Gieves & Hawkes suit in deep indigo, Hackett’s preppy linen separates, or a quirky unstructured jacket from Drake’s, this summer will see linen tailoring shaking off its tired and rumpled reputation. Perhaps the best person to explain the reasons for this shift is Simon Maloney, product director at flamboyant Jermyn Street outfitter New & Lingwood. “Linen suiting is a timelessly elegant choice for the warmer months,” he confirms, “but it’s naturally less formal than crisp wool tailoring. So it lends itself to relaxed, colourful clothes that you can have fun with. We tend to cut our linen suits as separates, to be mixed and matched, and we also go for lighter, softer colours to help our customers stand apart from the crowd.” New & Lingwood has cut three different suits in cream, powder blue and earthy olive, with jackets and trousers

What all these brands have in common is a clear sense of fun in their choice of colours and cuts. At bespoke tailor Anderson & Sheppard, linen suiting in bright colours has been part and parcel of dressing for the summer season for a good few years. “Some people are put off linen because of its reputation for creasing, and yes, it does crease, but so does cotton and most lightweight cloth,” says Audie Charles, the house’s Creative Director. “We think linen’s coolness and texture outweigh this inconvenience. Ivory and navy are classic choices, but we also make a lot of linen suits in light yellow, tobacco and china blue.” Linen suiting creases – there’s no way around this – so there’s no point pairing a linen suit with a very crisp cotton shirt and satin tie; the different elements of your outfit simply won’t work together. Instead, dress your linen suit down. You’ll feel more comfortable, and while you might look a little crumpled, your outfit will be more cohesive – and will look all the more modern for it. Again, New & Lingwood’s summer campaign shows cream linen tailoring worn with open-collar shirts (as pictured), breezy linen buttondowns and even simple cotton crewnecks. Lightweight knitwear is an underrated choice for smart-casual occasions, and cornflower-blue crewnecks or polo shirts are spot-on under a light-coloured linen suit. Alternatively, if a shirt and tie is obligatory, consider your choice of colours and fabrics for these too. A softly textured linen button-down in light blue or off-white will look good with practically anything you’d care to pair it with. Hackett’s garment-dyed linen button-down shirts are a smart choice here. And if you do wear a tie, choose something with

available separately to pair together. Try the cream linen blazer with powder-blue pleated trousers, or the olive jacket with cream trousers. A few streets away, on Savile Row, nestled among Richard James’ Spring/Summer 2019 ready-to-wear collection, you’ll find similarly zesty options. The house has designed a pair of sophisticated two-piece suits in sky blue and show-stopping dusty pink linen for summer. And, if you want something really truly featherweight, across town on Chiltern Street, fashionable boutique Trunk Clothiers is stocking beautiful unstructured linen suits in indigo, khaki and tobacco from Spain’s MAN 1924, made from the floatiest of fabrics.

a matte texture rather than a shiny silk or brash stripe. Plain silk knits and grenadine-weave ties work well with a relaxed suit and linen shirt. Drake’s has some beautiful shantung stripe and plain tussah silk ties this season – both of which add a relaxed touch to a formal look. With so many different designs out there, the staid old linen suit has undoubtedly come a long way. No longer the preserve of stuffy relations and Edwardian garden parties, this summer will be the linen suit’s moment in the sun. And whether it’s sky blue, sunny yellow, pale pink or olive green, there’s a wider range of colours to choose from than ever before. Finally, it seems, linen needn’t be frumpy.

Beyond the crease Words by Aleks Cvetkovic

Relaxed, stylish and easy-going on a balmy day, the linen suit is being reinvented, with fresh, more casual ways of wearing it. Just be sure to sport your crumples with pride 64

LINEN TAILORING

THE ART OF SPEED

A new exhibition at the Dulwich Picture Gallery shines the spotlight on the Grosvenor School of Modern Art, a group of late-1920s artists whose creative mission was to capture and celebrate the speed of modern life

