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Leica Introduces the D-Lux 8

The German manufacturer updates their popular compact digital D-Lux camera

Julie Wolfson

12 November 2024

On a recent trip to Japan, Leica’s compact D-Lux 8 proved to be an ideal camera to go anywhere and capture everything. The body feels sturdy and lightweight—perfect to carry on an itinerary with cocktails in Tokyo, coffee in Kyoto, and on to Osaka to see the Chiharu Shiota exhibit at the Nakanoshima Museum of Art. A visit to the beautiful Katsuo-ji Temple outside of Osaka also feels enhanced by the D-Lux 8’s ability to capture the emotional expressions on the tiny darumas placed around the gardens.

Since 2003, the D-Lux has been the company’s focus for their digital compact camera category. Affordable by Leica standards, these cameras deliver Leica styling and quality for anyone who wants an accessible and user-friendly option. Through the years each iteration has added capabilities, modified the body shape and streamlined the interface. This summer, Leica debuted the eighth version, a new optimized D-Lux. With a few months of hands-on time, a colorful journey in Japan and a conversation with Mike Giannattasio (President of Leica Camera North Americ), we explore what’s new, what stayed the same and how the camera interacts with the Leica FOTOS app. 

“The Leica D-Lux line offers durability, functionality and optical quality that the brand is known for, in the smallest package,” says Giannattasio. “This allows for the camera to be an everyday carry camera, providing an opportunity for creatives to explore and witness their environments with ease.” That ease comes from both the small size a packability of the camera that can be comfortably worn in their molded black leather case or stored in a handbag or tote.

Weighing about 14 ounces, the ergonomically redesigned body made of die-cast magnesium is inspired by the Leica Q System. The menu feels more intuitive featuring a new button layout and user interface, providing easier navigation and increased customizability. Regarding some of the significant updates Giannattasio explains, “The D-Lux 8 now has an OLED screen for better viewing in contrasty environments, a 48% in back screen resolution making details in images more visible, support for DNG files, UHS-II SD card support and the ability to transfer RAW images and video files from the camera to a mobile device through the Leica FOTOS app.” 

With the new body design, the button layout offers the opportunity for user customization, while simplifying the layout of the camera. “Leica is continuously looking for opportunities to make the image creation process a fun and intuitive process,” adds Giannattasio. “Through its UI redesign, which is also inspired by the Leica Q system, Leica customers can comfortably view and adjust key settings with a single button click, allowing them to quickly return to the moment of capture.”

The camera can be fully personalized with a simple long press on any of the four function buttons. The user is able to assign a specific menu setting to each button, allowing for quick access to favorite settings. One of these settings can be Wi-Fi activation, to send full quality images and videos to a mobile device, through the Leica FOTOS app. The Leica FOTOS app also allows the user to control the camera from a distance, such as changing the zoom or camera settings and activating the shutter remotely. The D-Lux 8 has both JPEG and DNG formats for more post-processing flexibility and the ability to record 4K videos.

In addition to carrying a camera and taking photos, visiting Leica stores along the way adds to the Leica experience. Each store has knowledgeable staff to answer questions, accessories, and gallery exhibits. The Leica store in Kyoto is on Hanamikoji Street in the traditional Gion district in a 100-year-old, two-story Machi-ya townhouse. Currently at the Ginza store in Tokyo the gallery space upstairs is featuring Seiya Nakai’s exhibit “Scenic train rides with Leica.”

Each Leica Store and gallery becomes a gathering place for the photography community. Photo exhibit openings bring out large crowds at the Los Angeles location and many others around the world. It is common to see Leica photographers arrive proudly displaying their beloved cameras. “Brand loyalty to Leica is deeply rooted in a blend of quality, heritage and community, and is truly inspiring to see,” says Giannattasio. “At Leica events, seeing photographers proudly ‘wearing’ their cameras is a beautiful testament to their passion and dedication to their art form. Ultimately, it’s about being part of a vibrant community that shares a genuine appreciation for photography and the artistry that it embodies.”

Looking ahead to Spring 2025, Leica will be celebrating 100 years of the company with exhibits, experiences and collaborations. The company is committed to enriching their experience with exciting product launches, Akademie workshops and gallery events worldwide with Leica’s community of photography enthusiasts and professionals. “This centennial celebration will honor the significant impact Leica has had on photography and visual storytelling. From pioneering innovations to shaping how we capture and perceive the world, Leica has consistently led the way in photographic evolution,” says Giannattasio. The celebration will feature a series of events in NYC, highlighted by a vibrant block party on 13th Street, right in front of their flagship store and gallery. They are partnering with Photoville to create moments that encapsulate our 100-year journey and with the International Center of Photography (ICP) for a special exhibition commemorating this milestone. 

“This is a wonderful opportunity for us to connect with our community, share inspiring stories and celebrate the passion for photography that unites us all. Together, we will reflect on a century of achievements while looking forward to the next chapter of innovation and creativity at Leica,” says Giannattasio. “By actively listening to customer feedback on products like the compact D-Lux 8 and the Leica versatile SL3, Leica continually enhances its offerings while strengthening partnerships, such as those with Panasonic and Adobe.” 

The D-Lux 8 embodies Leica’s dedication to fostering a supportive community that celebrates the art of photography for all skill levels. For traveling light with carry-on luggage, on and off trains, and to so many locations, the size and capabilities of the D-Lux 8 makes it an ideal travel companion.

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The Female Design Council and Thornton Projects Welcome Guests to Salon Art + Design

A statement-making point of entry for the acclaimed design fair

David Graver

11 November 2024

If an entryway can act as a metaphor for a design fair’s thesis statement, then the welcoming halls of the Park Avenue Armory set exceedingly high expectations for what follows at this year’s Salon Art + Design. In the south hall, the Female Design Council‘s members presentation introduced the eye-catching works of six women-led studios. In the north hall, and flanking the passage into the fair’s main floor, Thornton Projects founder Brad Thornton stunned with a spectacle of flower, light and stone. Beyond these first steps, of course, was one of the most compelling iterations of Salon Art + Design, now overseen by executive director Nicky Dessources, which spotlighted exciting presentations ranging from Milan’s legendary Nilufar Gallery to London and New York-based jewelry designer Fernando Jorge.

