Goodwood the Season

16 / goodwood THE SEASoN

EDITOR’S LETTER

Traditionally, Glorious Goodwood has marked the end of the English

Summer Season. However, the Season now embraces far more events and

people than ever before and carries on long after Raceweek has finished.

At Goodwood, the 2012 Season is filled with an action-packed

programme at each of our main events. The theme for this year’s Festival

of Speed, 28 June to 1 July, is ‘Young Guns – Born to Win’, celebrating

those who have arrived on the motor sport stage in a blaze of glory.

Glorious Goodwood Raceweek, 31 July to 4 August, with its wonderful

mix of top-class racing and summer glamour, will mark the 200th running

of the Goodwood Cup.

The Goodwood Motor Circuit, 14 to 16 September, will play host to the

15th Goodwood Revival. This ‘magical step back in time’ is the moment

not only to get out your favourite kit from the Forties, Fifties and Sixties,

but also an opportunity like no other to ‘live’ the Season.

I hope you will enjoy reading about the fascinating heritage of many

of the events that make up the English Season in these pages. Historically

it revolved around the monarch and their court, so it is entirely appropriate

that this year people all over the country will be celebrating Her Majesty

The Queen’s Diamond Jubilee, as we will be at Goodwood with some of

Her Majesty’s cars in the Cartier ‘Style et Luxe’ at The Festival of Speed.

I look forward to welcoming you this Diamond Jubilee Season.

EDITORIAL

Executive editor Earl of March

Editor-in-chief Peter Howarth

Editor Sarah Deeks

Chief copy editor Chris Madigan

Copy editors Sarah Evans,

Cate Langmuir

Editorial director Joanne Glasbey

DESIGN

Senior art director Ciara Walshe

Picture editor Juliette Hedoin

Creative director Ian Pendleton

MARKETING

Marketing director Tracey Greaves

COMMERCIAL

Executive director Dave King

Publishing director Toby Moore

SHOW MEDIA 020 3222 0101

Ground Floor, 1-2 Ravey Street,

London EC2A 4QP

[email protected]

www.showmedia.net

G o o d w o o d T h e S e a S o n / d a T e S f o r y o u r d i a r y

28 JuNE–1 JuLy: FESTIvAL OF SPEED

The largest motoring garden party in the world. A true celebration of all

things automotive

31 JuLy–4 AuGuST: GLORIOuS GOODWOOD

The world’s most beautiful horse race meeting, hosted over five glamorous

days on the Goodwood estate

14–16 SEPTEMbER: GOODWOOD REvIvAL

A unique opportunity to experience motor racing as it was in the golden

era. The biggest and best historic motor racing party of the year

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Earl of March & Kinrara

On THE COvER: Helena Christensen photographed by Koto Bolofo. Helena Christensen is managed by www.unsignedmgmt.com

return to London in April; a whirlwind of

socialising ensued until August when the royal

court and Parliament broke up and everyone

hightailed it up to Scotland to shoot grouse.

By the beginning of the 19th century, the

events that furnished this social frenzy – balls,

concerts and sporting fixtures – had become

entrenched in the social calendar. And no wonder

– the networking, marriage-making and blatant

opportunities to show-off were invaluable attributes

for ambitious aristocrats and plutocrats.

Wyse sums it up: ‘Traditionally the Season

was an array of events that were attended by the

upper echelons. Being seen at these events was

every socialite’s ambition. Today, the traditional

Season highlights retain their glamour, but have

been absorbed into a much more extensive and

democratic social calendar, that embraces art,

opera, poetry, even music festivals.’

It’s a paradoxical ability to combine both

exclusivity and open access that makes the

modern Season so addictive. Every event that

has survived through the centuries, such as the

Chelsea Flower Show, Henley Royal Regatta and

Cowes Week has, crucially, been open to the

public, while at the same time having highly

visible, exclusive cordoned-off areas for the

glitterati – the perfect recipe for people-watching.

Running from the Chelsea Flower Show in

May through to the Goodwood Revival in

September, the Season now not only embraces

O n c e u p O n a time, beautiful young

ladies – the cream of English society – dressed

themselves up in elegant white ball gowns,

lustrous pearls and elbow-length gloves… in

order to curtsey in front of a giant cake. In all

his madness, King George III couldn’t have come

up with anything more ludicrous.

There are so many aspects of the English

social season that are gloriously, unashamedly

eccentric and Queen Charlotte’s Ball for

debutantes, inaugurated in 1780 by her husband,

George III, to celebrate her birthday, and held

subsequently to raise funds for the Lying-In

hospital in Bayswater, renamed Queen Charlotte’s

Hospital in 1813, is a set-piece example. It finally

ground to a halt in in the Nineties, but amazingly

was resurrected, complete with outsize

confectionery, three years ago.

By any normal standards, the English social

season, with its all its apparent anachronisms,

should have fizzled out long ago. And yet, it isn’t

just still going; it’s positively thriving.

Events such as Glorious Goodwood {fig.1},

Royal Ascot and the Derby, that were first

deemed part of the ‘Season’ up to 300 years ago

remain magnets for record crowds today.

Moreover, as each decade passes, more and more

new events are added to the scene.

Everyone loves a party and few, it appears, can

stage them as well as the Brits. Such an inimitable

combination of heritage, celebrity and inventiveness

Long

Live The

SeaSon!Glamorous, eccentric and above all unique, the

Summer Season is a quintessentially English tradition

with 300 years of history and an ever-evolving circuit

W o r d s E l o i s E N a p i E r

has proved impossible to replicate and is a key

aspect of the Season’s enduring success. Neither

does anyone create the run of consistently

spectacular events that we have in England.

As Liz Wyse, head of publishing at Debrett’s,

explains: ‘There’s nothing comparable to the

English Season in the world. Everywhere has

something small and wonderful in its own right, like

America’s Kentucky Derby, but each is a one-off.’

Keeping things entertaining so they never

get stale is one of the secrets. ‘It’s the attention

to detail that achieves this,’ says James Peill,

curator of the Goodwood Collection. ‘We are

always thinking about our heritage and how we

can reinvent that for the 21st century.’

The Season originally evolved in the 1700s to

accommodate the social life of the royal family

between hunting and shooting seasons. Hunting

finished in late March and the monarch would


many more types of event than ever before, it

also covers a much greater geographical area; in

the early days the Season stretched as far as a

two-day carriage journey from London – about

70 miles. Now, there’s no limit.

Intellectually, there is something for

everyone. Opera buffs swoon at Glyndebourne in

Sussex and Garsington in Buckinghamshire;

literary types embrace the breathtaking

surroundings of the Hay Festival in Powys,

Wales; those of a bohemian nature go camping in

breathtakingly beautiful surroundings at the Port

Eliot Festival and mingle with the likes of Tracy

Chevalier, William Dalrymple and Marcel Theroux.

Glastonbury festival, in all its muddy rock

glory, is now as much a part of the Season as the

Wimbledon Championships held at the All

England Lawn Tennis Club.

Art aficionados glide out in force for the

Serpentine Summer Party, along with more models

and fashionistas than you can crush into the whole

of Vogue; the guest list is no less glittery at the

Royal Academy Summer Exhibition Preview Party.

Those with a love of fast cars and gleaming

metalwork flock to the Goodwood Festival of

Speed and the Goodwood Revival. The house

parties at Goodwood House during these events

reflect how society has changed over the

generations. ‘We have wonderful photographs

going back to Edwardian times showing royalty

and other aristocratic guests,’ Peill reveals. ‘Now

‘The miracle of the Season is

that it is far more inclusive than

everyone realises’

miracle of the English Season is that it is far

more inclusive than everyone realises.’

The other miracle of the English Season is

its idiosyncrasies. It almost always indulges the

British love of dressing up. Hats are a recurring

theme – at Ascot it is perfectly acceptable for

women to wear artistically arranged fruit bowls

on their heads. At Henley, grown men wander

around in schoolboy caps or boaters with

matching stripy ties, and no one even sniggers.

At Glyndebourne, ladies in high heels and

coiffured locks huddle under umbrellas to sip

champagne and nibble on smoked salmon as the

rain buckets down. At Goodwood’s Revival,

thousands of guests dress in fashions from the

Forties to the Sixties and cheer as period cars

roar round a classic racetrack.

Sporting events provide a backdrop for a

sizeable proportion of the Season’s highlights

and not only do the spectators revel in the fact

that the sportsmen taking part are invariably

competing at the highest levels, the audience

can derive a similar thrill from people-watching.

The world would be a much less colourful

place without the English Season, cake-curtseying

debutantes and all. May it roar, totter and squelch

through the next 300 years as successfully as it

has through the previous three centuries.

Eloise Napier is a freelance writer and former

social editor at Harpers & Queen

the pictures are of top racing drivers and top

celebrities who are passionate about cars like

Jenson Button, Jay Leno and Sandra Bullock.’

Many of these events are relative newcomers

to the scene, in that few of them are over 50 years

old. Much of their success, according to Peter

Florence, co-founder of the Hay Festival, is that

‘there’s almost no snobbery about them at all’.

He highlights this by describing a picture

taken by a Guardian photographer of Hay-on-Wye

during the Festival. The newspaper picked out

each individual who had been randomly snapped.