THE

Words by Matthew Sturgis

FAST SHOW 66

THE ART OF SPEED

Cars, trains, planes, motorbikes, action movies, sports, pastimes, life itself: everything is getting faster. And faster. Speed, indeed, is the defining feature of the modern world, and it has been ever since the world started considering itself as “modern”. Back in 1925, the artist Claude Flight was already noting, “Time seems to pass so quickly nowadays. Everybody is in a hurry… this speeding up of life in general is one of the interesting and psychologically important features of today.” While some lamented the acceleration, Flight was both intrigued and enthused by it. The desire to capture, and celebrate, the speed of modern life became his artistic mission – a mission that he shared with the artists he gathered together at the Grosvenor School of

Modern Art in the late 1920s. The boldly coloured prints created by the practitioners of the Grosvenor School are a remarkable achievement in the story of British Art: fresh, vital and utterly distinctive. After decades of neglect, they have recently gained a renewed recognition. They are now sought-after and collected. They achieve high prices at auction. An exhibition this summer at the Dulwich Picture Gallery will introduce the work to a new and wider public. Original and forward-looking though the work is, it owes a debt to what came before – to earlier artistic movements that had embraced the challenging energy of the Machine Age: the experiments of Wyndham Lewis and the Vorticists; the achievements of Italian

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

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

they achieve high prices at auction; and an exhibition this summer at the Dulwich Picture Gallery in South London will introduce the work to a new and wider public. Original and forward-looking though the work is, it owes a debt to what came before – to earlier artistic movements that had embraced the challenging energy

pass so quickly nowadays. Everybody is in a hurry… this speeding up of life in general is one of the interesting and psychologically important features of today.” While some lamented the acceleration, Flight was both intrigued and enthused by it. The desire to capture, and celebrate, the speed of modern life became his artistic mission – a mission that he shared with the artists he gathered together at the Grosvenor School of Modern Art in the late 1920s. The boldly coloured prints created by the practitioners of the Grosvenor School are a remarkable achievement in

of the Machine Age: the experiments of Wyndham Lewis and the Vorticists; the achievements of Italian Futurism. In 1912, Claude Flight, then a mature but eager art student, had met Filippo Marinetti when the founding figure of Futurismo visited London. Marinetti was particularly delighted by the London Underground system, and the way it hurtled along beneath the crowded streets. He could not understand why no British artist had taken it as a motif. It was an observation that resonated. Even the horrific mechanised slaughter of the First World War – during which Flight served in France –

the story of British Art: fresh, vital and utterly distinctive. After decades of neglect, they have gained a renewed recognition. They are now sought-after and collected;

did not destroy his sense of excitement in the potent dynamism of the modern world, although it did perhaps tinge it with a new sense of tension. And at the beginning

Opening pages: The First Fence (1933) by William Greengrass. Opposite, and above: Cyril Power’s The Eight (1930) and The Tube Station (1932)

THE ART OF SPEED

Flight evolved a style of curving lines, bold flat colours and striking contrasts that conveyed a sense of motion and force

of the 1920s, when his friend Iain Macnab set up a small private art-school in a run-down Pimlico townhouse, at 44 Warwick Square, Flight offered to establish a printmaking course in the basement, so that he could develop and communicate his vision. Flight had evolved a style of geometric volumes and curving lines, of bold flat colours and striking contrasts, that conveyed a sense of motion and force. And he chose to fix these images not in paint or sculpture but in the simple medium of the linocut. Then, as now, it was a medium more associated with primary school artclasses than with the endeavours of Fine Art. But Flight saw scope in its immediacy and in its modest form.

Left: Cyril Power’s Speed Trial (1932) was inspired by Malcolm Campbell’s Blue Bird breaking the land speed record at Daytona Beach, Florida, in 1931

The group that gathered for Flight’s classes was a small one. It included the school secretary, Sybil Andrews, and its architectural-drawing tutor, Cyril Power; there was a trio of Australian students (Ethel Spowers, Dorrit Black and Eveline Syme), and a young Swiss woman called Lill Tschudi. All, however, were enthused by his modernist vision – and by his innovative working methods. Materials were simple, and – no less importantly – cheap. They used regular household linoleum as their base. Their gouging tools were fashioned from old

blocks being cut for each colour. Areas of overprinting could produce intermediate shades. To preserve the freshness and energy of the image, Flight abandoned the traditional print procedure of overprinting the principle outlines of the design from a single, black “key block”. Linocutting may have been crude in some ways, but what it lacked in precision and detail it made up for in boldness of form and fluidity of design. It had novelty too. It was not a medium freighted with a lengthy history and daunting artistic associations. These were

umbrella struts. Flight’s technique demanded a clarifying simplicity of design, with the image being broken down into its main constituent colours, and separate lino-

all elements well-suited to conveying the energy and movement of a contemporary world that was undeniably novel, often fluid, nearly always bold.