“I was selected this year by the team to curate the front of house,” Thornton tells COOL HUNTING, “everything from the florals to the various installations, including these beautiful illuminated alabaster pillars by Marcus De Paula from Love House.” Two other pieces mirrored this glowing beacon. Thornton introduced an amorphous table lamp by Marcelo Suro for Superhouse—and designer Mary Wallis, who also happens to be a Female Design Council member and is represented by The Future Perfect, was commissioned for the engaging chandelier upfront. As for the abundance of otherworldly, artful florals, Thornton worked with NYC and LA-based design studio Audrey in the Garden.

The name of the installation is “Saluto,” derived from the Latin word to greet. In addition to it being an enveloping point of entry, “we wanted to nod to the fact that it’s an autumnal celebration,” he adds. “We also had the idea of nature reclaiming this beautiful, historic space.” For many fairgoers, the confluence of thoughtfully imagined lighting design and sprawling natural arrangements were reason to pause and reflect with wonder and awe.

This is the Female Design Council’s first presentation at Salon Art + Design, and it demonstrates the professional network and advocacy organization’s categoric depth. “We have furniture, sculpture, artwork and lighting,” founder Lora Appleton tells COOL HUNTING of their visual vignette. “We have INDO-, with the premiere of the Purdah Mirror. We have MATERIA, and this is the first showing of the floor lamp from their PLATEAU collection. We have Konekt, with their Silo Console Table. We have Tina Scepanovic showing the ‘Gobstoppers No. 24 Artwork.’ Her study is all about hand-finishes and this is all 24k gold leaf. Then we have Lisa Sacco, this fierce up-and-comer. For her glasswork pieces, she takes old reclaimed objects and blows glass around them. This is the first time she is showing ‘Vital Friction, Calescent II Sculpture.’ It just came out of the studio. Finally, we have Kristi Bender and Wendy Schwartz of Cuff Studio showing their fun Fraggle Block Stool.”

Though the Female Design Council selected these six members to spotlight, many others could be found on the floor throughout Salon Art + Design—including a solo booth from Little Wing Lee, the founder of Blacks Folks in Design and Studio & Projects. For anyone unfamiliar, however, their south hall presentation was both an introduction and an exclamation point. “It’s a real opportunity for us to show the strength of women in design and what we’re all about. We see this in flecks and specks through the industry but this is a real focus. For us, it’s about being able to speak to the whole community. We are the most powerful network for women in design and we feel proud about that,” Appleton concludes.

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Test Drive: A Trio of Cars with Presence

On the road in the Jaguar F-Type, Mercedes-Benz E450 4MATIC All-Terrain and BMW i5 M60 xDrive

Jason Harper

25 October 2024

In many places, cars—even the boring ones—have been replaced with SUVs. The latter tends to be easier to get into and out of, and offers ample storage for both humans and cargo. But here at COOL HUNTING, this reduced attention on cars has stirred the desire to share our love of low-slung, two- and-four-door vehicles. We continue to celebrate their diversity of design; their lighter weights and smaller footprints; and greater degrees of sportiness and handling. In many ways, cars are more fun. We spent much of the summer and early fall driving some of our favorite non-SUV cars to remind ourselves what drivers miss when only driving big vehicles. Here are three that stood out.   

The Joyous Roadster: Jaguar F-Type

Jaguar is justifiably famous for its E-Type coupes and roadsters of the 1960s. While those outrageous, sensuous and slinky designs may never be replicated in the modern age, the F-Type coupe and convertible are spiritual successors. Yet, the F-Type is already passing into history, as the 2024 model year is its final year of production, along with all of Jaguar’s other gas cars. The brand is transitioning to all-EV models.   

Our F-Type came as a convertible in classic British racing green, rear wheel drive, and a very old-school 5.0-liter supercharged V-8. Top down, it is a superb open-air experience, with the wind tunneling over your scalp as you hurtle down asphalt ribbons of road, accompanied by the very authentic burble of the big, gasoline-gulping engine. 

When the F-Type first came out, we initially didn’t feel it was as sharp and nuanced as many sports car competitors like the Corvette C7 Stingray. Now, however, the intersection of power channeled to the rear wheels via a gloriously revving gas engine is a throwback to simpler times. It is essentially a European muscle car, aimed at alighting all of your senses. All joy, and very little utility. 

The Chic European Wagon: Mercedes-Benz E450 4MATIC All-Terrain

A sports wagon has always been a hard sell in America, and the odds are stacked against them in this era. But a road trip from New York City to the mountain roads of rural Vermont on a camping trip brought out the breadth of practicality of Mercedes’ fantastic wagon. The E450 is long, with the wheels placed as far forward and back as possible, maximizing its wheelbase. This means a smooth, planted ride on freeways, where even high-speed lane changes feel confident and effortless.

That elongated, low silhouette also translates into a sense of solidity and elegance. This is a handsome car—you don’t see anything else like it on the road. With rounded edges and cladding around the wheel arches, it speaks of subtle muscle. The optional 20-inch AMG multispoke wheels give it even more presence. 

Mercedes has always been at the apex of interior technologies, and the MBUX “Superscreen” package lends an extra digital screen that extends to the right seat, with access to a variety of apps and vehicle information. It’s a fun gizmo that entertained our passenger without distracting us from driving. The rear cargo area, meanwhile, swallowed all our hiking and camping gear, and made for a fine place to sit on the rear bed as we changed out of muddy hiking boots.

We spent hours in Vermont’s Green Mountains, simply wandering. Random turns led us onto dirt roads, where we engaged the air supsenesion’s Off-Road mode, giving a full seven inches of clearance from rocks and credibility to the wagon’s “all terrain” moniker. Make no mistake that this is no Jeep Wrangler, but it handles gravel and rutted paths easily.

It is even more home on-road. Skyline Drive is a five mile private toll road that travels up Mount Equinox, rising some 3,000 feet over five miles. We made sure we were first in line early in the morning, and eked every last bit of go from the E450’s inline-six engine. We made it up in record time. Mark down the E450 Wagon as a car we’d happily own.  

The electric sports sedan: BMW i5 M60 xDrive

The M5 has always been the pick of a certain kind of car connoisseur: the lover of four doors, comfort and Autobahn-annihilating speed. BMW still makes the M5, but the new, all-electric i5 M60 is even more interesting given that we think of it as the sports sedan of the future. 