‘One was the chief executive of Barclays Wealth;

another was a former head of MI6; a third was a

guy who had been to the Festival every year since

its start – he stacked shelves in Tesco… The

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20 _ goodwood THE SEASoN

T h e e a r l o f M a r c h and his

father, the 10th Duke of Richmond, are famous

for having an eye for the paintings of George

Stubbs, and both the sleekest of motorcars and

the speediest examples of horseflesh. They are

less well known for collecting something that

wouldn’t buy an inch of a Stubbs or pay for an oil

change or a day’s feed for a thoroughbred – Penguin

paperbacks. Among the luxury items that fill

Goodwood and its grounds is a collection of these

commonplace books. To step into the Music

Room at Goodwood’s private members’ club house,

The Kennels, is to be confronted with floor-to-

ceiling Penguins – 5,000 of the classic old editions,

almost every one ever produced.

What the books have in common with the

horses and cars, and why they are collected at

Goodwood, is good design. In 1934, as the story

goes, the publisher Allen Lane was returning

from a visit to Agatha Christie and found himself

about to board a train with nothing to read and

the station bookshop offering only pulp fiction

or 19th-century doorstoppers. He decided there

and then to publish high-quality paperbacks that

were cheap enough for anyone to afford. ‘Good

design is no more expensive than bad,’ Lane

said, and he knew what he was talking about.

His uncle was John Lane, who had founded

Bodley Head publishers, which commissioned,

among others, Aubrey Beardsley.

The first 10 Penguin paperbacks cost sixpence

each, the price of a packet of cigarettes. They

stood out as much for their look as for their

price. When Lane’s secretary suggested Penguin

as the new imprint’s title he sent an office junior

off to London Zoo to sketch the penguins there

for its colophon, or logo. The same junior,

Edward Young, also came up with the simple

three-band design and colour scheme that

makes early Penguins so distinctive – orange for

fiction, green for crime and blue for biography.

The books were initially distributed from a

church crypt on London’s Marylebone Road and

a fairground slide was used to get boxes down from

street level. In its first year Penguin sold three

million paperbacks – all had previously appeared

as hardbacks brought out by other publishers.

Once the link between Penguin and good

design was established, the company never broke

it. Lane hired some of Europe’s most forward-

thinking European designer-typographers, such

as Jan Tschichold and Germano Facetti, to make

the bond even stronger. The standardised

designs meant that you could spot a Penguin

book long before you could read its title and the

brand itself became a guarantee of quality.

In 1946, Penguin expanded the ideas of

democratisation and affordability and launched

the Penguin Classics list, which developed into

the famous series in black livery with a painting

on the front cover. In 1966, a sister series was

born, the Penguin English Library, and others,

the Penguin American Library and Penguin

Modern Classics among them, followed.

Since 1986, all these imprints have been

collected under the Penguin Classics label but

in April this year, the Penguin English Library

was relaunched with a distinctive new look of its

own. Gone are the black jackets and paintings

that have served them faithfully and in their

place are stylishly decorated covers designed

by Coralie Bickford-Smith. They sport repeat

patterns of a motif subtly related to the text

– a clump of bulrushes for The Mill on the Floss,

a bit of knitting for A Tale of Two Cities – on

backgrounds that use a selection of heritage

colours (which will look handsome in any

library). In a nod to Allen Lane’s original books,

they keep the three-band scheme, albeit with

two of the bands reduced to thin sidebars.

Twenty titles were launched on 26 April with

10 a month following until the end of the year. The

full 100 will span almost two centuries of English

literature, from Daniel Defoe’s Robinson Crusoe,

arguably the first English novel, to Dubliners,

written by James Joyce just before World War l.

In keeping with the Penguin ethos the whole

series will be instantly recognisable but carefully

differentiated. Of course, the new books won’t cost

the original sixpence but one penny under £6

– but, neatly that’s about the price of a packet of

cigarettes today and still fulfils Lane’s wish to

make good reading affordable to all.

The Earl of March, however, has yet to decide

whether to fit the new books in with their 5,000

forebears or give them a room of their own.

Michael Prodger is art critic for Standpoint magazine,

previously literary editor for The Sunday Telegraph

PRINT ICON

Words m i c h a e l p r o d g e r

penguin paperbacks are an english institution, a brand as famous for its cover designs as

for its authors. more than 70 years on, it’s still bringing great literature to the masses

The standardised designs meant you

could spot a Penguin long before you

could read its title

23 / goodwood the season

T h e G o o d w o o d c i r c u i T is no stranger to the spine-

tingling sound of classic racing engines, but lovers of the ground-shaking

growl of a highly tuned, American V8 will find one particular event at this

year’s Revival meeting especially mellifluous – a battle royal between some

of the world’s finest AC Cobra sports cars.

The one-model race is being staged to mark the 50th anniversary of

the legendary AC Cobra, a car that was born from a mongrel mix of British

and American engineering but which blossomed into one of the most

desirable four-wheeled thoroughbreds ever to burn rubber.

The Cobra story dates back to 1953 when AC Cars of Thames Ditton

in Surrey, launched its new Ace model, penned by the engineer and car

designer John Tojeiro. Understated and decidedly pretty, the Ace featured

a tubular frame draped in lightweight, hand-wheeled aluminium bodywork

that was initially fitted with AC’s somewhat dated two-litre engine, giving

THE COBRA LEGEND

W o r d s s i m o n d e b u r t o n

The AC Cobra celebrates its 50th anniversary this year with a unique one-model race at

the Goodwood Revival, a fitting tribute to this iconic Anglo-American sports car

the car a top speed of little more than 100mph. Within three years this

was replaced with a punchier, 120 horsepower unit built by the Bristol car

company, which upped performance to around 115mph. But only around

1,000 Bristol-powered cars were built before it was announced that

production of the engine had stopped. The substitute was a rather less

glamorous powerplant originally designed for the Ford Zephyr.

As it stood, the Ace looked destined to become just another British

sports car with lovely looks yet pedestrian performance, but then a letter

dropped onto the desk of AC’s co-owner, Charles Hurlock. It had travelled

all the way from California and had been written by a well-known Texas-

born racing driver called Carroll Shelby who, having retired from the

track, wanted to build his own production sports car.

Shelby had carved his career during the Fifties, driving for the Aston

Martin and Maserati teams and ultimately finding fame by winning the


1959 Le Mans 24 Hours with his teammate Roy Salvadori in the Aston DBR1. By 1961, Shelby was the distributor for Goodyear tyres and ran his own race school, but the funds to realise the dream of creating his own car were decidedly lacking. Shelby’s solution was to write that letter to Hurlock, requesting an AC Ace that he could modify with the addition of one of Ford’s new lightweight, high-performance 260 cubic inch (4.2L) V8 engines.

Shelby made several visits to the AC factory before the first prototype car was fitted with the V8 engine in January, 1962. Having been found somewhat short in the stopping and handling departments, it was subsequently given upgraded brakes and suspension before being taken for a shake-down test at Silverstone – where it scorched to 150mph with ease. The benign Ace had turned into a Cobra with a venomous bite, metamorphosing from a cosy, British two-seater to an Anglo-American muscle car capable of seeing off the likes of Ferrari and Corvette.

With AC well and truly on-side, all Shelby had to do was to persuade Ford management to back the project with a steady supply of engines and gearboxes. So a Cobra-bearing chassis, number CSX0001, was carefully assembled and shipped to Los Angeles for final approval by the blue oval bosses.

Duly impressed, Ford issued a letter of agreement on 5 February, 1962, to provide the required parts on the understanding that every Cobra would carry a ‘Powered by Ford’ badge. Hurlock, meanwhile, agreed to supply bodies and chassis provided the AC badge would remain on the finished cars.

The initial plan was to build just 100 Cobras at Shelby’s newly formed company, Shelby American, which would receive the cars in America as rolling chassis prior to the fitting of engines and transmissions and final finishing. But once CSX0001 was painted pearlescent yellow and displayed at the New York motor show, the orders flooded in – and after 75 had been built using 260 ci engines, a further 51 were made using the upgraded and even more powerful 289.

In October 1962, the first Cobra took to the track at California’s Riverside Raceway where it demonstrated its potential by leading the three-hour production car race before retiring with a broken stub axle; later, at Nassau Speed Week, the Cobra threatened to oust the mighty Ferrari GTO but this time suffered a steering failure before the finish. In a subsequent race, the car ran out of fuel.

In February of the following year, however, the first Cobra race victory was claimed at Riverside to establish a pattern of domination that peaked with Cobras winning all the home races in which they were entered, bar one, for an astonishing three years on the trot.

By now, the Cobra was regarded as a car in its own right, and not merely the happy marriage of a set of apparently disparate parts. As a result, a development programme was instigated, which began with a steering upgrade and the 1963 launch of the MK II, 528 examples of which were built during the following two years.

But it was, perhaps, in 1965 that the Cobra truly became the stuff of legend when the MK III was launched with Ford’s fire-breathing 427 ci engine – a 6.7L lump producing a staggering 425 horsepower, sufficient to propel the still lightweight Cobra from standstill to 100mph in a mere 8.8 seconds, and on to a top speed of 164mph (185mph in competition tune).

Yet, despite its awe-inspiring performance, flared wheel arches and bruising looks, the MK III proved a financial flop. Production ceased in 1967 after 343 were built, some of which were sold as S/C (semi-competition) versions fitted with windscreens and detuned engines.