THE ART OF SPEED

There was also a social aspect to his choice of medium. It was art within the reach of “ordinary people”

Opposite: Sybil Andrews’ The Windmill (1933). Above: Andrews’ compelling depiction of motorcycle racing, Speedway (1934), briefly held the record for the most valuable Grosvenor School work when a print sold at auction in 2012 for £85,000

THE ART OF SPEED

Ciame omnis velest alique plibus moditatur atis aut autatur? Quis eatempor re et ulpa coremperit, omniantur

Linocut may have been crude, but what it lacked in precision it made up for in boldness of form and fluidity of design Cars, escalators, fairgrounds, factories, dance halls, restaurants, racetracks and rush hours: all the motifs of urban existence were taken up – along with, it has to be said, some scenes of rural life: from ploughing horses to village cricket. But the town always predominated. In his significantly titled 1922 print, Speed, Claude Flight had set the tone, showing the lines of the modern metropolis bending, if not buckling, against the rush of motor traffic. The first four letters of the title appear, emblazoned on the side of the passing double-decker bus in the foreground. His pupils responded to the call. Cyril Power, in The Tube Station (1925), took up that challenge laid down by Marinetti, producing a glorious symphony of curving forms to depict a red tube-train racing through the sudden brightness of the arcaded station into the blackness of the tunnel beyond. Power and Sybil Andrews collaborated on a series of posters for London Underground depicting major sporting venues in and around London. And it was from studies done on this project that Andrews created her celebrated print Speedway (1934), showing three riders hurtling towards the viewer, faces obscured by helmet

charged images of skiers and cyclists and sports cars racing on their way. Her striking 1933 print, Ice Hockey, less graceful but more charged, is a swirling vortex of clashing green-and-black forms. The minor dramas of daily life were not ignored. In A Gust of Wind (1931) Ethel Spowers created a memorable image of a black-clad figure on a crowded street losing hold of a sheaf of papers. The white pages swirl against a background of reds and greens, and blue umbrellas. Flight valued linocut’s modest scale for its aesthetic as much as its commercial benefits. “People live in smaller rooms,” he reasoned, “and the pictures they buy must necessarily be smaller… Colour prints being necessarily small, look better in smaller rooms, and the colour-print being a simple colour scheme can be chosen to suit the colour scheme of the particular room to be decorated.” There was also a social aspect to his choice of medium. It was art within the reach of “ordinary people”. At a time when a watercolour by even a young artist might cost between £5 and £20, a Grosvenor School linocut, done in an edition of 50, would sell for just two or three guineas. As Flight enthused, this was not far off the price “paid by

and goggles, streaks of dirt rising from their front wheels in a visual expression of speed. Lill Tschudi also relished the dynamism of sporting subjects, producing gracefully

the average man for his daily beer or his cinema ticket”. Things have moved on rather on this front. And although the price of beer has gone up since 1929, it has

Above: Claude Flight’s Speed (1922), one of the Grosvenor School’s earliest pieces, set the tone for the artworks that would follow

Wa l d o r fA s tor ia . co m Â© 20 1 9 H ilton

THE ART OF SPEED

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THE ART OF SPEED

The group gradually broke up. Flight was disheartened when his studio was bombed in the Blitz. He died in 1955, largely forgotten. Power returned to his architectural practice in East Anglia. Andrews emigrated to Canada. But the energy of the work remains. And its rediscovery has been one of the fascinating cultural features of recent times. It continues to speak with a compelling directness. The pace of life, too, shows no sign of slowing – and the work of the Grosvenor School of printmakers encourages us to embrace and enjoy that speed. Cutting Edge: Modernist British Printmaking is at Dulwich Picture Gallery from 19 June to 8 September

not kept pace with the price of Grosvenor School prints. Lucia Tro Santafe of Bonhams reports a healthy market, with works selling for tens of thousands of pounds. Whether the auction house’s upcoming June sale, which features Sybil Andrews’ Speedway and works by Cyril Power and Lill Tschudi, will break auction records, is yet to be seen. The current record is held by Ethel Spowers’ Gust of Wind, which fetched £114,500 in 2012 during a fierce period of competition between rival collectors. The movement was sustained for about a decade, with exhibitions in London (at the Redfern Gallery) and in Canada, Australia, the US and China) before it began to lose ground to new artistic innovators during the 1940s.