BMW’s modern design language has its share of detractors, but the i5 threads the needle between the M5’s overt aggression and a car that makes pains to announce itself as an EV. The closed front grille and the absence of a phalanx of rear tailpipes brings down the volume overall, and signals its electric heart. 

The differences are far more apparent in the driving behavior. The battery packs run along the floorboards, so the vehicle’s center of gravity is low. Coupled with 21-inch tires, the i5 flows through twisty roads. The ride and acceleration is unerringly smooth. At one point we were stuck on a two-lane road behind an erratic driver in an old camper van: we zipped past in a flash of an instant—the kind of sudden, addicting acceleration that is a hallmark of electric motors. 

At a dead stop, the driver can engage launch control mode, summoning all of the snap from the batteries, before it hurtles toward 60 miles per hour in just over 3 seconds. Before this happens, though, the seatbelts give a short, taut tug on the passengers torsos—a visceral preview of what’s to come. Playful. 

The range here is rated at an EPA of 240 miles, but we quickly saw those estimates dwindle after any amount of aggressive accelerations. Nonetheless, on a level 3 charger we found, the batteries recharged up to 80 percent in less time than it took to order and scarf down food. The electric version of the 5 Series takes a slight bit more planning, especially on extended road trips but the silent treatment is totally worth it. 

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Performance Improvements Power the 2025 Ducati Panigale V4

Exploring the latest flagship superbike during World Ducati Week

Basem Wasef

22 October 2024

The mood at this year’s World Ducati Week gathering in Misano, Italy was electric, with tens of thousands of tifosi gathered to lay eyes on Ducati’s latest hardware and watch their heroes race wheel-to-wheel on the freshly minted hardware. Ducati design boss Andrea Amato gave us the lowdown on Ducati’s latest flagship at a closed-door preview ahead of the main event. “People usually think pure beauty cannot be super-functional or perform at a high level,” Amato says. “I strongly believe the opposite.”

Amato cites the 916 (1994-1998) as inspiration for the 2025 Panigale V4, suggesting a sort of spiritual ancestry that links design philosophy across the ages. While the “eye of the beholder” walnut certainly holds true, there are indeed styling cues and proportional ties to that broadly loved, Massimo Tamburini-designed beauty including a lightened snout and a fairing-mounted intake, not to mention a few subtleties only the cognoscenti will catch. There are also a slew of modern introductions, the most prominent of which are a pair of nose-mounted winglets that are either futurist or catfish-like, depending on your outlook. The Panigale’s body panels have also been resculpted in the name of improved ergonomics, particularly the ability to duck a helmet into the tank at speed and hang off the bike more easily in corners. 

The new fairing is said to better protect the rider from turbulence and reduce drag. However, the buzz at Misano (and across the internet) was focused on two controversial bits: the aforementioned winglets, and the newly (re)introduced double-sided swingarm. The latter raises the ire of traditionalists because a sexy single-sided design has graced Ducati superbikes for the better part of 30 years. Showing off the side of the rear wheel has become a point of pride for Ducatisti.

The new swingarm offers a “double hollow symmetrical” design that provides a glimpse of the wheel through openings on either side. It is indeed more attractive than many more workaday solutions—but it’s not quite the same as the olden days of one solitary swingarm. Which begs the question: why depart from tradition? 

Ducati contends that two is better than one due to the engineering inevitabilities of racing—specifically, how two swingarms enable greater cornering loads, lighter unsprung mass, and more power to be laid down on corner exit. Like the advent of liquid-cooling in the Porsche 911, the embrace of the double swingarm was the only way to keep up with their racing competition, all of whom embraced the more robust layout long ago. 

The Panigale also sheds a few pounds, brings incrementally more power (216 hp in Euro spec) despite stricter emissions rules, and offers a wholistic set of ergonomic, chassis and electronic improvements intended to make it easier to extract performance from the bike. These changes are objective improvements that can be measured in the lap times, but the chatter remains focused on aesthetics. For what it’s worth, the body panels and winglets flow seamlessly together thanks to high-end automotive levels of fit and finish—no surprise, given Ducati is operated under the auspices of Audi AG.

While the new Panigale’s performance improvements will undoubtedly make it go quicker around a racetrack, the civilians who purchase Ducati’s latest will likely dither on details like those curious front-mounted winglets and the ditching of the iconic single-sided swingarm. The aesthetic loss is real—a signature styling element that has been sacrificed to the gods of speed. But as the new design follows the prevailing trends in MotoGP and World Superbike racing more closely than boulevard beauty trends, so must the brand as well.

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Favorites from the 2024 Pebble Beach Concours d’Élegance

Celebrating the old and the new during one of the most important automotive events of the year

Andrew Maness, Evan Orensten, Josh Rubin

9 October 2024

Similar to the way Miami Art Week has grown exponentially, from the founding Art Basel fair to more than ten art and design fairs, hundreds of installations, brand experiences and events, so to has the activity around vintage car week in Pebble Beach, anchored by The Concours d’Élegance. Vintage car races, auctions, elaborate private homes with auto company experiences for customers, and of course activations and launches for new cars aplenty now stretch out for nearly a week preceding the Concours, but if there was ever a question about them eclipsing the reason so many gather at the famous Pebble Beach Golf Links’s 18th green, this year’s event clearly showed that the Concours is still the focus. Each year it showcases the highest scoring vintage vehicles from smaller shows, across both its standard categories (such as pre-war convertibles) as well as its specialty categories, which often celebrate brand or model milestones or, as we saw this year, a specific type and moment of automotive design, such as Wedge-shaped concepts and prototypes. This new class demonstrated both the desire to include more modern designs appealing to many younger enthusiasts and collectors and brought a much appreciated energy to the weekend. Spending time with so many brands, vehicles and experiences, here are those that stood out from the week.