Although production of the ‘original’ Cobra stopped in 1967, further models have been built in the years since. In 1983, the British firm Autokraft, built 494 MK IV versions using the original AC jigs and body bucks. They were authentic enough for Ford to allow cars sold outside America to carry the Cobra name.

Other Cobra ‘continuations’ and recreations have also been built, with some of the best being the CSX models built by Carroll Shelby’s company Shelby Distribution, and Peterborough-based AK Sports Cars, with prices starting from around £34,000 plus VAT.

Now, of course, any original Sixties Cobra is hugely valuable – a genuine S/C, for example, could comfortably command £1m and, in 2007, Carroll Shelby’s own, personal, 800 horsepower Cobra (chassis CSX3015) fetched a remarkable $5m at auction in America.

Another Cobra, the first of just six closed coupé racing models ever made, is said to have changed hands in 2001 for around $3m, having been sold 30 years before for just $1,000 by its then owner, the music producer Phil Spector.

Spector’s buyer was his bodyguard George Brand, who later gave the car to his daughter Donna O’Hara. She hid it in a ramshackle lock-up garage and refused several offers to sell before committing suicide, resulting in the Cobra’s ownership passing to her 78-year-old mother, who quickly put it on the market and scooped the aforementioned $3m.

Unsurprisingly, the sale resulted in a prolonged court case involving several claimants to ownership…

Cobra continuations: Shelby Distribution,

shelbydistributionusa.com or AK Sports Cars,

aksportscars.com

Simon de Burton writes about motoring and

aviation for The Telegraph and GQ magazine

Now, of course, an original Sixties

Cobra could easily command £1m

PREVIOUS PAGE: Shelby Cobra AC 247 CSX 3342 from 1967 LEFT, FROM TOP: Shelby Cobra AC 289 from 1964; Carroll Shelby and Bob Bondurant at Watkins Glen in 1967; Shelby Cobra AC from 1965

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To be an occasion, it must be shared.

*In value, 10 Western European Countries.

Scan here to fi nd your perfect coffee machine

Visit the De’Longhi Coffee Shop at the Goodwood Revival 14th – 16th September 2012

Easy to maintain, automatic machine rinse

and one touch milk carafe clean function.

www.delonghi.com

Intuitive, digital touch screen display with intelligent feedback.

One touch cappuccino, caffè latte, latte

macchiato, espresso and long coffee.


C l e r k e n w e l l D e s i g n w e e k { f i g . 1 }

With so many architects per square mile it’s no wonder

Clerkenwell has become a creative hub, and its annual

showcase such a highlight of the international design

calendar that sees showrooms, studios and workshops

opening to the public for exhibitions and talks – not to

mention a host of free entertainment and music events.

22–24 May; clerkenwelldesignweek.com

V i s u a l a r t s f e a s t !

H e n l e y f e s t i V a l { f i g . 4 }

The official after-party of the famous regatta, FEAST! is a

five-day riverside event combining music, art and culture

with a great location. Art exhibitions include the work

of Russian surrealist Alexander Vorobyev, contemporary

artists Jeffrey Kroll and Nicolas Ruston, and the chance

to see Auguste Rodin’s iconic sculpture, ‘The Thinker’.

4–8 July; hayfestival.com

a g e a s s a l i s b u r y

i n t e r n a t i o n a l a r t s f e s t i V a l { f i g . 2 }

The Festival programme of music, theatre and outdoor

performance is thrilling enough but this year, as part

of the Cultural Olympiad, the organisers have added a

postscript. Outdoor alchemists Compagnie Carabosse

will use fire sculptures and illuminations to turn historic

Stonehenge into The Fire Garden, from 10-12 July.

25 May–9 June, 10–12 July; salisburyfestival.co.uk

r o y a l g o o D w o o D a t

g o o D w o o D H o u s e { f i g . 5 }

To celebrate the Diamond Jubilee, Goodwood’s summer

exhibition looks at the Estate’s royal heritage, with portraits

collected over three centuries, as well as photographs and

letters documenting royal visits, from Edward VII to Her

Majesty The Queen, a frequent guest during Raceweek.

6 August–15 October; goodwood.co.uk

W o r d s s a r a h d e e k s

t H o m a s H e a t H e r w i C k

a t t H e H a y f e s t i V a l { f i g . 3 }

Celebrating its 25th year in Hay-on-Wye the Hay Festival

welcomes a stellar line-up of international thinkers,

writers and artists, including innovative architect and

designer Thomas Heatherwick – the man behind the

Olympic Velopark and London’s new routemaster bus

– in conversation with Mariella Frostrup on 5 June.

31 May–10 June; hayfestival.com

ART BEYOND

THE GALLERIESfig.1

fig.2

fig.5

From the East End to the West Country, unique arts events are being staged to mark this auspicious year

fig.4

fig.3

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Michelin is proud to be a sponsor at the 2012 Goodwood Festival of Speed, including the Supercar Paddock and

Supercar Run.

Visit our stand where you can see some legendary vehicles highlighting our tyre innovations and longstanding

involvement in motorsport. There are also give-aways and promotions with some fabulous prizes to be won.

www.michelin.co.uk

BORN FROM ENDURANCE

FOR THE MOST

EXHILARATING DRIVE!


G l y n d e b o u r n e is quite simply unique.

The annual opera festival that has taken place

there, since being founded in 1934, is one of the

highlights of the world’s musical calendar. What

distinguishes it is that the festival was born of

the passion of one man and his wife. Today it

remains within the same family, run by the third

generation. There’s a nice symmetry in that

current owner Gus Christie, is married to opera

singer Danielle de Niese, while his grandfather

John, who founded the festival, also married a

singer, the Canadian soprano Audrey Mildmay.

The family tradition – the family commitment

to, and love of, music – is what informs the place.

The problem with great institutions is that they

can easily forget why they are there, but that

can’t happen with Glyndebourne. In this respect

it is quite unlike any other opera house I know.

Of course, what this could have given rise to

is an awful amateurism, but Glyndebourne’s

professionalism is remarkable – second to none.

I have worked at great opera houses all over the

world as a director and I can honestly say that

Glyndebourne has some of the finest production

standards it is possible to find.

I love going. I started visiting Glyndebourne

as an audience member in the Eighties and I

have seen some of the best productions of my

opera-going life there. There was a Jánaček

trilogy that was remarkable, an Eugene Onegin

that is the best I have seen, and a Tristan and

Isolde that was simply brilliant. As a director,

I’ve staged Don Giovanni and The Turn of the

Screw there, and this summer I’m reviving The

Fairy Queen. We first did this Purcell piece for

the 350th anniversary of his birth and the 75th

anniversary of Glyndebourne {fig.1} in 2009. It was

a huge and sprawling thing, with 18 actors, a chorus

of 20, nine principal singers and eight dancers.

I can’t think of any theatre that would have done

it so perfectly and now we’re putting it on again.

Glyndebourne is an ideal setting for this

quintessentially English piece, which is the work

of a man who has written the most beautiful

work of the last three-and-a-half centuries.

What’s so potent is the combination of an

English summer and some of the most beautiful

music ever written. There have been imitators,

but you can’t replicate the original. The festival

is in a beautiful setting, one with extraordinary

charm and grace – a grace that saw it build a new

auditorium in the Nineties that effortlessly fits

in with the original architecture. Certainly one of

the traditions is to take a picnic for the interval

{fig.2} but what’s important about Glyndebourne

is that the picnic doesn’t become the event: the

opera is, and remains, the reason for its being.

Although Glyndebourne adheres to its own

traditions, it is anything but traditional in its

attitude to creativity. Superficially, because of

its location and its ancient country house, the

festival could appear to be conservative – with

a small ‘c’. Yet its productions are anything but.

The festival wears its sense of history lightly. It

consistently engages the best, most interesting,

young musicians and artists; for example,

the recently appointed music director, Robin

Ticciati, is only 29.

For a director, working at the festival is a joy.

I live in the main house when I’m there, and the

luxury of falling out of bed into the rehearsal

room is a huge bonus. Directors and designers

live at the house, the casts tend to rent places

nearby. Some of them end up moving there, like

Miah Persson, who starred in my production of

The Turn of The Screw last year. It’s a seductive

part of the country. I sometimes walk across to

Lewes, the nearest town, and there are points

high up on that route where you look out and

not see a single house. The landscape hasn’t

changed for centuries. It’s ageless.

Jonathan Kent directs a revival of his 2009

festival production of Henry Purcell’s The Fairy

Queen at Glyndebourne (20 July-26 August).

Next year he will stage Glyndebourne’s first-ever

Rameau opera, Hippolyte et Aricie, conducted

by William Christie. glyndebourne.com

A high noteGlyndebourne is a mainstay of the Summer Season, says Jonathan Kent,

director of some of the opera festival’s most acclaimed productions…

The luxury of falling out of

bed and into the rehearsal room is

a huge bonus

fig.1 fig.2

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fig.1

M a r t i n C o o p e r h a d always been impressed

by the Belstaff story, long before he joined the company last

year as chief creative officer, after 16 years on the design team

at Burberry. The story of Belstaff’s launch in Staffordshire in

1924, its development of waxed cotton, the Trialmaster jacket

that became a menswear icon (favoured by Steve McQueen),

Waxing lyrical

Words j o s h s i m s

Belstaff’s illustrious heritage makes it a perfect partner for the new Goodwood sport

and Racing Company’s clothing collection

the whole gentleman adventurer tone of the company…

all of this was familiar to Cooper. But then he met Charles

Gordon-Lennox, the Earl of March, the man behind

Goodwood and its many events, among them the Festival

of Speed, and the Goodwood Revival, the world’s largest

historic motor racing event.


