Next week is the start of Glorious Goodwood. Clive As let examines the social whirl that surrounded this event before the First World War and the remarkable collection of photographs that documents it
A day at the races: The Lawn at Goodwood, 1886, by Walter Wilson and Frank Walton has the Prince of Wales at its centre
The Dukes of Richmond made every effort to accommodate Edward’s desires
In July 1905, Edward VII signalled a sartorial departure. For a monarch who was so exigent in his expectation of correct dress, this was a significant event for his circle and clearly caught people by surprise. He wore a Homburg hat to Goodwood Race Week and below the soft headwear was a very palpable lounge suit (not quite as we would understand it, having a frock coat). All the other male members of the 7th Duke of Richmond and Gordon’s house party still wore top hats and morning coats (Fig 2).
In 1907, formality was thrown to the winds. Some of the younger set wore straw boaters and the Duke, one of several men to follow the royal lead, had donned a Homburg—although the King himself, perhaps mischievously, sported a white bowler.
This is one of the minute insights into royal and ducal life that can be gleaned from the photograph albums at Goodwood House, West Sussex. In the Edwardian period, Goodwood was well placed to draw on the services of James Russell, whose office was in nearby Chichester. Russell was a favourite of the King. When he was interviewed by Pearson’s Magazine in 1909, he recalled that the first photograph he had taken of him had been nearly 45 years earlier, ‘when I was a mere lad in my father’s studio’.
In 1880, Russell had photographed the Prince of Wales and his family on board the Royal Yacht Osborne, during which he was flattered by an invitation to join a fishing trip. At Goodwood, group shots were often arranged for Russell personally by the King.
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Denne historien er fra July 20 2016-utgaven av Country Life UK.
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The original Mr Rochester
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Plants for plants' sake
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Capturing the castle
Seventy years after Christian Dior’s last fashion show in Scotland, the brand returned under creative director Maria Grazia Chiuri for a celebratory event honouring local craftsmanship, the beauty of the land and the Auld Alliance, explains Kim Parker
Nature's own cathedral
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All that money could buy
A new book explores the lost riches of London's grand houses. Its author, Steven Brindle, looks at the residences of plutocrats built by the nouveaux riches of the late-Victorian and Edwardian ages
In with the old
Diamonds are meant to sparkle in candlelight, but many now gather dust in jewellery boxes. To wear them today, we may need to reimagine them, as Hetty Lintell discovers with her grandmother's jewellery