Easiest Way To Get Around: Ducati Hypermotard 698 Mono

With all the vehicles that descend on Monterey County during Car Week the traffic is maddening though always a delight with so many vintage and exotic cars to gawk at. If you’re trying to see and do as much as possible there’s only one method of transportation to choose and that’s something with two wheels. This year we had the pleasure of trying Ducati’s first single-cylinder Supermotard motorcycle, The Hypermotard 698. Combining the precision front end typical of Ducati with the nimbleness of a Supermotard, the 698 Mono is equipped with the new Superquadro Mono, a record-breaking single cylinder engine producing 77.5 HP at 9,750 rpm and 46.4 lb-ft of torque with a maximum revolution limit of 10,250 rpm. With a dry weight of only 333 lbs and a tall, upright riding position, the 698 instills instant confidence in the rider, perfect for cutting through traffic. The RVE version that we rode comes standard with Ducati Quick Shift (DQS) Up/Down, black frame, and dedicated graphics.

Best Specialty Manufacturer Interior: RUF Rodeo

Apparently inspired by Ralph Lauren’s Ranch, the interior of RUF’s first off-road oriented model was one of the most talked about cars at The Quail, A Motorsports Gathering. Rich, dark brown leather and colorful woven textiles combine to create a unique sports car cabin. It’s truly unique and a great pairing with RUF’s decades of expertise modifying Porsche 911s for maximum driving enjoyment. The Rodeo features a 9.5-inch ride height, an adjustable all-wheel-drive system and a six-speed manual transmission. A turbocharged 3.6L flat-six with 610hp powers the car, which has a carbon fiber monocoque that brings the curb weight under 3,000 lbs, ensuring the name Rodeo to be appropriate indeed.

Best Special Edition: Porsche 911 Turbo 50 Years

Accompanying the 50th Anniversary of the Porsche 911 Turbo class at The Quail, Porsche unveiled the latest 911 Turbo in the form of a special edition commemorating the milestone. Tastefully adopting styling elements inside and out from previous generations of Turbos, the “50 Years” model includes seat centers and inner door panels upholstered in “MacKenzie” tartan inspired by Ferry Porsche’s favorite of the three tartans available for the 1975 model year Turbo. There’s also an available heritage design package which uses Aventurine Green Metallic as the base color and adds matte white silk graphics to the body in the form of a “lollipop” (with choice of number up to 99) as well as “50 Years Turbo” and “Porsche” model designations. Here the Sport Classic Wheels are painted Silver/White and get a historic Porsche crest from 1964 on the center caps to match the one on the hood and steering wheel. Lest one think this is merely an appearance package, the Turbo 50 Years also gets additional standard equipment over a 911 Turbo S in the form of a sport exhaust, PASM with a 10mm lower ride height, front-axle lift, tinted LED Matrix headlights and black brake calipers. One thing that happily remains the same as the standard Turbo S, a 0-60 time of 2.6 seconds.

Best New Supercar: Maserati GT2 Stradale

There were many highly anticipated debuts at the 2024 edition of The Quail, A Motorsports Gathering, but one of the largest crowds we were a part of was for the reveal of Maserati’s new barely street-legal supercar—the GT2 Stradale arrives at an interesting moment for Maserati as the brand has its strongest portfolio in many, many years, including singular vehicles like Gran Cabrio Folgore, the only convertible EV on the market, and the Grecale Trofeo, a performance crossover with personality to go with its capability. The GT2 Stradale is clearly intended to let driving enthusiasts and collectors know that as Maserati celebrates its 110th Anniversary the brand is still connected to its racing roots and brings serious performance to the street, not just the track as they did with the debut of the limited edition MCXtrema in 2023. Given its captivating appearance and competitive stat sheet we expect the GT2 Stradale to have quite a few fans.

Best Interior Redesign: 2025 Lincoln Navigator

The Navigator made its debut at Pebble Beach in 1997 as a 1998 model year, and has consistently been the brand’s best selling vehicle. The fifth generation makes its debut as a 2025, and was presented first at a private event and then on the Concour’s Concept Lawn. The exterior is broader, more vertical and more SUV than truck. A split tail gate is one of its best new attributes, providing additional functionality and making it easier to use in a range of circumstances. From its executive style second row seats to a new “Lincoln Rejuvenate” multi-sensory experience, the interior steels the show though, nearly unrecognizable from its past generations with its upgraded materials, styling and technology, and can seat. up to eight people.

Best Class at Pebble Beach: Land Rover “Queens Series”

This year’s edition of the Pebble Beach Concours d’Elegance was one of the strongest we’ve attended. The crowd was manageable, the weather was uncharacteristically beautiful and the classes were robust, progressive even. From the featured classes of “Wedge-Shaped Concept Cars and Prototypes” to “1990s BPR & FIA GT Race Cars” and “Maserati” to “Frua Coachwork” there was an energy flowing from the eclecticism on the grass this year. The vehicles that stole the show and drew everyone to the far end of the green were 10 humble 4x4s turned into royal transportation for HM Queen Elizabeth II. Presented together for the first time ever outside the UK, this group of Land Rover and Range Rover models used by the late Queen was something to behold because of people’s strong connection to their owner. From the earliest Royal vehicle, a Land Rover Series I “State Review”, to the first Range Rover to take the role of ceremonial state review vehicle, a heavily modified 1974 Range Rover, the collection’s cultural impact was impossible not to feel. Our favorite? The Queen’s personal 1983 Defender 110 V8 that she commissioned herself and used at Sandringham. It remains part of the active Royal Fleet.

Best Driving Experience: Ferrari 296 GTS on Highway 1

We’ve had ample seat time in the hardtop 296, but this was our first go in the hard-top Spider and it did not disappoint. In fact, we prefer it to the coupe because nothing is lost by opting for the folding hard-top model. It’s still one of Ferrari’s best looking models, it’s still absurdly quick and it’s still every bit the driving enthusiast’s machine the hardtop is. The Spider adds more direct access to the slightly unusual, yet entirely sonorous exhaust note produced by the twin-turbo V6, which happily borrows its symmetrical firing order from a Ferrari V12. The electric motor seamlessly delivers extra power and torque which, combined with the already potent output of the V6, enables the GTS to sprint out of corners and on to the next one at a pace that sometimes takes a minute for your brain to catch up to; it also offers around seven miles of pure EV range. Believe it or not, we enjoyed using the battery for a bit of silent driving along the coast and through the Redwoods of Big Sur. For a Ferrari convertible to allow you to soak up an environment so completely is a new experience, one that’s nice to have the option to switch in and out of without even having to take your hands off the steering wheel.