‘His ancestors really lived that life,’ says Cooper

with Boy’s Own enthusiasm. ‘Back in early

decades of the 20th century, when wealthy men

flew open cockpit planes and rode motorbikes

and drove the latest sports cars, Belstaff may

have outfitted them. These were the kind of men

who lived out the romanticism of speed and

freedom.’ Inevitably, the two men hit it off and

an idea formulated: to collaborate on a new

clothing line, specifically the Goodwood Sport

and Racing Company By Belstaff.

The collection launches this coming

autumn/winter and will focus on menswear, with

a women’s wear line in the pipeline. Expect the

likes of polo shirts, T-shirts, printed V-neck

sweaters, leather racing jackets – each featuring

a Gordon tartan check, the Goodwood family

tartan – as well as merino wool turtlenecks,

scarves, racing gloves, jeans and chinos.

The line will also include a version of the

Trialmaster, again printed with the check.

Cooper thinks of it as being a more ‘weekend’

line than Belstaff itself, one which might have

been favoured by Freddie, ninth Duke of

Richmond, Goodwood scion and, thanks to his

interminable love of engine oil and derring-do,

the most playboyish Englishman of the Thirties

one could hope to draw inspiration from.

‘The Goodwood line is, like the events, all

about heritage and authenticity but it’s more

relaxed,’ Cooper explains. ‘I spent numerous

hours with the Earl going through the family

photo album, quite literally, to get ideas – and

as one might expect his photo album is a little

more special than you or I might have at home.

There are pictures of Goodwood with planes

casually parked on the lawn.’ {fig.1-3}

Indeed, Goodwood Sport and Racing

Company is set to be easier going compared

with Belstaff, in part because that, too, is going

through a major overhaul following the

company’s purchase last year by Swiss luxury

goods company Labelux. The new owner’s

intention is to relaunch Belstaff as a luxury

lifestyle brand, selling not just the rugged

outerwear, but also men’s and women’s ready-to-

wear, accessories and shoes with, perhaps above

all, a renewed emphasis on its Britishness,

rather than what Cooper diplomatically calls

‘the previous owner’s Italian idea of Britishness’.

Perhaps no other British clothing brand

– with the exception of Lewis Leathers – can

claim to have such strong ties to UK motor

sports. ‘And what we’re doing is very much about

going back home, so to speak,’ Cooper adds.

‘That means the Goodwood tie-in underscores

that sense of Britishness.’ He’s not kidding.

Never mind the connoisseur’s appreciation for

great British clobber shown by those dapper

chaps who make it onto the Goodwood Revival’s

Best Dressed list; it was at Goodwood where the

earliest written rules of cricket were drawn up

– for the second Duke in 1727 – and are still

housed in the Goodwood archive.

Cooper, too, has spent time in the archive,

but with the Belstaff material, adding cashmeres

and exotic skins to that famed waxed cotton. He

has even added new fabrics somewhere in between

– one item on its way is a Trialmaster in matt,

waxed crocodile skin. Their like will be seen at

two new, country house-inspired flagship stores

opening later this year, one on London’s New

Bond Street and another on New York’s Madison

Avenue. Expect a Union Jack to be flying overhead.

belstaff.com

Josh Sims writes for The Independent and the

Financial Times

fig.2

‘The Goodwood photo album has pictures of planes casually parked

on the lawn’

fig.1 fig.3

Issued by Artemis Fund Managers Ltd which is authorised and regulated by the Financial Services Authority (www.fsa.gov.uk), 25 The North Colonnade, Canary Wharf, London E14 5HS. For your protection calls are usually recorded. GW/ME

0800 092 2051 [email protected] artemisonline.co.uk

AS M o r E and more hunters

join the Artemis fraternity, more

and more of the Financial

Landscape has become the Profit Hunter’s

hunting ground. The global hunting expedition

is now under way. And there is a brand new

foray into the continent in search of

European Profits. New hunters bring with

them new experiences and ideas and, as they

share them, the collective knowledge of all

the hunters increases. Yet the founding

principles of the original Profit hunters

remain unchanged. As ever, all our hunters

are utterly independent and free to hunt in

whichever way they see fit. Marching boldly

off the beaten track in search of their chosen

target. And always prepared to go that extra

mile. Please remember that past performance

should not be seen as a guide to future

performance. The value of any investment

and any income from it can fall as well as

rise as a result of market and currency

fluctuations and you may not get back the

amount originally invested.

The range of the Profit Hunter grows ever wider.

Fig. 1: Today’s hunterscover huge distances.

Supermodel Edie Campbell won last year’s Celebrity Ladies’ Race at Glorious Goodwood

in spectacular style, but can she retain her title? You’d be brave to bet against her…

MODEL RIDER

Words a R a b E L L a d i C k i E / PHoToGr A PH Y p h i L i p S i n d E n

THIS PAGE: Edie was photographed at the George Baker Whitsbury Manor Racing Stables, Hampshire. OPPOSITE: Edie, photographed by Jürgen Teller, wearing Marc by Marc Jacobs {fig.1}; in her Jasmine Guinness race silks at Goodwood in 2011 {fig.2}; wearing Burberry {fig.3}


S h e i S t h e doe-eyed beauty who is most

at home on magazine covers and in fashion shows

strutting designs for the likes of Burberry and

Chanel. But on 2 August, 21-year-old Edie Campbell

will swap the catwalk for the racetrack in order

to compete in Glorious Goodwood’s Celebrity

Ladies’ Race 2012 (The Magnolia Cup). Not for

the faint-hearted, the charity race – in aid of

Spinal Research and Winston’s Wish – consists of

a six-furlong gallop at breakneck speed, in front

of a packed crowd. It is a hard-core, adrenaline-

fuelled endurance test on world-class racehorses.

For Campbell, the pressure is on as this time

she rides to retain her title, won in spectacular

fashion at last year’s inaugural all-ladies’ race.

‘I’m hugely competitive by nature so will fight

my hardest until the finish line,’ says the model,

who undertook a gruelling training programme

in 2011 with racehorse trainer George Baker. ‘I

rose at 5am for six weeks to drive two hours

from London to George’s yard in Salisbury.’

Things got off to a shaky start for the keen rider,

who keeps her own horse at her family home in

Warwickshire. ‘To begin with I’m sure George

didn’t think I was up to the challenge. I arrived

late on the first day after getting lost and he said

rather curtly, “We’ve tacked up your horse for

you. Don’t make this a habit.” I realised then

that I had to man up and prove that I wasn’t

some flaky model who was afraid of breaking

a nail. He soon saw I wasn’t completely useless!’

Racing against Campbell was a formidable

line-up of female celebrities that included Radio

One DJ Sara Cox, Tatler editor Kate Reardon

and model Delfina Figueras. They were joined

by several accomplished horsewomen; polo

player Clare Milford Haven, dressage rider

Laura Bechtolsheimer, eventer Daisy Trayford

and trainer’s daughter Francesca Cumani.

All were united in their steely resolve to win

– with actress Annette Mason piloting her own

helicopter from her Hertfordshire home to her

trainer’s Wiltshire base – although Campbell

admits some were less forthcoming than others

about their training: ‘No one wanted to let on

that they had been practising too hard. It was

a bit like school exams when people play down

the amount of revision they’ve done and then

go and get straight As!’

Although Campbell wasn’t born into an

equestrian family she was competent on

horseback from a young age. ‘I went through

that little girl stage of falling in love with ponies

when I was five. I learnt at riding school and have

been hooked ever since.’ In an attempt to get

into the mindset of a champion jockey, she

called upon her past experiences of equestrian

competitions as well as enlisting the help of

family friend and Gold Cup-winning jockey, Sam

Waley-Cohen. ‘Sam taught me to “ride a finish”

on his Equicizer – a mechanical racehorse he

has in his Fulham flat. You position it in front

of the TV and “ride” while watching playbacks

of Channel 4’s Racing to improve your posture

and technique. I tried to appear professional,

but it’s difficult when you’re galloping on a

blue-carpeted rocking horse in a sitting room!’

All of the hard work paid off when Campbell

stormed through the finish line first on 28 July

last year. ‘It was one of the most exhilarating

experiences of my life,’ she enthuses. ‘Nearing

the end of the race I suddenly realised that

there was no one in front of me. You can’t

beat that feeling.’

After the race, trainer George Baker paid

tribute to his protégée: ‘Edie is a star – I take

my hat off to her. She has been riding out most

mornings and taking it very seriously.’ Another

elated supporter was Campbell’s mother,

architect and former Vogue fashion editor

Sophie Hicks, who was so convinced of her

daughter’s triumph that she wagered £50

on her win and walked away with £1,000.

Style and glamour are of the essence at

Goodwood events and the Ladies’ Race is

certainly no exception, with iconic fashion

brands recruited to design the racing silks.