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Left: Leonard Beaumont’s striking 1934 linocut, entitled Nymphs Errant

THE ART OF SPEED

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SIR JACKIE STEWART

MAN FOR ALL SEASONS The 2019 Festival of Speed will honour Sir JackieÂ Stewart, who this summer celebrates both his 80th birthday and the 50-year anniversary of winning his first Formula 1 World Championship. The Duke of Richmond talked to the motorracing icon about his glittering career, early experiences of Goodwood and enduring love of motorsport

Words by The Duke of Richmond

SIR JACKIE STEWART

JACKIE STEWART I first went to Goodwood with my brother Jimmy for the Nine Hour race in the 1950s. Later on I was there with Jimmy when he was racing for David Murray’s Ecurie Ecosse team. We stayed at the Ship Hotel in Chichester, and David took us to some nice pubs and restaurants. Jimmy won his race in a C-Type Jaguar. He wore a visor rather than goggles, I remember that. In 1962 I won at Goodwood in a Cooper T49 with Ecurie Ecosse – that was a big moment. Then in September 1963 I won there again in their Cooper-Monaco, and set a new lap record. The circuit manager Robin Mackay was watching and told Ken Tyrrell he should “have a look at this Jackie Stewart”, and that’s how I came to sign for Ken’s Formula 3 team after a test on a cold winter’s day early in 1964. I knew the circuit but had never driven the car, a new Cooper T72-BMC, and Bruce McLaren was there to set a lap time before I went out. Ken told me to take my time, but I was soon beating Bruce’s times, and John Cooper came running down from Madgwick Corner and I heard him tell Ken: “You gotta sign him, you gotta sign him. Now!” So that day at Goodwood was an incredibly important moment for me. We went on to win the F3 Championship that year, and then of course my three World Championships. DR You came back to race at Goodwood with BRM in your first year of Formula 1.

JS Yes, I’d signed for BRM, alongside Graham Hill, and started from pole in the Sunday Mirror Trophy on Easter Monday in 1965. In the race I shared a new lap record of 1:20.4 with my friend Jimmy Clark in the Lotus, who did an identical time, and that remains in your pre-1966 Goodwood record books as the official lap record. Sadly the car broke down and Jimmy won the race. Nobody knew much about me in those days. I was just a young lad starting out, really, so I don’t remember going to your grandfather’s cocktail parties in Goodwood House. I met him, of course, testing and racing there, and he was a lovely man. I know your family have always been great hosts, but neither Ken (Tyrrell) nor I were party animals back then. DR Tell me about the Goodwood Motor Circuit – why is it a challenge for drivers? JS It’s a demanding track, not an easy one. The first corner at Madgwick, for example, the double apex right-hander, you have to know where to put the car and where to brake. You have to carry the speed out of the corner onto the straight towards St Mary’s and then into Lavant. These are demanding corners in a really quick car. In a Can-Am car, for example, it’s mighty – even a wee bit scary. Goodwood is a driver’s circuit, you can make a real difference. It looks easy, but it’s not – it’s so fast. If you go off the road you’re going to hit the bank, and back in my day the chicane was made of bricks… To lap Goodwood at the limit has never been easy, but it’s a wonderful circuit.

OPENING SPREAD: GETTY IMAGES. THESE PAGES (L-R): GETTY IMAGES; LAT IMAGES; ALAMY

DUKE OF RICHMOND Tell me about your earliest memories of Goodwood.