Best Restomod: Eccentrica V12

Powered by a 5.7-liter V12 engine and oozing 1990’s style, the Eccentrica V12 produces an impressive 550 HP and 600 Nm of torque. Paired with a custom 6-speed transmission featuring updated gear ratios, the Eccentrica offers an elevated analog driving experience not found anywhere else in the restomod landscape. Key features include enhancements to the V12 engine with new valves, camshafts, and an electronic throttle body. The 208mph top speed is more easily achieved with an improved power-to-weight ratio and an innovative TracTive suspension system for a smooth, responsive ride. Updated power steering, Brembo brakes, Pirelli P Zero Trofeo R tires, and custom 19-inch aluminum alloy rims bring enhanced confidence to sit alongside the enhanced capability. 

Best Restomod EV: Kindred Bronco EV

We’ve been fans of Kindred Motorworks since getting behind the wheel of their EV restomod Chevy 3100 pickup a few years back. Their approach to both restomod EV’s and combustion engine models impressed us in terms of fit and finish, which we’d attribute to Kindred keeping development of their vehicles in-house at their Mare Island, CA facility. To that point, the new Kindred EV Bronco arrives with a dual-motor, all-wheel-drive powertrain driven by an 80 kWh battery that supports DC fast charging. The engineering team focused on delivering an EV model that’s comparable to the  5.0L V8 powered Kindred Bronco Heritage and Trail editions, so system output is estimated to be 402hp and 492 lb-ft of torque. That’s a lot of juice for a classic 4×4, however Kindred has taken a holistic approach here and not just added a-lot of power, but reinforced the frame, upgraded the suspension, added limited-slip front and rear differentials and added power disc brakes with regenerative-energy capture at all four wheels as well. A soft “bikini top” is standard and a hardtop is optional, either way the truck as a six-point roll cage and a locking rear lift gate with soft-open function. Inside and out, the Kindred Bronco EV is a fully fleshed out vision for a modern electric 4×4 in a timeless package.

Best Reveal: Mercedes-Maybach SL 680 Monogram Series

Perhaps some saw this coming, we certainly had our suspicions, but overall we think Mercedes-Maybach pulled off an impressive debut at a beautiful venue with the unveiling of the SL 680 Monogram Series. The more luxurious take on the Mercedes-AMG SL idled down an LED runway that accentuated the metallic Red Ambiance paint and allowed guests to hear just how much quieter the exhaust is on this Maybach model. For the first year a glossy White Ambiance paint will be available in addition to Red Ambiance, but the only interior choice is a Crystal White Napa leather. Visual differences inside include a model specific steering wheel, stainless-steel pedals and door sills, while outside the “Maybach SL” features a black hood with a Maybach logo pattern that matches the soft-top and Maybach logo grilles at each corner of the lower fascia. In addition to recalibrated suspension settings, additional sound-deadening material has been added to further refine the ride experience. While we’ve enjoyed hustling the AMG SL 55 and 63, we expect the cruising experience of the Maybach SL 680 to suit the platform best. We’ll just have to wait until the second half of next year to find out.

Best Auction: Broad Arrow

A fresh take on a car auction is difficult to pull off, yet Broad Arrow did so with their reformatted event at Monterey Jet Center. Taking place alongside Hagerty’s Motorlux, which over the past few years has become the unofficial kick-off party for Monterey Car Week, Broad Arrow’s auction ran in the style of a fashion show with cars appearing from behind a curtain and taking to the elevated “runway” inside the massive hangar where the car would rotate on a platform in front of the auctioneers before exiting back down the runway. With bidders and observers seated down either side, the auction felt more intimate than the traditional format with rows of seats all facing a stage. The sale of a 1997 Porsche 911 GT1 Rennversion (one of 9 customer GT1’s constructed) for $7,045,000 headlined the two day auction, with additional highlights including five auction records, led by a rare 1998 RUF CTR 2 at a hammer price of $2,095,000. 

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Presented in Partnership with iF Design

A Closer Look at the Award-Winning Lucid LIVE

Why the EV brand won an iF DESIGN AWARD Gold prize for their User Experience design

CH Studio

4 October 2024

The 2024 iF DESIGN AWARD spotlights exceptional innovation and creativity in a range of disciplines spanning global product design, architecture, communication design, UI/UX and more. Over 11,000 designs were submitted, fewer than 4,000 won and only 75 received the top Gold prize. Among the Gold winners was Lucid Motors for their Lucid In-Vehicle Experience (LIVE).

Lucid Motors’s design philosophy shines through in their Lucid In-Vehicle Experience (LIVE), an innovative screen-based UX for electric vehicles that reimagines the interaction between drivers and their cars. In an age where digital tools are pivotal to sustainability, LIVE merges advanced technology with intuitive design to make the shift to electric vehicles seamless and engaging.

LIVE stands out for its user-centered design, blending physical and digital worlds without overwhelming drivers. Many in-car experiences rely on numerous, often cluttered displays; Lucid offers a clean, intuitive interface across two integrated displays. At the heart of this experience is a reduction in distraction while still enhancing functionality. LIVE’s layout is minimalist and refined, avoiding the pitfalls of overloading drivers with too much information at once.

A key aspect of LIVE’s UX is its ability to create a more emotional and natural connection between the driver and vehicle. Through the use of natural gestures and capacitive physical controls, drivers can seamlessly access advanced features like navigation, climate control and infotainment. The interface feels more like an extension of the driver’s intentions, rather than a detached digital tool. This holistic approach allows drivers to focus on the road while still engaging with the technology that supports them, promoting both safety and convenience.

What sets LIVE apart from competitors is its thoughtful integration of “digital detox” principles. Lucid’s design team identified a common pain point in modern vehicle interfaces: digital overload. By stripping away unnecessary features and simplifying interactions, they’ve created a system that fosters focus and control. The streamlined interface ensures drivers can access only what they need when they need it, whether it’s through haptic steering wheel controls or voice-activated commands.

LIVE also capitalizes on the promise of electric vehicles by blending cutting-edge hardware with a user experience that reduces the friction of EV adoption. The system educates drivers on EV advantages while simplifying range management and charging station locations, making the shift from traditional vehicles feel natural. Ultimately, LIVE bridges the gap between sustainable transportation and luxury, delivering an experience that is not only forward-thinking but emotionally resonant, encouraging more drivers to embrace the future of mobility.