Last year Issa, Amanda Wakeley and Hermès

were among the top brands tasked with the

job. Campbell’s red spotted number, created

by Jasmine Guinness, was certainly fit for a

model and now stands as a triumphant

reminder, no doubt to spur her on to fight

for victory this August. ‘For my birthday my

mother framed the silks alongside all the press

clippings of the event,’ says Campbell. ‘It now

hangs proudly on my wall; a priceless memento

of such a memorable day.’

fig.1 fig.2 fig.3

Style and glamour are central with

iconic fashion brands recruited to design

the racing silks

finishing touches

P H O T O G R A P H Y c h r i s b r o o k s / S T Y L I N G c i A r A W A L s h E / S e T d e S I G N s A r i A n n E P L A i s A n T

Whether it is an elegant timepiece, a co-ordinating camera or some stylish sunglasses,

there are certain seasonal accessories that Goodwood guests should always have to hand

for her, clockwise from ToP lefT: Dior Vernis nail polish in riviera, £18, Dior, dior.com. Brass and crystal skull keyring, £150, Alexander McQueen at Net-a-Porter, netaporter.com. Patent car keyring, £100, Prada, prada.com. whipstitch tortoiseshell sunglasses, £279, Burberry, burberry.com. mV800 digital camera with multiview flip-out display, from £149, Samsung, samsung.com. Broad spectrum facial sunscreen, sPf 50+, £101, Sisley Paris, sisley-cosmetics.com. crystal earrings with roses, £320, Prada, as before. live love laugh notebook, £45, Smythson, smythson.com. oyster Perpetual cosmograph Daytona watch, £21,250, Rolex, rolex.com. Apple glitter bag, £895, Anya Hindmarch, anyahindmarch.com. crystal necklace with roses, £695, Prada, as before. Ballon Bleu watch in yellow gold (large) £24,000, Cartier, cartier.com

37 _ goodwood the season

for him, clockwise from ToP lefT: cotton neck tie, £115, Alexander Olch at mr Porter, mrporter.com. carrera calibre 16 chronograph speed watch, £2,995, TAG Heuer, tagheuer.com. X-Pro1 digital camera, from

£1,399, Fuji, fujifilm.eu/uk. checked cufflinks, £165, Dolce & Gabbana at matches, matchesfashion.com. Professional

callaway golf ball (part of Golf Zip case set, £100) Dunhill, dunhill.com. sterling silver oval hip flask, £1,750, William

and Son, williamandson.com. silk pocket square, £45, Turnbull and Asser at mr Porter, as before. leonard round-

frame sunglasses, £130, Illesteva at mr Porter, as before. eye mask, £45, Otis Batterbee, otisbatterbee.com. clic clac

clock, £800, Asprey. asprey.com. monkey charm keyring, £35, Aspinal of London, aspinaloflondon.com

sTYlisT’s AssisTANT Grace Joel

W o r d s C l a r e C o u l s o n

GO, GIRLFifties fashion is back on the catwalks for spring,

making it easier than ever to be ravishingly retro at

this year’s Goodwood Revival


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defining fashion this summer. The look appeared

time and time again on the catwalks.

It’s a theme Miuccia Prada has also turned

to. Guests at her spring/summer show were

greeted by life-size models of classic Cadillacs

parked up on the Prada catwalk. What followed

– delicious sunray-pleat skirts, midriff-baring

bandeaux and bejeweled satin bomber jackets

in a summery ice-cream palette – was a riff on

fashion’s most feminine decade. The Italian

designer, not best known for her forays into

prettiness, attributed the womanly parade to

an investigation into ‘sweetness’.

Jonathan Saunders gave one of the most

modern interpretations, inspired by the fresh

colours of Miami’s Art Deco palaces: peach,

bubblegum pink, lemon, mint and pastel blue.

His collection includes swoonsome, full-skirted

sundresses in silks in sorbet shades or in the

sort of tile prints you could imagine decorating

the kitchen walls of Kate Winslet’s house in

Revolutionary Road. There are waffly knits,

light silk blouses and glossy wedge sandals

with a pink braid trim and tangerine ties.

It’s easy to see why such a joyous period in

fashion has wiggled back into our consciousness.

Nostalgic and somehow

carefree, the decade of

fabulous vintage cars,

and skirts designed for

pure pleasure, it offers

an intoxicating shot

of escapism.

Who wouldn’t be

seduced by the sight of

Louis Vuitton’s pastel

lace dresses gliding

around on the white

carrousel that provided

the setting for the

brand’s sweet spring

showing in Paris or the

playfulness of Miuccia

Prada’s leather skirts,

emblazoned with vintage motor cars and

Americana flames?

Most of all this look is democratic – as

anyone who likes to shop for vintage will know,

the often handmade cotton skirts of the Fifties

are rarely expensive and can be paired with

anything from a pastel-coloured tee to a fitted

knit. And it doesn’t need to feel as costumey

as, say, the flapper frocks of the Twenties or

the youthquake mini skirts of the Sixties. The

mid-century look is, to an extent, ageless – it’s

accessible and it’s fun.

You can even make it more covered-up if you

like – one of the highlights of Prada’s ode to the

Fifties is the satin opera coat elegantly cinched

with a bejewelled belt. Marco Zanini swathed his

models’ coiffed hairdos with sheer organza

headscarves at Rochas and gave them cat’s-eye

sunglasses too – a slightly theatrical touch, if

the mood takes you.

However, as this look is all about the bella

figura, the more curve-hugging your dress,

the better – just in time for summer’s Fifties

affair, Topshop has introduced its 50s Diner

collection, which includes floral-print playsuits

P i c t u r e t h e scene. It’s a dusky,

lilac-tinted evening and thousands of candy-

coloured fairy lights are twinkling in the

distance. A sultry rendition of ‘Mambo Italiano’

is playing and everyone is toe-tapping and

hip-swinging in time to the music. Girls

are wearing full-skirted sundresses, some

in market-stall prints

lush with tomatoes

or chilli peppers, or

midriff-baring sun tops

and slinky pencil skirts

to show off shimmering

tanned legs.

It might have been

a moment from the

waterfront at Rimini

circa 1952, but this was

the scene at Dolce &

Gabbana’s spring/

summer 2012 show,

which put the Fifties

firmly back into focus.

Girls with their hair

styled in light waves and

their eyes topped with a flick of the darkest

black eyeliner, glided along the catwalk in full

skirts and Perspex sandals, carrying pretty

faux-wicker bags.

Dolce & Gabbana is not alone, for the

decade that gave us swooshy New Look-inspired

skirts, teeny-tiny waists, stiletto-heeled courts,

cherry-red lips and immaculate hairdos, is

and full-skirted dresses in white crochet or

pastel bluebird prints.

There is, of course, endless celluloid

inspiration for anyone planning to work the look

for this year’s Revival from the classic films of

the Fifties. Audrey Hepburn shows off some

seriously chic costuming in Funny Face, while

Leslie Caron does a more gamine take on the

look of the times in An American in Paris.

Behind the scenes at the Dolce & Gabbana

show, the designers revealed the curvaceous,

unashamedly feminine women who inspired

their show – iconic Italian actresses Sophia

Loren, Gina Lollobrigida and Claudia Cardinale

smouldering into the camera, sunbathing in

barely-there shorts and cleavage-enhancing little

tops or dancing in halter-necked dresses puffed

up with umpteen layers of net underskirts.

Their tiny Fifties waists might be

unachievable for us today but their look is as

democratic as it gets – so set your hair in waves

and add copious amounts of hairspray, paint on

a cat’s eye flick of eyeliner and some luscious

scarlet lipstick and throw on a pretty sundress.

The joy of this look is that it’s essentially

a one-piece look – you just need a killer dress.

And there can be no more perfect finishing

touch for Goodwood than Miuccia Prada’s

hot-rod heels – each decorated with a swirl

of flames and a pair of tail-lights.

Clare Coulson is a fashion writer who writes for

Harper’s Bazaar and The Sunday Telegraph

CLOCKWISE FROM TOP RIGHT: Fifties focus from Prada, Jonathan Saunders and Dolce & Gabbana; Audrey Hepburn; Sophia Loren; Gina Lollobrigida; model wears Brigance in 1952

The joy is that it’s essentially a one-piece look, you just need a killer dress

Words V A N E S S A K I M B E L L / PHoToGr A PH y C H R I S B R O O K S

RAW

REVOLUTIONThe unpasteurised milk many of us enjoyed as children is making

a comeback and fans of doing dairy the organic way are on the rise


Some schools of thought believe the homogenisation process breaks down

the fat globules in such a way that they may well be the very cause of the

massive increase in dairy allergies we see in today’s generation of children.

Ironically raw milk consumption has been shown to positively influence

the immune system’s resistance to developing asthma, hay fever and atopic

sensitisation (although the mechanism for this is not entirely understood).

Speaking to Xanthe Clay, food columnist for The Telegraph, it seems

it’s not just the health benefits that make people so passionate about raw

milk. ‘It is simply lovely,’ she says. ‘And when you taste it you realise that

the pasteurised milk we are used to has a cooked taste to it. Raw milk

tastes pure and clean. But you must make sure it’s from a reputable source.’