SIR JACKIE STEWART

Opening spread: Jackie Stewart and his wife Helen in 1969. Above (L-R): in his Team Surtees Lola T70; at Goodwood in 1965; at Goodwood in 2008 in his record-beating BRM P261

DR Why did you never compete after you retired in 1973? Many drivers have come back to do historics. JS I made a commitment to myself and my family that I would never race again. I was happy to do demo runs, so the Festival of Speed and Revival have given me so many opportunities to be reunited with lots of the cars I raced. These are such great events, not only because of getting back behind the wheel, but also because of all the people, the drivers and the fans. My sons Paul and Mark and I all drove Tyrrells for a display at Revival and that was such a lovely moment for me. My old mechanics ran the cars for us: Roy Topp, Roger Hill, Roland Law. That was just great – the same guys who prepared my cars in that period. I just wish Ken (Tyrrell) could have been there, too. He was so good at choosing the very best mechanics. That’s what I love about Goodwood, those reunions, seeing the people you remember. All our yesterdays are there again. I sign hundreds of autographs, though the selfie is the big thing these days. I think an autograph is better, much more personal, something to keep for ever. I still have my autograph book from when I was a wee boy.

and has given me and my whole family such a wonderful life. I went to the Members’ Meeting for the first time this year and really enjoyed it, being back at the circuit where that test day launched my career. We must remember how dangerous it was in my day – I lost so many friends. The work we did to make F1 so much safer is perhaps the most important thing we did, the achievement of which I’m most proud, along with my World Championships. DR You will celebrate your career at the Festival of Speed this year. An emotional milestone for you? JS Yes, I’m looking forward to being there. When I slip down into the cockpits of the cars I raced, it’s like putting on a pair of favourite old gloves, especially the Tyrrells and the Matra. It’s 50 years since I won my first World Championship and you know, the Tyrrell has the very same seat that I used all those decades ago. When I raced, I never let emotions distract me but reunions with cars, and the people, bring a smile to my face and maybe, just maybe, a tear to my eye.

DR Is motor-racing still an important part of your life?

Goodwood will celebrate Sir Jackie Stewart’s 80th birthday, and the 50th anniversary of his first Formula 1 World Championship triumph, by featuring some of his most famous cars at this year’s

JS Oh, yes, my love of the sport is as deep as it’s ever been. I go to at least ten Grands Prix every year, through my work with Rolex and Heineken. The sport changed everything for me,

Festival of Speed (which takes place July 4 – 7). The list includes the first car Stewart ever raced – the Marcos Xylon Special – and the BRM P261 in which he took his first Grand Prix victory.

SIR JACKIE STEWART

Left: Jackie Stewart with his close friend, ex-Beatle George Harrison, in 1979

members of the band. I remember sitting there thinking this had to be one of the greatest privileges anybody could have. George had a great soul. His instinct was to forgive rather than to condemn and when people behaved badly he would make excuses for them. I learnt so much from him.” DAVID COULTHARD ON JACKIE

“Sir Jackie is to my mind one of the greatest ever professional sportspeople. He defined a brand ambassador is, which has benefitted all professional sports, and his contribution to our sport’s safety is immeasurable. I have no doubt that his role in my early career enabled me to race for 15 seasons in F1 while enjoying a second career in broadcasting today.” DAME KIRI TE KANAWA ON JACKIE

“Jackie has been a dear friend for many years. Always the consummate gentleman and perfectionist. A very caring, generous man with a great sense of humour.” SIR MICHAEL PARKINSON ON JACKIE

THE WORLD OF JACKIE STEWART Jackie Stewart made an impact well beyond the world of motor racing. His friends and admirers have included royalty, TV personalities, pop stars and opera singers…

“I’ve known Jackie Stewart for 50 years or more – long enough to appreciate the fact that of all the people I’ve met over a lifetime of meeting remarkable people, he would be among the four or five most remarkable – not only in conquering the world of Formula 1, but in using his fame and celebrity to make the sport much safer. Successive generations of F1 drivers have good reason to consider him their patron saint. He can talk the leg off an iron pot and argue on any subject known to man. His marriage to Helen has been a rare love story; none better demonstrated over recent years than through his devoted care. He is also a very good golfer and an excellent shot. Proud to call him a friend.”