Learn more and enter the 2025 iF DESIGN AWARD here. Entries will be accepted until early November 2024.

iF Design is an active member of the international design community committed to excellence, objectivity, transparency and impact since 1953. Owned by the iF Design Foundation, a German non-profit organization, the iF DESIGN AWARD is one of the world’s most prestigious design awards

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The Return of Norton Motorcycles

The famed British maker of the Commando has big plans, including distribution in the US

Matthew Askari

1 October 2024

If you ride, you know the Norton Motorcycles name—but even if you don’t you may have caught classic images of Clint Eastwood on one of many models, or recent ones featuring great motorcycle enthusiast Keanu Reaves. Norton’s rich heritage dates back to 1898, though it’s now freshly reinvigorated under new ownership by international powerhouse TVS Motor Company.

Norton currently makes a few models, starting with the Commando 961, an air-and-oil cooled bike whose namesake put Norton on the map in the 1960s. At the top of the range is the V4SV, powered by a 1200-cc V4 that pushes out 185 horsepower, especially impressive considering the $57,000 bike only weighs 454 pounds; a V4CR is a cafe racer offering of the V4SV. Currently, Norton is cranking out a few hundred of these motorcycles for the UK, but all of that is about to change. 

First, the offerings themselves are about to change. Over the next three years there are six models being brought to market. “We’ll start with that super-luxury, super sport, cafe racer framework, but then there will be an expansion beyond that,” executive director of Norton, Richard Arnold, tells us. “The expectation or the plan we have is to remain premium, luxury quality, beautifully hand-built, quintessentially British-designed bikes, but with the scale TVS bring, and the capability. They’ll still be designed and manufactured in the UK, but with the logistics and ability of a global company.” Arnold, the former Manchester United Football Club CEO, came to Norton after buying a V4SV. 

“There’s a very immersive aspect to a bike experience. The most private experience in the world is inside a helmet. At the end of a ride, you’ll have spent an hour, an hour and a half, and you’ll have watched the cars and you’ll watch what’s going on to make sure you’re safe, and you’ll have enjoyed the experience of controlling the bike, and getting home, but at the end of it, you’ll have not thought about anything but riding that bike. And that sort of mindfulness, and presence, it all sounds a little bit zen, but actually the act of riding a bike, people would pay an enormous amount of money to get that experience in any other sort of way,” Arnold says. 

The company that acquired Norton, TVS, also knows quite a bit about two-wheelers. They’re the fourth largest motorcycle producer in the world, and the third largest in India. Last year they made approximately 4.5 million vehicles—a mix of motorcycles, scooters and mopeds—including a quarter million electric examples. 

“I think what we bring to it is a lot of engineering capability, high quality manufacturing and supply chain, and of course, capital,” says Sudarshan Venu, managing director of TVS. Venu’s company, which produces motorcycles for BMW, has committed 200 million pounds (about 260 million dollars) to lift Norton to prominence once again. “Norton, when we bought it, was a very small brand, but now we are reviving it in a modern way. Looking forward, it’s ready to be a leading global brand. I think we bring a lot of resources, engineers and global distribution,” he says.

Norton will lean into a new factory in the West Midlands, one which Arnold equates to a Swiss watch factory, a stone’s throw from where the company was founded. While the UK will remain a key market, expansion in Europe, and across the Atlantic is also in the cards. “America is a market dominated by Harley. But I think what Norton brings is a uniquely British charm. A certain detail, a certain design, drivability, that is truly unique. I think young aspiring consumers will really enjoy this differentiated experience,” Venu adds. 

You can expect the new Nortons to begin arriving next year, starting in the UK, and will make their debut stateside shortly after. Details of the new models will be revealed closer to launch. 

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Test Drive: 2025 Polestar 3

This EV weaves in attributes that are subtle but significant fusions of form and function

Michael Frank

23 September 2024

When Christian Samson, Polestar‘s head of product identity, talks about cars, it’s from the perspective of a serious petrolhead. The all-electric Swedish carmaker—which is amidst a growth spurt, launching both the Polestar 3 SUV and Polestar 4 fastback this year—is a tiny spinoff of Volvo. This has allowed Polestar to push boundaries, even for an EV maker. For instance, it lists the entire cradle-to-grave CO2 footprint of its cars, which Samson describes as the minimum any EV brand should be doing—and Polestar promises to be carbon neutral by 2030, a fast approaching deadline.

Ffor Samson (who came from chassis development at brands like Alfa Romeo), the attraction to Polestar is what he characterizes as an “analogue” way of thinking about EVs, even though they are increasingly more computerized. He says that for the Polestar 3, which we recently drove ahead of delivery to customers, the idea was to push handling to the edge of GT performance but then to back off a bit. The idea is to get to that small, happy place that lives between spirited feel and nervous aggression—and to have the cars drive naturally in a way he describes as “that super simple steel-sprung core.”

This is an interesting philosophical position for the Polestar 3, a roomy crossover that’s hardly inexpensive (the base price of our Launch Edition bled right up to $78,900) and not as huge as rival three-row EVs that are priced in the same general segment. Luckily there’s plenty of performance to like. It’s not just that you’re starting with 489hp and 620 lb. ft. of torque, but that you can spend $6,000 more for a performance pack that bumps this gumption to 517hp/671 lb. ft.. That shaves 0-60mph times from 4.8 seconds to 4.5. This is fine, but all EVs in this segment feel exceptionally fast, and Polestar isn’t trying to out-dual Tesla with acceleration.

The distinction with the Polestar 3 is that the car feels far lighter than something that weighs almost three tons. One reason is that Polestar’s engineers brilliantly apply torque vectoring, which over-drives the outside rear wheel through corners, giving you quicker response and less understeer (the likelihood of a car to steer wide of your intended apex). That’s a huge deal; this is a vehicle based on the same architecture as Volvo’s new three-row EV90 and while it’s just a little smaller it’s still 1.5-feet longer than a Genesis GV60, and a half-foot longer than a Hyundai Ioniq 5, but drives more like a smaller car. It’s closer in size to the target Polestar says they’re chasing: The new electric Porsche Macan, which is very close in price, too, and that means it has to be reasonably sporty as well.

