Iconic Beach Cars

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As many return from overseas holidays, stay-cations and City breaks I wanted to send a “wish you were here” digital postcard – also my 300th Aestheticons post – from a wonderful visit to France’s Cote d’Azur, more particularly, the iconic French beach-side town of St Tropez with it’s simply beautiful pastel shaded port.

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Fame was assured for this picturesque coastal town when the 1950’s French actress, Brigitte Bardot, born in 1934 and still a local resident at Baie des Canebiers, featured in the 1956 Roger Vadim directed and ground breaking “And God Created Woman” (“Et Dieu Crea la Femme”). Mdme. Bardot’s impact on the region has been honored by local baker “Senequier” who in 1956 launched the delicious “La Tarte Tropezienne”, a delicate almond cream filled brioche topped with powdered icing sugar and chopped pistachio.

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Shot on location in and around St Tropez the film also provided a springboard for the world renowned beach club/restaurant “Club 55” that was founded from a dilapidated beach shack by the parents of current owner, Patrice de Colmont, who provided food for the cast and crew of filmmakers. Rumored to have recently been offered €30m for his iconic beach club M Colmont is understood to have politely turned down the offer as he preferred not to become one of his clients eating the signature dish of “Panier des Crudites” with anchoiade mayonnaise!

The town’s along this stretch of the Cote D’Azur are each rather distinct and have their own style. The beach is never far from people’s minds as they negotiate, sometimes to the frustration of the locals, the summertime traffic of fellow tourists.

Naturally in this style capital it is vital to get your beach or port transport right. For those not seeking to impress in the vast array of American muscle cars that are to be spotted in many locations, my preference is to celebrate the more quirky and classic vehicles.

Aestheticons readers will already know of my passion for the GRP bodied Citroen Mehari – see our previous post here – Citroën Méhari – A reliable French classic that is patriotically supported and really enjoyed in St Tropez and its surrounding villages.

The Mini Moke, which has the look of a vehicle that was designed for the breeze of the Cote D’Azur, is a very popular ride either to the beach or to park up alongside a visiting boat transporting provisions for a day at sea. For the the right clients it is possible to rent one of these wonderful and iconic cars for your stay. See our previous posts here – Mini Moke Goes Electric .

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Closer to the original Mini, I have seen parked in Grimaldi Village, a beach version with wicker seats and no doors, called the “Austin Mini Beach”. It was very beautiful and, I understand, extremely valuable! See our previous post here celebrating the iconic Mini – Mini – the best selling car in Britain

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The third leaf of this Fleur de Lys of wonderful beach and port transport is the Ghia designed Fiat Jolly based on the equally iconic Fiat 500 – see our previous post here – Fiat 500 – 1957-2017

Seemingly one of the most valuable of these iconic beach cars price points of $100,000 have been mentioned for these basket weave seated, frilled canopied expressions of Italian style.

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Greek shipping tycoon Aristotle Onassis is said to have had and loved his Fiat Jolly.

In 2108 this charming little car celebrated its sixtieth anniversary and to coincide the guys at Fiat commissioned Garage Italia to produce a reimagined version of the Jolly, limited to 1958 editions, and called the Fiat Spiaggina.

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Image Credits – used with grateful thanks – Hemmings Car Auctions and Garage Italia/FIAT

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Hobie Catamarans

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Like many I suffer from seasickness. The only real way I have ever been able to cure my “Mal de Mer” is to do one compellingly easy thing. If you are on a small sailing craft, a refurbished Thames Barge lunging down the East Coast of the UK or on a Cross-Channel ferry – stay outside. There is something in the combination of salt air, the roll of the sea, and the wind in your face that combines to prevent the inevitable heave!

Years ago a couple of friends suggested I should try wind-surfing. It was long before the invention of kite surfing and years before I was to fall in love with Tarifa on Spain’s Costa de la Luz. It was my second sailing experience but like my first it was on a reservoir this time, a former gravel pit, St Mary’s Reservoir near London’s Heathrow Airport.

After not many lessons I mastered the trick of standing on the surf board, lifting a knotted rope to engage the mast and triangular sail, a few square metres of clear plastic, and a wishbone that required quite careful control. It helped to have some understanding of the way of the wind. I was soon pelting across the water jibing and tacking to avoid a drop into the merkey depths. A bright spark then suggested I should consider a sailing holiday.

Sunsail – still a respected operator – in Bodrum (Turkey) was the preferred location and after a barrel of Turkish beer, a fight in the Halikanas night club and shots of raki, I found myself at the shoreline wearing an orange life vest. The wind surfing was wonderful, great beach, good waves and a brilliant hippy vibe but the one thing that really caused my adrenaline to pump was riding the Hobie Cats!