Despite a well-documented resurgence in the interest in raw milk and

sales where it is available increasing, the number of farms producing it in

England and Wales (it is banned in Scotland) has dropped from 570 to 100

in the past 15 years. Herds on estates such as Welbeck in Nottinghamshire,

which supplies the milk to make the unpasteurised Stichelton blue cheese,

and Home Farm on the organic Goodwood Estate

in Sussex, have become closed to protect the milk

they produce. This way they know the animals are

100 per cent healthy. ‘With just 180 Shorthorn

cows we are a small producer and keep a really

close eye on our herd,’ explains Tim Hassell, Home

Farm manger. ‘We have rigorous weekly checks and

we’ve never had any abnormalities. The cows graze

on the sweet meadow grass typical of chalky

Sussex soil. The fields are dotted with red and

white clover, bird’s foot trefoil, hoary plantain and

wild basil. It’s that luscious fresh grass that makes

the milk so delicious.’

Goodwood herdsman Michael Forsyth proudly

tells me he’s been drinking unpasteurised milk for

20 years. His day revolves around the cows and he

has an intimate, old-fashioned style. ‘I know all of

them,’ he proclaims. ‘Each and every one, and I’d soon spot if one of them

was a little off-colour. I’ve never had any problems with my herd… except

the odd naughty cow who just won’t come no matter how much I call, and

who I end up having to chase while watching my language in case there

are any schoolchildren about – but then who could blame them when it’s

so lovely out in the field!’

I pour myself a glass of Goodwood milk. I close my eyes and sip. Sweet,

cool, clean, buttery milk. I am nine again. This is how milk used to taste,

I say to my daughter as I pour her a glass. She tells me she’s never tasted

milk so good. I smile – it seems to me integrity of the source is the answer

to my question.

Goodwood milk is available at the Goodwood Farm Shop, 01243 755154 or

goodwood.co.uk/the-farm-shop

Vanessa Kimbell is a food writer, BBC Radio broadcaster for the Kitchen

Garden Show and author of cookbook, Prepped!

A S A C H I L d each morning I was handed a beautifully battered

old milk pail with a metal handle with which to fetch milk from the farm.

I can clearly remember dodging cowpats along the lane and with the pail

knocking the tops of my wellies, I’d sing and pick daisies en route.

At the farm the cows would patiently wait in line in the sunshine,

always in the same order, the one with the bell at the front. They would be

given a scoop of something delicious (to a cow) to chew and seemed to me

to contemplate life while Rene, the farmer, would slosh on something to

sterilise their soft pink udders and gently pop on the pumps. There was

a rhythm to it all; the unmistakable milking parlour smell was both

comforting and familiar. I’d idle my way to where the milk was stored in

a huge steel vat, chilled with an arm that moved continuously, and I’d be

given a ladle of creamy tasting sweet milk to drink before my can was

filled. With my milk moustache I’d walk home along the lane, spilling the

top inch or so into my boots, singing away without a care in the world.

More than 30 years later, things have changed significantly. There

has been a continued and sustained attack on the

consumption of raw milk as, years ago, it was

associated with the spread of TB in humans, and

branded a possible carrier of food poisoning bugs

such as E.coli, Salmonella and Campylobacter. With

such dire warnings, it has been years since I have

drunk real milk and now the only way you can buy

it is directly from the farmer.

But here I am, standing at a stall in London’s

Borough Market, watching as people all around me

are buying their unpasteurised milk directly from

the farmer. They are laughing and relaxed as they

drink their milk in the sunshine. Are they food

rebels? Have they read the mandatory warning

label? Is it really risky? Or are they simply drinking

the most amazing food in the world just as nature

intended? Should I drink some? The people here at

Borough Market can’t seem to get enough.

I ask Nicette Ammar, a regular buyer of unpasteurised milk at the

market, if the risk of illness worries her. She replies, laughing: ‘There are

risks in everything you do, but it’s ridiculous that a natural product is

under such scrutiny and we should have the choice. For me it’s about

trusting the source of the milk and I have noticed that farmers who

pasteurise their milk don’t have to be quite so careful about hygiene

whereas those who produce raw milk are fastidious.’

The warning labels are there to inform people of the risk of infection

from unpasteurised milk. Pasteurisation was first tested by the French

microbiologist Louis Pasteur – after whom the process was named – and

involves heating milk (to 72ºC) to destroy any bacteria, yeast or fungi.

It extends the shelf life considerably. However, while pasteurisation kills

off anything that might contaminate milk, it is well documented that

heat treatment also kills all the good bacteria, such as Lactobacillus

acidophilus, and negates the gut-protective properties of whole milk.

OPPOSITE: Tonale carafe (and beaker), David Chipperfield for Alessi, £27, alessi.com, 020 7518 9090; Linen scrim; £4.50, Labour and Wait, labourandwait.co.uk, 020 7729 6253.

‘The milk we’re used to has a

cooked taste… raw milk tastes pure and clean’

Grand

InnovatorsThis year’s Festival of Speed celebrates the theme ‘Young guns –

Born to win’, and no one embodies this spirit better than Lotus,

pioneer of British manufacture and engineering

Words S i m o n A r r o n


S t a t i S t i c S c a n be manipulated to imply almost

anything, but some stand out as beacons of truth. Here is one

such: despite a prolonged absence from the Formula One

world championship, Lotus remains fourth on the sport’s list

of winners and won’t be overhauled any time soon. It reflects

a period of sustained success that made Lotus a byword for

fruitful innovation – a reputation that endures, and the

reason Lotus is at the heart of the ‘Young Guns – Born to

Win’ celebration at this year’s Goodwood Festival of Speed.

It is 60 years since Colin Chapman established Lotus

Engineering, although he’d sown seeds for the company’s

foundation during the late Forties, by modifying humble

Austin 7s for use in off-road trials. He named the second of

these the Lotus Mk2.

Lotus Engineering set out to create competition cars and

its first, the Mk4, was another designed for tackling muddy

lanes – the opposite end of the motorsport spectrum to the

fledgling F1 world championship. The Lotus Mk6 followed

– the company’s first bespoke sports racer – and that spawned

the iconic Lotus Seven, which survives to this day in physically

similar form as the Caterham Seven.

Chapman crafted a series of elegant, successful sports

racers during the Fifties and the Vanwall F1 team commissioned

him to design its grand prix car for the 1956 season. The first

Lotus single-seater – the 12 – followed soon afterwards and,

although not particularly successful, was ripe with Chapman’s

trademark engineering purity. The body was sleek, the driver

sat deep in the chassis to lower the centre of gravity and

magnesium wheels blended strength with lightness.

This became the first car to represent the company in the

F1 world championship, in the 1958 Monaco GP, and its

successor, the 16, appeared halfway through that year’s

campaign. It was another graceful design, but it wasn’t wholly

reliable and its engine was located ahead of the driver. In

Argentina earlier that season, Stirling Moss had scored the

first victory for a rear-engined grand prix car, the Cooper

T43, and a blueprint for the future had been drawn.

Chapman’s subsequent single-seater, the Lotus 18, embraced

the new trend and scored several landmark victories. Innes

Ireland gave Lotus its maiden F1 success with an 18, winning

the 1960 Glover Trophy at Goodwood. A few weeks later, Moss,

driving for Rob Walker’s privateer team, took a Lotus to the

marque’s first world championship win, at the Monaco GP.

One year later Moss repeated that success – and regarded

it as his finest grand prix victory. ‘The race lasted 100 laps in

those days,’ he recalls. ‘I’d managed to qualify Rob Walker’s

privately entered Lotus 18, a one-year-old car, on pole. I was

leading after about 12 laps, but the Ferrari drivers turned out

to be dominant that season and just sat behind me, applying

tremendous pressure. I thought they were biding their time,

because they had quite a bit more power, but I managed to

keep them at bay. If I’d repeated my pole position time on

every one of those 100 laps, I’d only have beaten myself by

about 40 seconds. That underlines how hard I had to drive.’

Chapman had created another new car by then, the lower,

more curvaceous 21, and Ireland used this to give the factory

team its first world championship win in the season-closing

United States GP at Watkins Glen.

In 1962 Chapman revolutionised F1 with the Lotus 25,

the first modern grand prix car with a fully stressed

monocoque (although customer teams were obliged to make

do with the spaceframe 24). Lighter than its forebears, and

significantly stiffer, the 25 became a formidable tool in the

hands of Lotus talisman Jim Clark. Last-minute engine

problems cost him world titles in 1962 and 1964, but he

dominated in 1963, helping Lotus to the first of seven

successes in the F1 world championship for constructors,

and was still winning with it early in 1965 (when he took his

second F1 title and even found time to skip the Monaco GP

to win America’s showpiece race, the Indianapolis 500, in a

Lotus 38). In the middle of all this, Clark also won the 1964

British Saloon Car Championship at the wheel of one of the

wheel-waving Lotus Cortinas, developed in partnership with

Ford – a potent accomplice on road or track.

After a short period of relative tranquillity in the

mid-Sixties, Lotus bounced back with the 49, the first grand

prix car successfully to incorporate the engine (in this

instance the new Cosworth DFV, around which the chassis

was designed) as a stress-bearing structural member.

The 49 won on its debut, in the 1967 Dutch GP, but teething

problems cost Clark and teammate Graham Hill any chance

of the title. Clark won the following year’s opening race, in

South Africa, but his 25th world championship race victory

(a record at the time) would be his last. The Scot was killed

three months later in a Formula Two accident at Hockenheim

in Germany, but Hill won the next two grands prix for the

shattered team and went on to secure the championship.