Sir Jackie’s comments on Princess Anne are taken from Jackie Stewart’s Grand Prix, published by Genesis, and on George Harrison, from Jackie Stewart: Winning Is Not Enough

JACKIE ON PRINCESS ANNE

“We’ve been friends since the early 1970s when we were both voted BBC Sports Personality of the Year. When you’re in sport there’s an understanding and a respect for each other. I was certainly impressed by Anne; she did something no member of the Royal Family had ever done before: compete in the Olympics. It’s a friendship that’s lasted all these years and [my wife] Helen is godmother to Zara. The thing about good friends is, you don’t need to see each other all the time. We know we’ll always be there for each other.”

“I first met George Harrison when the Beatles turned up at the Monaco Grand Prix in 1969. George enjoyed motor racing. We shared many wonderful times. On one occasion, when he was staying with us in Switzerland, we went to the French Grand Prix in Dijon. It was a clear, warm evening when we arrived home. Helen had prepared a barbecue, and [my son] Paul, who was 12 at the time, brought out his guitar. George started to play, running through all the great Beatles hits, singing parts of the songs, explaining what the lyrics meant to various

GETTY IMAGES

JACKIE ON GEORGE HARRISON

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From top: Jenson Button takes a breather; Sir Stirling Moss in jaunty Union Jack braces; photographer Flack in action with Sir Jackie Stewart

Hot shots Photographer Indira Flack’s striking new portfolio of British driving legends captures these racetrack stars in candid, off-duty mode Words by Gill Morgan It was while recovering from a cycling accident and in need of a cheering project that photographer Indira Flack hit upon the idea of creating a unique portfolio of legendary British racing drivers. So while visiting the 2014 Festival of Speed – she and her photographer partner Paul have been regulars since the festival’s earliest days – she decided to seize the moment and ask permission to shoot as many of the heroes of British motorsport as she could possibly persuade. Now, five years of work is about to be unveiled at an exhibition to coincide with the opening of The Silverstone Experience. Flack has sought to combine the drivers’ off-track personalities with their motorsport careers in her portraits. One of her first sitters was Sir Stirling Moss who, she explains, “is photographed sitting in his Eames chair, because he’d told me that after winning some races, he’d asked for the chair instead of another silver trophy that would need polishing.” Sir Stirling is also sporting a pair of striking Union Jack braces that add to the photograph’s jaunty mood. Flack covered some 13,000 miles over the course of the project, photographing her subjects all over the UK. The resulting collection of nearly 90 portraits is a roll call of legendary driving talent and budding stars, from karting to Formula 1, and includes Sir Jackie Stewart, Damon Hill, Nigel Mansell, John Surtees and 20-year-old Jamie Chadwick, the first winner of the new W Series. Several of the portraits were shot at Goodwood, and the Duke of Richmond has contributed the foreword to the exhibition. “It’s been such a privilege to spend time with these incredibly talented drivers,” says Flack, who adds that the sessions were often filled with laughter and enthralling tales. “What an experience.” Great British Racing Drivers opens at The Silverstone Experience on July 9. www.gbrd.photos

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HIGHLIGHTS JULY – SEPT

July 4 – 7 FESTIVAL OF SPEED The leading celebration of the motorsport and automotive world, held in the beautiful parkland of Goodwood House, where festivalgoers get up close to iconic cars and the drivers who made them famous. July 4 – 7

FOS FUTURE LAB This unique opportunity to experience cutting-edge technology is rapidly becoming one of the key attractions at Festival of Speed. July 30 – August 3

QATAR GOODWOOD FESTIVAL One of the biggest moments in the racing year – with more than a dash of glamour – this is Goodwood at its most glorious. August 4

BREAKFAST CLUB: CLASSIC CAR SUNDAY A celebration of cars and bikes from before 1979. August 7 – October 24

SUMMER EXHIBITION: This year's exhibition at Goodwood House is inspired by curator James Peill's new book, Glorious Goodwood: A Biography of Britain’s Leading Sporting Estate. August 23 – 25

AUGUST BANK HOLIDAY RACING Including a spectacular Friday night of fireworks and festivities for the family throughout a weekend of racing. September 13 – 15

GOODWOOD REVIVAL All the romance and glamour of the golden age of motoring – and much more besides.