Polestar isn’t trying to be Porsche—or Lucid. Samson explains that the company has been careful not to follow peers chasing extreme range. He says that would be a mistake, and that as you add more batteries you spiral into a heavy car that also has a lot more harmful C02 and industrial impacts. The Polestar 3’s range is pretty good, at 315 miles, and Samson says they targeted real-world driving, for instance a lot of 75mph interstate dashes, not a uniquely European cycle that’s more skewed toward city driving.

Samson shrugs off the potential hazard of being the “EV du jour,” which is where Rivian seems to be in certain zip codes these days, and ticked through a number of attributes of the 3 that are subtle, but significant fusions of form following function. For instance, the door handles fit flush—but approach the crossover with the key card in your pocket and these deploy upward. And they’re scalloped from the underside. He says that any minimal loss in aerodynamics is more than made up for by making the car easier for the driver or passengers to open the door easily, and cited a simple Polestar ethos, noting that too many carmakers add adornment—or take it away—without thinking about the impact to user experience.

Some small design features on the interior of the Polestar 3 are easy to miss because Polestar so heavily stresses minimalism. Higher end versions get an incredibly crisp-sounding, 25-speaker Bowers & Wilkins sound system, but while other carmakers might make the speakers more prominent, Polestar hides most of them in the headrests and in concave door sections. Likewise, a 14-inch touchscreen houses most of the car’s controls. This takes a little getting used to, though we’re happy there’s an oversized volume/play/pause central controller between the driver and front passenger, and D-pad style toggles on the steering wheel that switch function depending on various modes.

It’s good that, unlike Tesla, Polestar gives the driver an instrument cluster, which can double up the Google Maps function on the central screen. There are some missing pieces, however, because Polestar relies on Android Automotive OS for its interface. That means no Apple CarPlay. Some apps you might rely on for entertainment on your phone will play through Bluetooth pairing, but that still leaves some functionality out of the equation.

Step out of the Polestar 3 and the tour of subtle design continues. Sideview mirrors are frameless, with the glass integrated directly into the housing (the whole housing moves when you adjust the driver’s view). A front nose wing atop the hood is almost imperceptible, but it’s crucial because it lowers drag, increasing range and keeps the cabin quieter. But there’s another benefit Samson stresses, “You get this initial impression of a prouder hood. You want this upright face on an SUV.” Of course you could solve the aerodynamic conundrum other ways, like with a more sloped windshield, but in turn you’d have to lengthen the cabin to achieve the same roominess.

Another visual cue you might miss are C-shaped finishers at the back fender. These puzzle into a concavity at the trailing edge of the bumper, and they offer a kind of punctuation at the back of the car that’s similar to how designers use dual tailpipes on gas cars. Here they act like scissors, cutting off the vortex of air that otherwise would swirl and create instability at the rear of the Polestar 3. In turn, that would require a much more prominent rear wing, which would be very un-Polestar.

Speaking of the brand’s ethos, Samson directs us back to the front of the car to observe its SmartZone, which supplants a conventional grille. The SmartZone houses cameras—and in 2025, LiDAR that can see people, bikes and other cars up to about 800 feet in the distance. Samson says the challenge was making it blend with the car’s paint, because sensors have to see through this section—and metallic paint would blindfold the sensors. Eventually Polestar’s experimentation led to careful color matching so that the polycarbonate SmartZone blends fluidly with every color option available. It’s a very Polestar win, much like the rest of the 3.

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Ten Forms of Lightness at Lake Como Design Festival

A selection of the most memorable works from the Italian design event

Paolo Ferrarini

18 September 2024

The Lake Como Design Festival reaches its sixth edition this year with “lightness” as its theme. Held in multiple venues—historical places, beautiful villas and city parks—in different parts of the city of Como, the selection of objects includes classics and novelties, design and art, showcasing a panorama of experimentation. Among the hundreds of objects on display, we have selected the ten that, in our opinion, best express the lightness of contemporary design.

Lightness on paper

The Como-based publishing house Lithos celebrates its 35th anniversary this year. Throughout its history, Lithos has collaborated with icons including Ettore Sottsass, Andrea Branzi and Enzo Cucchi, producing prints, engravings, lithographs and artists’ books. For this edition of the Festival, Lorenzo Butti, artistic director and founder of the Lake Como Design Festival, invited a series of architects, designers and international artists to create an original work dedicated to lightness. The result is Lightness on Paper, 10 works by Mario Botta, Michele De Lucchi, Natalie du Pasquier, DWA Studio, Francesco Faccin, Naessi Studio, Valeri Gaeti, Lucia Pescador, Franco Raggi and Mario Trimarchi will be exhibited in the evocative deconsecrated church of San Pietro in Atrio.

Images courtesy of Lake Como Design Festival

8 days of Lightness by Erlands and Bai Bai

Do glass art and meditation have anything to do with design? Looking at the work of Erlands and Bai Bai, the answer is definitely yes. Erlands incorporates meditation into the design process to imagine objects and situations that do not yet exist. His work is then intertwined with that of Bai Bai, a glass artist who gives form to these visions. On display in Como are mysterious objects made of glass and metal that can be used to find physical balance during meditation, but also for exercise. Next to them are unique drawings on paper quick-drying glues instead of pigments.

Images courtesy of Lake Como Design Festival

Homage to Ico Parisi

The beautiful Villa del Grumello hosts the group exhibition “Lightness in progress” in a breathtaking room overlooking Lake Como, a tribute to designer Ico Parisi. A beautiful carpet inspired by the light reflections on the surfaces of the lake, an interplay of volumes and transparencies in a crystal and rosewood coffee table topped by the Luisa vase in Murano glass, and on the surrounding walls visitors discover some surprising, unpublished photographs taken by the architect between 1968 and 1970. 

Image courtesy of Lake Como Design Festival

Close to the Edge by Mario Trimarchi

The rooms of Villa del Grumello also host contemporary artists including Mario Trimarchi. The Sicilian-born Milanese designer is known for his industrial design objects, but in this exhibition he surprises us with his mastery of drawing a series of unique research pieces. On the walls we find incredibly detailed and realistic pencil drawings of stones. On a central table we find glasses made of very thin glass resting on stone bases. In this way we find ourselves thinking about the boundaries between lightness and heaviness, between natural and artificial, between spontaneity and design.

