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Celebrating the new English Summer Season
Citation preview
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
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London EC2A 4QP
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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
Printed by Wyndeham Peterborough (wyndeham.co.uk)
Colour reproduction by fmg (wearefmg.com)
Goodwood – The Season is designed and produced by
SHOW MEDIA LTD for the Telegraph Media Group. All
material © Show Media Ltd and Telegraph Media Group.
Reproduction in whole or part without written permission is
strictly prohibited. While every effort is made to ensure the
accuracy of the information contained in this publication, no
responsibility can be accepted for any errors or omissions.
The information contained in this publication is correct at
the time of going to press.
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
19 / goodwood THE SEASoN
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
fig.1
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aw
n a
T G
oo
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oo
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18
86
” b
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ho
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s w
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on
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
24 / goodwood the season
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.
27 _ goodwood THE SEASoN
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
da
niE
l s
ain
t l
ég
Er
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!
29 _ goodwood THE SEASoN
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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31 _ goodwood THE SEASoN
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.
32 _ goodwood THE SEASoN
‘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}
35 _ goodwood THE SEASoN
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
39 / goodwood THE SEASoN
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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
41 / goodwood THE SEASoN
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
43 / goodwood THE SEASoN
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
X; c
oR
bis
LEFT: Racing Scot Jim Clark,
here in 1964, became something
of a talisman for Lotus
44 / goodwood THE SEASoN
BE
TT
MA
N/C
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
57 / goodwood THE SEASoN
—
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
58 / goodwood the season
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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