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Below: introducing a race car that flies. Alauda Racing's Airspeeder launches at FOS Future Lab

R O L L S - R OY C E M OTO R C A R S

A DIS T INCT IVE SPIRIT THIS SUMMER The Home of Rolls-Royce team will be showcasing our unique cars for you to explore at a number of destinations. Unravel the secrets behind the craftsmanship of our motor cars at the Festival of Speed, on the Laundry Green adjacent to Goodwood House, 4â&#x20AC;&#x201C;7 July. Admire the Mediterranean coastline throughout our Summer hotspot tour. Enjoy a garden party set against the magnificent backdrop of Blenheim Palace at Salon Prive, 5-8 September.

To find out more details visit rolls-roycemotorcars-europe.com/events @rollsroycecarseurope

Official fuel economy figures for the Rolls-Royce Cullinan. CO2 Emissions Combined 377-355 g/km [1] and Fuel Consumption Combined 18.8- 18.8 mpg / 16.9-16.5 l/100km [2] The figures on fuel consumptions and CO2 emissions shown are determined according to the European Regulation (EC) 715/2007 in the version applicable at the time of type approval. The fuel consumption you achieve under real life driving conditions and CO2 produced will depend upon a number of factors including the accessories fitted after registration, variations in driving styles, weather conditions and vehicle load. The figures marked with [1] are based on the new test (WLTP) and are translated back into outgoing test (NEDC) in order to ensure a comparison between the vehicles. The figures marked with [2] are already based on the new test (WLTP). For the assessment of taxes or other duties based on CO2 emissions, the CO2 figures may differ to the figures stated here. The figures shown consider optional equipment and the different size of wheels and tyres available on the selected model and may vary during the configuration. ÂŠ Copyright Rolls-Royce Motor Cars Limited 2019. The Rolls-Royce name and logo are registered trademarks.

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Goodwood’s May Festival combines action-packed races with a chance to sample delicious

July 4 – 7

festival of speed

Expect the roar of engines and the squeal of tyres around the new Arena space, as Mad Mike Whiddett drifts a Lamborghini and Ken Block (pictured above) makes a triumphant return, amid some unimaginable car and bike displays. Help us salute the extraordinary life and career of Sir Jackie Stewart. We also celebrate iconic British marque Aston Martin, the subject of this year's spectacular Central Feature, and some key anniversaries: 90 years of the Monaco Grand Prix, 50 years of the Porsche 911 and 25 years since Michael Schumacher's first World Championship. BENTLEY'S BIG MOMENT Join in the celebrations for the centenary of this much-loved icon of British luxury motoring

OH, YOU PRETTY THING… David Bowie’s mirrored Mini comes to Goodwood as part of the car's 60th birthday celebrations

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LOOK, NO HANDS Kar-Go, the world's first autonomous delivery vehicle, pioneered by the UK's Academy of Robotics, makes its debut at FOS Future Lab

July 4 â&#x20AC;&#x201C; 7

FOS future lab

Now in its third year, the technology and innovation expo is bigger and more exciting than ever, with something for everyone in an international line-up curated to showcase the future of flight, smart cities, robotics and AI, deep ocean exploration and farming. If you like the idea of a flying race car, look out for Alauda Racing's global launch of the Airspeeder (pictured p87). Elsewhere, AstroPlant explores farming in outer space; AI Build shows how large-scale robotic 3D printing arms will increase the potential for building on an architectural scale; while British firm Notpla imagines a world without single-use plastic â&#x20AC;&#x201C; and presents Ooho, its new edible food-packaging. Felix & Paul Studios unveil a special edit of VR content captured during their NASA collaboration, filming aboard the International Space Station. And FOS Future Lab's central feature this year? A spectacular installation by artist Stanza, using live data feeds and computer circuits to demonstrate the concept of the Connected City of the future.

PICTURE TO COME IS THERE LIFE ON MARS? The European Space Agency and Airbus present the EXOMars rover, heading to the red planet next year to look for life. In a FOS Future Lab exclusive, the countdown to launch starts at Goodwood

P e t r o l h e a d a p p r o v e d.