The 49 remained in service until 1970 and served as

one of the prototypes for F1’s first aerodynamic revolution

– wings. Hill’s winning Lotus 49B featured neat nose fins

and an upswept tail at Monaco in 1968 – and several teams,

including Lotus, soon began experimenting with more

ambitious structures, initially affixed to the suspension on

spindly stilts. These proved frail, however, and triggered a

series of accidents that led to a ban in 1969. Fresh ideas are

rarely uninvented, though, and wings soon returned, albeit

in sturdier, more sober form.

By this stage, the works Lotus 49s were no longer painted

in their traditional green and yellow but sported the livery of

Gold Leaf cigarettes: Chapman was not the first team owner

to embrace sponsorship, but became the first to do so on

such a scale. The door to a new, commercial age was open.

The wedge-shaped Lotus 72 followed and proved to be a

race winner for five straight seasons, from 1970 (when Jochen

RE

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bis

LEFT: Racing Scot Jim Clark,

here in 1964, became something

of a talisman for Lotus


BE

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OR

BIS

Rindt took the championship posthumously) until 1974.

Emerson Fittipaldi won the 1972 title in a 72 and Ronnie

Peterson used one to establish himself as one of the most

spectacular drivers to grace the world championship stage.

Introduced in 1974, the subsequent Lotus 76 was

perceived as another technological milestone, with bi-plane

rear wing and electronically operated clutch, but its advanced

systems never translated into track performance and the 72

was dusted down once more. The next F1 breakthrough was,

however, just a couple of Lotuses away.

Chapman had studied the way aircraft wings induced lift

and became convinced the principle could be reversed to gum

his cars to the track. He gave his technical team free rein to

merge theory with practice and the result was the Lotus 78,

introduced in 1977 as the first ‘ground-effect’ F1 car.

Non-finishes scotched its title chances, but Mario Andretti

scored four victories – one more than champion Niki Lauda

– and teammate Gunnar Nilsson won once. The 78 was still

competitive when the following season commenced, Andretti

and returnee Peterson taking a win apiece, but the Lotus 79

was just around the corner – and would be a bigger advance

still. It triumphed in six of its first seven races and in the

next, at Monza, Italy, Andretti won on the road before being

penalised for jumping the start and

relegated to sixth. That was still

enough to secure the title – still Lotus’s

most recent – but the race had a bitter

aftermath. Peterson had been involved

in a race-stopping multiple pile-up at

the original start and later succumbed

to his injuries. ‘Unhappily,’ Andretti

said, ‘motor racing is also this…’

Rivals were swift to adopt the 79’s

principles – and edged ahead when

Lotus stumbled in its efforts to move

the concept to a higher level yet.

By 1981 the authorities had tried to

dilute the trend Chapman set, in a bid

to cut cornering speeds, so he devised

the twin-chassis Lotus 88. The inner

part was independently sprung to cosset the driver, while

external elements formed a sophisticated ground-effect

system. Rivals cried ‘foul’ and, after a few practice outings,

the car was outlawed. One of the affected drivers was recent

recruit and future hero Nigel Mansell. Chapman granted him

a limited race programme during the second half of 1980 and

the newcomer impressed (not least on his debut in Austria,

when he pressed on for longer than was strictly advisable with

his backside immersed in leaking fuel). Chapman’s trademark

celebration was to toss his cap in the air whenever his cars won

– and Elio de Angelis’s victory in the 1982 Austrian GP would

be the last such opportunity. The company founder died four

months later, struck down by a heart attack aged just 54.

Lotus remained a potent force, particularly during the

mid-Eighties, when rising star Ayrton Senna arrived. The

Brazilian scored his maiden F1 victory

in only his second start for the team,

in the rain-soaked 1985 Portuguese

GP, and came to regard that victory

as one of his finest – a masterclass in

wet-weather driving before electronic

aids stifled the art.

In 1987 Senna recorded back-to-

back victories in Monaco and Detroit.

It was hard to imagine that these

might be the last for a team so

accustomed to success, but his

departure at the season’s end

coincided with a gentle decline.

Lotus continued to be held in great

affection, and occasionally showed

flickers of bygone promise, particularly

with rising young stars such as Mika Häkkinen and Johnny

Herbert – but sponsorship was becoming ever more elusive

and following a change of ownership at the end of 1994, the

team quietly withdrew (although its name has been

reintroduced to the sport’s top table in recent seasons).

There is much, much more to the Lotus story, though.

For many years the company was one of the most prolific

suppliers of customer racing chassis – single-seaters and

sports cars (take a look at a Lotus 23 for a lesson in

proportional grace) – and we’ve barely mentioned the road

cars, which began with the svelte Elite of 1957. As well as this

being the 60th anniversary of Lotus, it is also 50 years since

the launch of the first Elan, the compact roadster that fitted

like a glove and handled like a single-seater, and 40 years

since Italian designer Giorgetto Giugiaro revealed his first

conceptual sketches for the low-line Lotus Esprit (albeit

without the aftermarket submarine conversion favoured by

007 in The Spy Who Loved Me). Oh, and 20 years have

elapsed since Chris Boardman struck gold in the Barcelona

Olympics on the Type 108, a bicycle developed by Lotus.

Once a young gun in its own right, Lotus’s broad

engineering canvas has enabled many others of similar ilk to

succeed. The company never stopped building road cars, of

course, and retains a wide range of ambitions both on and off

the track. Fresh chapters have still to be added, then, to the

many already scripted with pride and distinction.

Simon Arron is the Formula One correspondent for

Motorsport News

Senna scored his maiden F1 victory in only

his second start for Lotus

OPPOSITE: Mario Andretti {fig.1};

Jim Clark on his way to the 1963

world championship in a Lotus

25 {fig.2}; Graham Hill {fig.3};

Colin Chapman at Hethel test

track in a Lotus 38, 1965 {fig.4};

Lotus team manager Peter Warr

and Ayrton Senna, 1985 {fig.5};

Jim Clark in a Lotus 49 at the

Dutch grand prix, 1967 {fig.6};

Nigel Mansell and Elio de Angelis

with a Lotus 94T, 1983 {fig.7}

BOY RACERS

First pit stop has to be the Formula One

paddock, which this year boasts seven

current F1 teams, as well as F1 world

champion Sebastian Vettel, who is

attending Goodwood for the first time.

Previous world champions Jenson Button

and Lewis Hamilton will also be making

an appearance

DARE DEVILS

GAS (Goodwood Action Sports) is back

for a second year and is better than ever.

See World Champions and action sports

legends performing gravity-defying stunts

and midair tricks in exhilarating displays

DIAMOND CELEBRATION

The Cartier ‘Style et Luxe’ celebrates the

Queen’s Diamond Jubilee with a never-

seen-before collection of vehicles that have

been owned and used by Her Majesty. Stars

of the show include a 1961 Rolls-Royce

Phantom V, a Royal Midland carriage

from The Royal Train and a Fifties De

Havilland Chipmunk aircraft

SUPREME SUPERCARS

And it wouldn’t be a Festival of Speed

without the famous Supercar Run,

featuring the latest and fasted models

from Ferrari, Lamborghini, McLaren,

Lotus, Bugatti and Jaguar

T O P T I P S F O R T H E F E S T I v a l O F S P E E d 2 0 1 2

fig.7

fig.2

fig.1

fig.3

fig.4

fig.5

fig.6

RIGHT: Embellished dress

in silk tulle embroidered

with Swarovski coloured

stones, £3,240,

Emilio Pucci

richlY

subversive

P H O T O G R A P H Y R A F A E L S TA H E L I N / F A S H I O N E D I T O R M I C H E L L E D U G U I D

It's time to strike out in sumptuous gowns, diaphanous fabrics

and shimmering sequins for a season of wild designs and

show-stopping embellishment with a rebellious edge

ABOVE: Silk tulle embroidered floral

dress, £9,815, Valentino. Suede high-

heeled sandals with chain T-straps and

cage heels, £990, Gucci

RIGHT: Embroidered tulle dress with

sequin and glass detail, £14,475, Roberto

Cavalli. Lambskin sandals, £595, Lanvin

RIGHT: Sequin embroidered and zipped

jacket; sequin embroidered trousers with

satin detail; and nappa leather and salmon-

skin stiletto heel sandals, all price on

application, all Givenchy by Riccardo Tisci

ABOVE: Tulle and organza plastic and

glass crystal top, £7,975, made to order,

and organza embroidered mini skirt with

glass and plastic beading, £5,485, both

Christopher Kane. Thin crystal and silk

ribbon choker, £690, Lanvin

THIS PAGE: Embroidered and

appliqué leather dress, £15,700,

Balmain. Lace-up high-heeled

shoes, £345, Dolce & Gabbana

LEFT: Georgette and tulle beaded and

zebra sequin dress, £5,400, and suede

high-heeled sandals with chain

T-straps and cage heels, £990, both

Gucci. Thin crystal and silk ribbon

choker, £690, Lanvin

STOCKISTS

Balmain at harrods.com

Christopher Kane

020 7241 7690 (studio) and at

harveynichols.com

Dolce & Gabbana

dolceandgabbana.it

Emilio Pucci emiliopucci.com

Givenchy by Riccardo Tisci at

selfridges.com

Gucci gucci.com

Lanvin lanvin.com

Roberto Cavalli

robertocavalli.com

Valentino valentino.com

MaKe-up anita Keeling at Jed

Root using Dior Summer Look

HaIR Teiji utsumi

MODeL Samantha Gradoville

at IMG

pHOTOGRapHeR’S

aSSISTanTS Rob Oades,

Matthew Healy

FaSHIOn aSSISTanT

Grace Joel

DIGITaL aSSISTanT

Freddie Lee

W o r d s N i c k S m i t h

Oh, tObe in

englandFrom the roar of classic racing cars on a country estate to

the pageantry of a regatta on the Thames, nowhere does

summer festivals, or exclusive rural retreats, better…

w h e n T h e q u i n T e s s e n T i a l l y English poet

Robert Browning wrote the words ‘Oh to be in England,’ the

eminent Victorian admittedly had springtime in mind. But

there’s something about an English summer that you can’t

quite put your finger on.