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One of the instructors who’d already spent years in Mirror Dingys, GP14 and the like was an excellent coach. We hit the trampoline of the Hobie and he explained to me both the agility of this excellent craft and the fact that, if I felt up to it, I could find my self on a trapeze hanging at perilous angels over the side as it approached maximum speed. They were amazing and whist I never really mastered the tiller of these simple crafts or the full extent of the trapeze the ride was breathtaking.

So where did the iconic Hobie Cats come from?

In the early 1960’s, at Laguna Beach (California USA) a foam and fiber glass surf and skate board manufacturer and surf team entrepreneur, Canadian born Hobart Alter, set up, with his Father’s help, a surf shop. He had determined at a young age that he wanted to make a living that didn’t involve wearing “hard soled shoes”!

Hobart saw and was influenced by the Aqua Cat catamaran designed by Arthur Javes. For Alter, the Aqua Cat suffered as it needed a dagger board to ensure under-sail stability. He set to work to re-imagine the catamaran.

The first dagger-boardless Hobie Cat, that could be easily beached and launched into the surf, was built in 1965 with two asymmetrical – banana shaped – hulls, a connecting trampoline and aluminium mast.

The Hobie Cat Company was founded in 1967 and in 1971 the Hobie 16, designed by Alter and Phil Edwards was launched.

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The robust Hobie 16 – which I sailed in Turkey – has become the world’s most popular catamaran, with over 135,000 manufactured to date in the US and France. Later versions of the Hobie 16 included a two piece fibre-glass composite mast after the families of owners in the US successfully sued the Hobie Cat Company arguing that deaths by electrocution had been caused by hoisting the aluminium mast near overhead power lines…..

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Image Credits – images used with grateful thanks Pinterest, the Hobie Cat Company and Wikipedia.

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Deck Chair

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As the Summer swelter continues, up goes an impassioned plea “Lead me to my deck chair!!”.

The humble deck chair ….Perhaps? Or the well travelled ship’s “deck chair” – if this linen and teak could talk imagine the gossip it holds – from a Golden Era of luxury transatlantic ocean liner travel. Or the End of The Pier, seagull serenaded, fish and chips frying, spearmint rock munching of Brighton, Cromer or Southend – the World’s longest.

Called a Lawn Chair in the US, the Deck Chair has an illustrious history. It was the victim of some on board snobbery. Around the turn of the 20th century, first class passengers would typically enjoy the padded loveliness of a “Steamer” deck chair -Port Out Starboard Home – their legs raised and clad in a woolen rug, invariably sipping broth, if the climate demanded, whilst more lowly passengers would enjoy their trip on a slung hammock canvas and teak deck chair that could be positioned to follow the sun around the deck and be folded for easy stowage.

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The origins of the folding chair has its history in Ancient Greece, Rome and Egypt. More recently, patents were obtained in the 1880’s in the US and UK for the classic steamer chair. R Holman & Co of Boston (Mass) were the manufactures of the Steamer Deck Chairs that graced the deck of the SS Titanic. Of the 600 supplied only six survived – below is a shot of one.

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There is some debate as to the precise origins of the more rudimentary wooden framed version. Primarily it comprises two rectangualar wooden frames, hinged, with an adjustable back piece and a single length of canvas forming the seat and backrest. Some sources  attribute it to a British inventor, Atkins, in the late 19th Century whereas others credit its design to being similar to “The Yankee Hammock Chair” as advertised in 1882.  The name “Brighton Beach Chair” also seems to predate our currently understood use of “Deck Chair”.

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In my Grandmother’s house in Hertfordshire – I think it was 1976 – she had a row of Edwardian faded green canvas chairs which not only had arms and a footrest but also a large sun canopy that flapped in whatever pathetic excuse for a breeze we had that summer. I recall that the covers perished quite frequently and the local nurseryman supplied rolls of 18” wide canvass to restring your chair. The look was completed by a white parasol, two Lloyd Loom chairs – see our previous post here – Lloyd Loom Chairs – and a bentwood table covered in a circular linen tablecloth with a jug of iced lemonade and tall glasses covered in weighted net – to avoid the flies.

Similar products are still made today by people such as Southsea Deckchairs Southsea Deckchairs

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Images used with grateful thanks – Southsea Dechairs and The V&A Museum

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The Stone Roses

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Music has for close to fifty years been a key component of the jigsaw of my life. I have loved music since I was a child captured by the exotica associated with some fine recording artists including Three Bob’s, Dylan – see my earlier post here – Bob Dylan  – Marley and Springsteen, Leonard Cohen, The Eagles, The Doors, Paul Simon, The Rolling Stones and Tom Waits.