Images by Paolo Ferrarini

Equilibrio Instabile by Jean-François D’Or

As in previous editions, one of the most interesting sections is certainly the Contemporary Design Selection, curated by Giovanna Massoni. With Equilibrio Instabile, Euology to Audacity, the Belgian designer Jean-François D’Or has literally reinvented Columbus’s egg. Inspired by a conversation with a neuroscientist, he set out to create an object capable of representing the concept of audacity. The result is 100 wooden cubes topped by a wooden egg that can stand still thanks to a magnetic support. A matter of millimeters, it’s easier to let it roll away than to keep it balanced. 

Images courtesy of Lake Como Design Festival

Micare Obscuro by Dora Stanczel and Pietre Trovanti

Dora Stanczel is an artist who specializes in working with porcelain, while Pietre Trovanti is dedicated to working with reclaimed stone. Their meeting resulted in Micare Obscuro, where Limoges porcelain and black granite come together to create objects with a strong impact, where lightness and solidity become one.

Image courtesy of Lake Como Design Festival

Soft Silence by 9+1

Japanese craftsmanship is not afraid of technology. We can see this very clearly in Soft Silence, a site-specific installation in which 9+1 designers have created lamps made of washi paper (the lightest paper in the world) with a tiny LED inside. An innovative production system similar to 3D printing was developed for this project, in which the still liquid paste is arranged according to a set of data using a programmed plotter.

Images courtesy of Lake Como Design Festival

Onggi by Ye Sul E. Cho

Korean designer and researcher Ye Sul E. Cho has long worked with 3D-printed ceramics. At the Como Festival she presents a series of lightweight vases inspired by traditional forms. Starting with the objects given to newlyweds, vases with rounded shapes representing masculine and feminine forms. The lightness in this case is as much in the form as in the substance, since the designer decided to use as little ceramic as possible, pushing this technique to the limit. 

Images by Paolo Ferrarini

Memento by Philippine Aprile Mandillon

Philippine Aprile Mandillon is an architect, and Memento is her first foray into design. Her studio is dedicated to the restoration of old buildings in France, so she brings familiarity of classical architecture. For this candle series she took architectural elements and extracted, reduced, cut, and mixed them, then transforming them into candles. Light and lightness work in harmony, making us feel the solidity and durability of architecture in a new way.

Image by Paolo Ferrarini

Night and Day by Hana Hillerová

A few years ago Czechoslovakian artist Hana Hillerová decided to move into a new studio house. In her view, light defines the true nature of a home, and she started looking for good lamps. Not satisfied with what she found, she decided to use her skills as a sculptor to make what was in her head, creating the glass lamps of the Night and Day series—objects that change radically and beautifully when turned on or off.

Images by Paolo Ferrarini

Open to the public until 22 September 2024. Further information and tickets are available at Lake Como Design Festival.

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Journey Between Reality and Illusion at Homo Faber

The third edition of this biennale in Venice proves it to be the international benchmark for quality craftsmanship

Paolo Ferrarini

9 September 2024

In its third edition, Homo Faber proves to be the international benchmark for quality craftsmanship. As with its first two editions, this biennial—organized by the Michelangelo Foundation—is being held at the enchanting Giorgio Cini Foundation. This year, artistic direction was deftly handled by director Luca Guadagnino (who concurrently presented his latest film, Queer, at the Venice Film Festival) and architect Nicolò Rosmarini. This year’s theme, The Journey of Life, is explored through 10 installations, ranging from Birth to Afterlife. Further, this year introduces not only European handicrafts but products from all continents. As a result, visitors can admire more than 800 objects made by over 400 artisans from 70 countries, representing 105 different crafts.

Many objects in the exhibition look like one thing, but, in fact, are deceptive. One example is the three-dimensional embroideries of Youmeng Liu, who can recreate everyday foods such as vegetables, ice cream or cake slices—but with a simple thread. During the opening days, the British embroiderer, who is also very popular on Instagram, demonstrated her technique live before visitors’ eyes. Similarly, Julia Obermaier‘s illusions play with everyday life. The erasers she presents at Homo Faber look ready-made but are actually crafted from natural gemstones such as Quartz, Opal, Agate, Lapis lazuli, or resin and pigment.

Throughout, we find classic crafts such as silverware and blown glass, as well as original interpretations of ancient ceramic techniques. The latter describes the work of Claire Lindner, whose glazed stoneware sculptures are reminiscent of soft, floating underwater creatures and time-encrusted surfaces with bright colors that are perfect for the digital world. New York-based artisan Ayako Hirogaki‘s glassware is inspired by the human body and uses an ancient Japanese technique to represent physical and emotional pain. Her sculptures appear to float lightly but are actually solid, complex glass objects.

Manila-based multidisciplinary artist Leeroy New creates intricate masks using all kinds of materials. For Melt Mask, he used elastic silicone that looks like a metamorphosis of a robotic entity, something pretty far from what we’d expect from the tradition of craftsmanship but nevertheless absolutely incredible.

The section of the exhibit dedicated to love is, perhaps unsurprisingly, full of flowers, showcasing crafts such as jewelry and embroidery. The most interesting artifacts, however, are made with unusual materials. Take, for example, the featherworks of Prune Faux, the wax flowers from Mona Oren, the polyester fabric orchids from Permaflora, the silicon bouquets by Gigliola Scagliotti, and the tiny brass daisies by Hyejeong Ko. Each petal is artificial, each leaf is man-made, each flower is an exquisite trompe-l’oeil 

Ceramics also hold many surprises in store at Homo Faber. Philip Kupferschmidt creates functional objects that seem to melt and become imaginary creatures. The effect of Bertozzi & Casoni‘s objects is quite different but just as magical, as ceramics are transformed into still lives full of spoiled food and shattered objects. 

As with previous editions, one can also admire live artisans at work in the exhibition’s main venue. These range from independent workers to employees from great maisons such as Buccellati, Santoni and Lesage. If that were not enough, the Homo Faber in Città circuit allows visitors to discover 70 artisanal workshops across Venice.