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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July 30 – August 3

Qatar Goodwood festival

RACING COLOURS Olympian Victoria Pendleton joins TV's Vogue Williams and model Rosie Tapner in a stellar line-up at this year's Magnolia Cup

Enjoy the sporting and social highlight of the summer season – affectionately known as Glorious Goodwood – with five days of racing at the beautiful racecourse on the South Downs. Highlights include the Qatar Goodwood Cup (day one), the worldclass line-up at the £1m-stake Qatar Sussex Stakes (day two) and the historic, six-furlong cavalry charge that is the Qatar Stewards' Cup (day five). Not to forget all the glamour and fun of Ladies' Day (day four), including the Magnolia Cup, the charity race contested by lady amateurs, which this year will raise money for Wellbeing of Women, Britain's leading charity pioneering medical research in women's reproductive health.

MAKE IT A GLORIOUS DAY The races at Goodwood combine equine thrills with elegant entertaining

finish According to cricketing lore, a wicket originally consisted of two stumps and one bail and resembled a gate (hence the name, which derives from the word for a small door or gate). The middle stump and additional bail were only added following an extraordinary incident in 1775 when a player named Lumpy Stevens bowled three successive deliveries to an opposing batsman, John Small, which all passed between the two stumps without hitting them. Nowadays, according to Law 8 in The Laws of Cricket, a wicket should consist of three vertical poles, usually made of ash, each of which must be 28 inches tall, with two bails resting on top. Fittingly, when the umpires â&#x20AC;&#x153;call stumpsâ&#x20AC;? they are declaring that play is over for the day.

LAP OF HONOUR As creative director of Montblanc, Zaim Kamal divides his working life between Paris and Hamburg and further afield. Yet his weekends are spent at his family home on the Sussex/ Hampshire border – riding, driving his Bentley and savouring some downtime at The Kennels

Zaim Kamal I LOVE THE SOUTH DOWNS – so beautiful, and wonderful for walking our dogs. And I love being so close to the sea. I spend the weekends in Sussex, but from Monday to Friday I travel, because at Montblanc we make watches in Switzerland, leather goods in Florence and writing instruments in Hamburg; plus I have my own design atelier in Paris. WHEN YOU TRAVEL A LOT, the trick is to travel light – and only ever with hand luggage. I wear black a lot, which helps, and I never take a winter coat. I always wear scarves instead. MY ADVICE TO MY YOUNGER SELF would be, don’t be afraid of anything and just believe in yourself and keep doing it. Even if you make mistakes and even if you fall, stand up and keep going. Never underestimate the power of hard work or doubt that you will get to your goal – just sometimes not in a straight line! MY TOP THREE RULES for life are: be happy, be true and have fun.

I NEVER TAKE PRIVATE HOLIDAYS away nowadays. I travel a lot with my work, so when I have the time I just love coming home. My favourite journey is always the drive back from Heathrow to my house in West Sussex – in my Bentley Continental GT. I love driving. I have a complete thing for speed. THE DUKE HAS INVITED ME to Goodwood for track days and I’ve enjoyed it very much. I’ve been going to Festival of Speed for 12 years now. One of my best memories is of the first year the NASCAR drivers came. You can feel the tingle of excitement in the crowd – and the sound level rises. Those drivers are extraordinary. I’M AN OLD PORSCHE FAN. Before the Bentley, I always had a Porsche. Those beautiful 911s from the 1970s are my favourites. BECAUSE I TRAVEL SO MUCH, I see many different cultures. If you walk through life with open eyes, you take all of that in, appreciate it for what it is – and then you store it. I FIND INSPIRATION EVERYWHERE. Recently we were out hacking in the countryside. The sun came out, our riding instructor was with us and she was wearing this colour combination of light blue, green and grey. I was riding behind her when the sun hit these colours – and it was so brilliant that I actually used it for a collection of ours, combining those colours.

WHEN I HAVE A SUMMER VACATION, I always say I will learn three things during that period that I’ve never done before. It can be something silly, like, for instance, I’d never painted a room in my life before, so I painted my daughter’s room in the colours she liked. Another time I learnt to bake bread, and I also wanted to learn horse riding. One of my main ambitions for next year is to jump 1.5 metres.

ILLUSTRATION BY ELIZABETH MOCH

I’M NOT A COLLECTOR, not really. I had a record collection that I’d built since buying my first record, aged 14, and I had it until the age of 30, when it was destroyed in a flood. So now I don’t form an attachment to material things. I enjoy them, but I don’t really collect.

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IF YOU GO DOWN TO THE WOODS TODAY

THE APPRENTICES

The Breakthrough