Long lazy days of champagne and strawberries, drinking

in the nation’s arts and literature, classic sports and country

houses, is simply so nostalgic. We reflect on a leafier and

more genteel era, when garden parties, village cricket and

afternoons messing about on the river were about as strenuous

as life could ever be. A time when ours really was a green

and pleasant land.

And let’s face it, nothing could be more pleasant than

ticking off those events in the calendar, those unmissable

moments in the season, when you’ve simply got to be ‘there’. The

problem is that great minds think alike, and today more and more

people want a bigger slice of the great British summer. And so

there’s always that need to keep one step ahead of the game, to

keep your experience of summer, well, a little more exclusive.

Maybe you need to find somewhere to stay that’s a little

special. It helps if your somewhere ‘far from the madding

crowd’ is grand and reassuringly expensive. But sometimes,

a touch of the quirky can make your English summer simply

unforgettable. The opposite page features six of the best

festival retreats; the choice is yours…

Nick Smith’s acclaimed Travels in the World of Books, describes

his adventures from the North Pole to Damascus. He is a

member of New York’s exclusive Explorer’s Club yet he often

gets lost in his native England, ‘while trying to find the best bits’

fig.1


—

B l u e B e l l T e n T s

Best for the hay Festival of Literature and Arts

(31 may to 10 June)

Of course, the Hay Festival has always been

a bit of a Bohemian affair, and so elegantly

‘roughing it’ is definitely the order of the day.

For the discerning literary buff, the best way to

really indulge your bibliophilic wanderlust is by

‘glamping’. Glamorous camping does not get

any better than the sumptuous accommodation

offered by Blue Bell Tents, who instinctively

seem to understand that dressing for dinner,

drinking champagne in a field full of wild flowers

and sleeping under canvas do, in fact, go hand

in hand. For the Hay Festival this year their

encampment will occupy a prime spot next

to the river, a mere five-minute walk from

all the action.

{fig.1} Blue Bell Tents, 4 Oakwood,

Berkhamsted, Hertfordshire HP4 3NQ; 07500

899369; bluebelltents.com

—

C o w o r T h P a r k h o T e l

Best for Royal Ascot (19 to 23 June)

For almost 250 years Royal Ascot has been the

centrepiece of the British social calendar. A

national institution, Ascot is all about fashion,

pageantry, tradition, and, of course, some of the

best horse racing the flat season can provide.

Set in the most glorious English countryside

Ascot is simply a five-day unashamed celebration

of the best of British. And so you’ll want to stay

in a hotel that matches the occasion, making

the nearby Coworth Park Hotel the natural

choice. Set in 240 acres of stunning parkland,

bordering on Windsor Great Park, this late

18th-century country house has both an

equestrian and polo centre, making it ideal

for Ascot-goers.

{fig.2} Coworth Park, Blacknest Road,

Ascot, Berkshire SL5 7SE; 01344 876600;

coworthpark.com

—

C l i v e d e n h o u s e , T a P l o w

Best for henley Royal Regatta (27 June to 1 July)

The question is, how can you visit the Henley

Regatta and get away from it all at the same

time? The answer is the extraordinary country

seat, Cliveden House, just a few miles up the

road from the hustle and bustle. If you want

exclusive then look no further, as for more than

three centuries Cliveden House played host to

British prime ministers, American presidents

and every reigning monarch since George I. Its

stately extravagance, breathtaking views of the

River Thames and Pavilion Spa do, however,

mean that you run a serious risk of never leaving

the Estate for a glass of Pimm’s No 1 Cup at the

Regatta. With 376 acres of National Trust formal

gardens and parkland, this is the ultimate

respite from Henley.

{fig.3} Cliveden House, Taplow, Berkshire SL6

0JF; 01628 668561; clivedenhouse.co.uk

—

T a T T o n P a r k

Best for the RhS Flower Show, tatton Park (18 to 22 July)

RHS Flower Show aficionados already know that

the Tatton Park Estate is home to one of the

loveliest gardens in England. Taking up some

50 acres, the gardens pay homage to over two

centuries of fashion and style in landscaping and

garden design. The glasshouses are terrific and

the Japanese Garden is deemed the best of its

type in Europe. There are over 100 events held

at Tatton each year – including car shows,

classical concerts and antique fairs – but the

undisputed highlight is the Flower Show. If

you’re lucky, you won’t even have to stay off-site.

Among Tatton Park’s best-kept secrets are two

glorious holiday apartments tucked away in the

1,000 acres of parkland.

{fig.4} Tatton Park, Knutsford, Cheshire WA16

6QN; 01625 374400; tattonpark.org.uk

—

w e l l C o T T a G e

Best for Port Eliot Festival (19 to 22 July)

Port Eliot, St Germans, cornwall

Jarvis Cocker called Port Eliot the ‘festival of

ideas’. But, if the very word ‘festival’ puts you

in mind of muddy fields and loud guitars then

it’s time to think again, because Port Eliot is an

eclectic mix of literature, arts and music set in

the dignified and beautiful grounds of the Earl

of St Germans’ Cornish Estate at Port Eliot in

Cornwall. With a line-up for 2012 that is looking

tantalisingly cool and exclusive (think Tracy

Chevalier or The Bees), Port Eliot really is this

year’s hot ticket. Those preferring to camp on

site will find it much more pleasant than most

festivals, and splashing out on a yurt will make

life almost worthwhile. But by far the best thing

to do is to rent a luxury bolt-hole, such as Well

Cottage, in the gorgeous Cornish countryside.

{fig.5} Well Cottage, Herodsfoot, Nr Looe,

Cornwall PL14 4RS; 01579 320147;

wellcottagecornwall.co.uk

—

T h e G o o d w o o d h o T e l

Best for Glorious Goodwood (31 July to 4 August)

If it’s champagne, strawberries, fashion and the

very best of British horse racing you’re after then

there really is only one date you need to keep

free in your diary this summer – any summer

for that matter – and that’s Glorious Goodwood,

the highlight of the flat racing calendar. And if

you’re going to Goodwood there’s naturally only

one place to stay – The Goodwood Hotel. Set in

the heart of the estate this is the perfect base

from which to sample all the delights of the

festival. With its award-winning dining, stylish

rooms and a generous helping of 21st-century

technology to keep you in touch with the outside

world, The Goodwood Hotel is a perfect

complement to the ‘Goodwood Experience’.

{fig.6} The Goodwood Hotel, The Goodwood

Estate, Chichester, West Sussex PO18 0PX;

01243 775537; goodwood.co.uk

fig.2

fig.3

fig.4

fig.5

fig.6


I t w a s 2 0 0 3 and I was shooting for Italian Vogue, looking for an

idea. I had always thought of the world of motor racing being a very masculine

thing. Then I heard about these female drivers… I needed a retro racing

track to make it work and, when I discovered Goodwood, I knew the circuit

and buildings were perfect. A lot of my work is influenced by architecture

and I could see this shoot taking shape. Next I needed the right model:

someone so famous that she would have stature as a sportswoman, a modern

woman who had that nostalgic but timeless look. Hence Helena Christensen.

The beauty of Helena is her mind. She gets what you’re trying to achieve

on a shoot. She is not a model who thinks, ‘I’ve got to wear the clothes and

throw my hips this way.’ She understands photography – indeed, these days

she is a photographer herself. So you don’t have to give her instructions.

She is like a semi-trained actor. It’s like you’re doing a mini movie; she

brings that kind of energy to a shoot. When she saw the classic racing

Jaguar, she responded to the shape and form like a real racing driver. It was

not a situation where you have a beautiful girl propped against a car,

feminine beauty against masculine object. That can look trashy and cheap.

On the contrary, you feel Helena has the kind of grit it would take to

drive. She got into it – the track, the exhaust fumes; this beautiful woman

who was going to climb in and drive this ferocious car. When you look at the

pictures I shot that day, you can feel the spirit, you can hear the engines.

Lord March was so impressed he invited me to do a reportage shoot of

the Goodwood Revival, which became a book, Racing Style, a project I am

very proud of. And it’s all thanks to Helena’s great performance that June day.

Racing Style

PHOTOGR A PH K O T O B O L O F O

Fashion photographer Koto Bolofo remembers supermodel Helena Christensen

bringing timeless beauty and true grit to Goodwood’s racetrack

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