In later years, and for the best part of quarter of a century, I earned my living in the Law, specifically Music Law representing some fascinating entrepreneurs, vagabonds and minstrels. It paid the bills and kept my music opiates topped up. I met some truly extraordinary people, who often lived complicated but wonderful lives devoted to engaging and entertaining others. Equally, I have met a fair proportion of consummate egoists, disinterested in those who don’t pander to them.

Simply put, music talks to my soul. It evokes memories. It causes the recall of sights, sounds and emotions.

Asked for my favourite song – that’s easy – U2’s “One”. I can rarely listen that complete wonder of a composition without tears in my eyes.

My favourite – what we used to call “Album” – being a collection of several songs that the artist (or their record company) has deliberately chosen to join together in some overall theme, concept or message. Honestly, again, that’s an easy one, the 1989 iconic debut album of the Manchester band “The Stone Roses” is simply one of the most complete and luxuriously beautiful bodies of work ever collected onto a 12” vinyl record, 4” digital CD or stream.

Depending on the format and country of release, “The Stone Roses” comprises a minimum of 12 recording that lasso a time, a mood and a vibe of the UK pre-BritPop explosion of the early 1990’s. Along with fellow Manc, The Happy Mondays, this album defined an era and is the soundtrack to the lives of me and many of my contemporaries.

Ian Brown (vocals) and John Squire (guitars) who had known each other from Altrincham Grammar School For Boys – somewhere I often played rugby on Saturday mornings in the late 1970’s – formed and disbanded several bands prior to being joined by Gary “Mani” Mounfield (bass) and Alan John “Reni” Wren (drums) to form The Stone Roses (Squire’s name), a guitar indi-rock band that sprung from the vibrant Madchester scene of the UK’s second city.

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Having composed and recorded songs for a demo, the band sent out 100 demo cassettes that featured the artwork of Squire, a very talented fine artist. This was followed by touring, further production and the release of some tracks to little commercial effect.

In August 1988 the band played Dingwalls in London in the presence of A&R representatives from South African owned label, Zomba and Geoff Travis one of the founders of the seminal indie, Rough Trade.

Rough Trade paid for some studio time and suggested Peter Hook bassist with New Order as a potential producer, when Hook was unavailable, Geoff suggested John Leckie a former Abbey Road award winning producer with an amazing production pedigree including Pink Floyd, XTC and Radiohead. The Stone Rose were signed to Zomba by Roddy McKenna and appeared on Andrew Lauder and Andy Richmond’s  Silvertone inprint. Rough Trade sold their tapes of “Elephant Stone” to Zomba.

Singles from the eponymous album were released in early 1989 and drew the attention of the all important Radio One. The Album, with John Squire/Jackson Pollock inspired artwork, was released on 2nd May 1989, went on to win the NME Reader’s Poll for Best Album of the Year. The Album is certified in the UK as triple platinum, notching sales in excess of 900,000 units.

To add a copy of The Stone Roses to your collection – click the link below the image:

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The Stone Roses (20th Anniversary Legacy Edition)

Images used with grateful thanks – Sony Music and Ian Tilton/NME

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Black Cabs – London’s Taxis

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Any visitor to London cannot fail to notice that aside from the usual array of private cars, bikes/scooters and delivery vans that the streets are punctuated with two of perhaps the World’s most recognizable and iconic vehicles. The red London Bus – see our previous post here that features the New Routemaster Bus – Thomas Heatherwick – and the Black Cabs – London’s Taxis or more properly “Hackney Carriages”.

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It may be just an impression but certain parts of the West End, that are not already bus and taxi only, but fall within the Congestion Charge Zone – and a daily rate of £11.50 – have taken on a new character. They seem to flow better and are sparsely occupied by private vehicles but are dominated by well managed public transport provided by Transport for London (TfL) – see here our piece on the iconic London Transport Roundels –  London Transport roundels  – and the Carriage Office – the body responsible for the Black Cabs.

The Black Cab is undergoing a revolution. The streets are a battleground where private mini-cabs, recently licence-reprieved Uber cars and Black Cabs vie to secure a ride but they reflect a clash of cultures. The Black Cab driver knows where he/she’s going having successfully completed the Knowledge see our previous post here – London A-Z street atlas – The Knowledge  – whilst the mini-cab or Uber drivers world is linked to one of the many digital street services following pre-selected routes that guide the driver to the chosen post code. Simple but not foolproof!

Price is an issue but I tend to prefer the comfort of Black Cabs. However, with respect to those Uber drivers that I have met, the London Cabbie is often overall much better “value”. They tend to be better informed about London, its Mayor and its political life, the perils of supporting one of London’s eleven football teams, the most recent celebrity they carried and the best route to avoid congestion.

Cabbie’s opinions matter. In a recent and highly effective Twitter piece, Robert Wood “Woody” Johnson, the US Ambassador to the UK – probably as a result of looking for someone to go “Sarf of the River” to the new US Embassy in Vauxhall – toured several of the thirteen remaining London’s Green Cabbie’s shelters. The driver’s opinions on Brexit and the US President seem very welcome. US Ambassador Cab Shelter Tour 

A new Black Cab appeared on the streets of London at the end of 2017 competing with the most recent diesel version of the iconic Black Cab, the TX4, that was produced between 2007 and 2017. Called the LEVC “TX” and seen below next to an older TX4, the cab is built in a new Chinese owned factory outside Coventry and combines a 1.5l petrol engine with a 110kW lithium battery driven electric motor. Conforming perfectly to the zeroing of diesel emissions and the promotion of the recharge economy.

 

A recent journey in the new cab, that tend to be rented by Cabbie’s for under £200 per  week on a five year deal, suggests the comfort is still very much there. The new cab’s driver explained the electric motor delivered around 70 to 80 miles on one 50p electricity recharge and whilst the TX leasing arrangement is slightly more costly, the fuel saving is expected to be around £100 per week. Will this bring cab fares more in line with Uber’s prices?

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Other cities around the world have their own distinctive cabs, the canary Yellow Cabs – Medallion Taxi – that have superseded their checker forerunners – in New York, the Black Body and Yellow Doors in Barcelona but in its own right London’s iconic Black Cab – a vehicle designed and built for a single task – should be seen a beacon of security in an unfamiliar city. Just don’t try and flag on done if its yellow roof light is not illuminated – its occupied!

Images used with grateful thanks – Transport For Londons, Daily Telegraph and LEVC TX.

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Iconic Surf Brands

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I love surf/hippie/beach culture. Whilst it may be a complete mare to get to in July and August the realm of Tarifa, on Spain’s Costa de la Luz, is a Mecca for those who get their kicks on a kite, surf, SUP or boogie board – see our previous post here on Morey Boogie Boards – Morey Boogie boards.

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This is a lifestyle, available to all adherents. Whether you are a weekend hippie with a real job in corporate finance, benefit from a distant relative having invented some practical gizmo that makes life easier even today, a vacationing student or a “Crusty”, who sees the conventional pressures to earn a living, have a mortgage or to otherwise conform to some dated middle class ideal of the perfect life, as pointless, then there’s a welcome for you on the beach.

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For core participants of this tribe, whose transient existence may be complemented, if they have the funds, see previous references to those in the City and/or being a Trustafarian – by a VW bus – see our previous post here – Volkswagen Kombi – as the perfect transport for your kites and boards, their careful devotion to their appearance on an off the sand is crucial. Indeed being able to take the beach with them as they return to their other life is made possible by several wonderful and iconic surf brands who shroud the faithful when the smell of the salt air is a fading memory.

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Founded in Tarifa in the 1990’s by designer Andoni Galdeano and entrepreneur Herbert Newman, the El Niño brand of surfwear is defined by a passion for the perfect wave and embraces much of what our tribe of surf worshippers love. It’s colourful, expressive and almost all pieces bare the distinctive El Niño logo that my family has always called “the Angry Sperm” – the little discontented drip. In fact the name comes from the “levante” wind of the same name that blows from the East  over Tarifa.

For Adults and Children – add an El Niño shirt to your summer collection by clicking the Amazon link after the image

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El Niño The Child 11102 T-Shirt, Men, Men, 11102, Grey (Stone Grey), Medium

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El Niño The Child 0128013101 T-Shirt, Children, 13101, Orange (Fiesta), 12

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Quiksilver was founded in Torquay (Australia) in 1969 by Alan Green and John Law. It is now a multi-million dollar business, one of the largest manufacturers of surf and related sports goods, operating many stores worldwide. The company developed the successful young woman’s wear brand “Roxy” – who’s logo is a duplicate of the Quiksilver wave doubled to form a heart – it also owns the DC brand of skate shoes.

After a difficult period of trading in 2016 and restructuring the majority shareholder is now Oaktree Capital Management. In 2017 the company’s name was changed to “Boardriders” and is now based in Huntington Beach, California.

Quiksilver, along with Rip Curl – also founded in 1969 in Torquay (Australia) and still owned by co-founders Doug Warbrick and Brian Singer – and Billabong – founded on Australia’s Gold Coast (Queensland) by Gordon and Rena Merchant in 1973 and now co-owned by Oaktree Capital – are regarded as the “Big Three” Surfwear companies.

Add a pair of Quiksilver nubuck flip-flops to your beach collection by clicking the Amazon link below the image

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Quiksilver Men’s Molokai Nubuck Flip Flops, Multicolour (Brown CTK0), 42 42 EU

Or a pair of cool DC low top shoes….

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DC Shoes Trase TX, Men’s Low-Top, Blue (Navy/Camel Nc2), 8 UK (42 EU)

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Orange County on California’s Pacific Coast is the home Huntington Beach, Newport Beach and Laguna Beach each with their own distinctive surf communities. In the 1984 Shawn Stussy – a young surfboard manufacturer – who signed his boards with his distinctive signature – founded his eponymous surfwear brand with Frank Sinatra Jnr (unrelated to the singer) in Laguna Beach.

Stussy surfwear became a favourite of the hip-hop scene of the late 1980’s/early 1990’s. The brand is now a favourite of Drake and A$AP Rocky.

In 1996 Stussy left the brand selling his holding to Sinatra’s family who still own it.

A piece by Stussy is a must ….how about this signature cap? Click the Amazon link below the image

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Stussy Stock SP18 Snapback Hat Teal

Images with grateful thanks – El Niño Tarifa, Quiksilver/Boardriders, DC Shoes and Stussy.

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The Spirit of Ecstasy

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I saw a program on TV recently about the Bentley Bentayga, the new signature 4×4 developed by the luxury brand to appeal to a new market and selling at significantly over $200,000. The iconic Jack Barclay showroom in London’s Berkeley Square has been updated to cater for this new market with an extensive and slightly brutal makeover.

I don’t want to sound at all grumpy old bloke about this development, the car certainly does look refined and comfortable, albeit that it could be easily mistaken for an Audi Q7, but I get a little worried by the need for brands to extend – to reach out to a new market.  Arguably the brand needs updating but should they resist the temptation to simply following the crowd? Or is it that these cars are intended to be highly aspirational but are simply not special enough.

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The Bentley “B” on the bonnet is still in place but the bonnet ornament – the chrome winged “B” is no longer – almost certainly for good Health and Safety, if not aerodynamic, reasons. Sadly, it seems a thing of the past. Well not for all manufacturers …and being fair the winged “B” does appear on the bonnet of the beautiful Bentley Mulsanne.

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Originally conceived as a way of making a dull radiator cover more attractive only Rolls-Royce and Mercedes seem to continue the fine tradition of bonnet ornaments. The most iconic of these pieces of classic automobilia is, of course, The Spirit of Ecstasy.

In 1909 the then Lord Montagu of Beaulieu – a family inextricably linked to the world of motor cars and the founder of The Car Illustrated – sought something distinctive for the bonnet of his new Rolls-Royce Silver Ghost. He commissioned sculptor Charles Robinson Sykes to produce a limited run of four figurines that became known as “The Whisperer”.

Some myth and legend surrounds the model, the sculptur’s muse, but it is said to be the Lord’s secret love, Eleanor Velasco Thornton, a Secretary from his office. Ms Thornton is depicted in flowing robes with her index-finger to her lips, perhaps keeping their love a secret? The affair is rumored to have endured for over ten years.

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By 1910 Rolls-Royce took a “dim view” as to the appropriateness of these ornaments and co-founder, Claude Johnson, commissioned Sykes to invoke the mythical beauty of Nike – the Goddess of Victory – to produce a dignified and graceful mascot. Sykes wasn’t so impressed by the brief but preferred to deliver the beautiful, “The Spirit of Ecstasy”.

It was a clear variation of The Whisperer but Johnson was very pleased with Sykes’ creation on its arrival in February 1911. Royce, however, who was then ill, felt it disturbed the driver’s view!

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Initially an optional extra by the early 1920’s the figurine was fitted as standard. Given changes to coach-work various versions of The Spirit of Ecstasy were used and in the 1934 Sykes was again commissioned to produce a kneeling version for the Phantom iV.

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As of 2003 – the Phantom model and all subsequent versions carrying a reduced the Spirit of Ecstasy only 3 inches tall and mounted onot a spring-loaded cradle that retracts when hit or the engine is turned off. Some years and a smart use of technology resulted in this retractable mount that clearly suggests Rolls-Royce’s determination to ensure the longevity of their iconic sculpture.

Whilst the majority are stainless steel a frosted crystal, illuminated version is a factory option.

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Images with grateful thanks – Tim Bishop, Jill Reger, Banham’s and Rolls-Royce Motors

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