Robb Read: Four-Wheel Fantasy
From fierce to eco-friendly, concept cars are the automakers’ crowd-sourced R&D.
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The history of concept cars begins in earnest in the 1950s, but for context, you need to head a little further back in time. As the United States lurched out of the Great Depression, a middle class emerged, sufficiently affluent to afford automobiles in greater volumes. The look of a car quickly became its most salable feature. New styles sold new cars, so frequent updates became essential to moving metal. With the outbreak of World War II, car manufacturing worldwide trickled to a halt but resumed with a vengeance in 1946, and by 1950 the race to capture brand-loyal customers was on.
Dream machines came into their own, with international motor shows attracting hundreds of thousands of visitors worldwide to see the latest vehicles, and to get a glimpse of the future. Manufacturers were only too eager to whet these appetites with concept cars that explored—and influenced—new aesthetic and technology trends. Some were evolutionary, others so outlandish they could not possibly be mass-produced. The boldest concepts established manufacturers such as General Motors as visionaries, at the same time gauging just how much innovation the public would actually park in their driveways.
But while early concept cars were often freewheeling fantasies sketched in the studio, today’s concept cars are informed by a sophisticated mash-up of engineering data, focus groups, shareholder profits and all manner of global emissions and safety regulations.
From the beginning of aviation, aerodynamic efficiency—whether real or implied—has been an overarching principle for forward-thinking car designers, knowing that sleek bodies cheat wind, save fuel and look like they’re going fast even when they’re standing still. Polymath Buckminster Fuller exhibited his blimp-shaped Dymaxion, one of the first extreme automotive aerodynamic exercises, at Chicago’s 1933-34 World’s Fair. The Dymaxion (Dynamic, Maximum, Tension) explored the potential for a vehicle that could drive and fly. And while never intended as a commercial venture, it expressed Fuller’s utopian imaginings, which encompassed geodesic domes, solar electricity and freedom from traditional means of transportation.
GM design boss Harley Earl was the man whose design vision charted the company’s postwar growth as the world’s leading automaker. His 1938 Buick
Y-Job (sketched by George Snyder) is considered the first auto-show styling concept, meant to enthral the public with its looks. Long, low and with lots of chrome, it set the tone for the coming decade, one in which the American automotive industry would reign supreme.
Some concepts set styling trends from stem to stern. GM’s jet-fighter-inspired 1951 LeSabre boasted tail fins that soon became de rigueur on American luxury cars like Cadillac. Others, such as GM’s Firebird I, II and III (created from 1954 until 1958) were impractical dreams that looked like wingless jet fighters and were propelled by turbine engines. The Firebird II was, presciently, meant to be autonomous, “releasing the driver from the wheel” on a so-called “Highway of Tomorrow,” according to its 1956 publicity brochure.
Americans weren’t the only car designers with a crystal ball. The Italians, especially, were hard at work imagining what the future would hold, often incorporating novel styling into one-off or limited-series models for marques like Ferrari, Alfa Romeo and Lancia. Zagato, a carrozzeria whose founder cut his teeth designing aircraft, adapted the same aluminium fabrication expertise to the design of slippery sports cars.
The carrozzeria Bertone, meanwhile, pushed the aerodynamic envelope with the Alfa Romeo BAT 5, 7 and 9, Italy’s most influential concept cars of the 1950s, all designed by in-house stylist Franco Scaglione. Pininfarina was no less extreme with its X concept car and Fiat-Abarth Monoposto, both from 1960, inspired by rockets that captured the public imagination at the dawn of space exploration. More radical designs were conjured between 1960 and 1970 than in perhaps any other decade, and by the end, concept cars were low, creased wedges that aptly prefigured the following decade’s hard-edged aesthetic.
Bertone’s 1968 Alfa Romeo Carabo and 1970 Lancia Stratos HF Zero, both designed by Marcello Gandini, were strikingly modern. The Carabo featured scissor doors, eventually employed in Gandini’s design for Lamborghini’s Countach. The most innovative creation from 1970 was Pininfarina’s Ferrari 512S Modulo, designed by Paolo Martin, which featured a sliding-canopy glass roof that described a flowing arc front to rear.
In 1978, an ambitious young Los Angeles designer named Gerald Wiegert unveiled his Vector W2 prototype, a wedge-shaped assault weapon challenging the most radical inventions from Ferrari, Lamborghini and Porsche. His company was never the same after a boardroom fight in 1993, though with coincidental timing, Gordon Murray’s McLaren F1 took centre stage as the world’s most capable supercar.
If today’s concept cars don’t seem quite as outrageous as their more extreme predecessors, it’s in part because materials and technologies heretofore unimaginable—exotic composites and metallurgy, even tires that hold up at 480km/h—are now possible. Aerodynamic solutions, a fundamental trait of futuristic design from the beginning, are incorporated into the most quotidian automobiles. Horsepower routinely eclipses the once unthinkable 1,000 hp threshold, with 1,500 hp now considered a realistic target for modern hypercars.
Such massive power is a hallmark of cost-is-no-object one-offs like Bugatti’s La Voiture Noire (the Black Car), which won the Villa d’Este Design Award for concept cars in 2019. Based on the Chiron and with nearly 1,500 hp (1,119kW), it recently sold for approx. $18.2 million to a private buyer.
While good looks and high performance will always be a part of the concept-car equation, overarching concerns of gridlocked motorways and a planet further warmed by internal combustion are driving designers, engineers and the automakers that employ them to consider solutions that address the future’s substantive global transportation challenges. Ferrari’s most powerful series-production car ever, the SF90 Stradale, already combines a V8 engine with three electric motors for a total output of nearly 1,000 hp (746kW).
Indeed, the writing is on the proverbial gas-station wall, and it suggests that in our near future, the oil oozing from dead dinosaurs may best remain underground for another 65 million years. So, apart from emphasising brute output, concepts with gas hybrid, fuel-cell hybrid and, especially, electric power trains are quickly replacing pure internal combustion engines.
The 2018 Audi PB18 e-tron proposes that the future is an all-electric one. The Genesis Essentia EV and Italdesign’s gullwing DaVinci, both made for electric power, point the way forward from the perspective of a South Korean mass producer and a bespoke Italian design studio, respectively. Porsche’s Taycan turned from the 2015 Mission E concept to production sedan this year, proof that the automobile’s electric future is here, now.
All of which presupposes that someone will actually need to drive tomorrow’s cars. Hundreds of millions of motorists endure rush-hour purgatory every day, and who among them would not embrace deliverance through autonomous contraptions that could speed their commutes and liberate them from the horrors of not just stop-and-go traffic but automobile accidents and bodily injury. Automakers across all segments are coming to terms with the “autonomous agenda”. The Rolls-Royce 103EX from 2016 was a visionary concept car that demonstrated the natural affinity of luxury and autonomy. Sports-car manufacturers have a tougher row to hoe. It’s difficult to imagine any Porsche, Ferrari or Corvette driver giving up the wheel without his or her cold, dead fingers being pried from the rim.
Offering unabashed opulence and a far-reaching look into the future of autonomy is the Bentley EXP 100 GT, an electric-powered concept car with 1,500Nm of torque, revealed last year as a tip of the hat to the marque’s centennial. Imagine a Bentley in 2035. It incorporates AI to optimise cabin conditions, using biometrics to monitor an occupant’s mood, blood pressure and body temperature. Seats double as massage chairs. Pleasant smells, such as the sea air or forest pines, can be filtered in, while noxious odours are blocked. When you have such interesting distractions—maybe even a good novel—perhaps having the computer take the wheel won’t be such a bad trade-off after all.
This piece is from our new Design Issue – on sale now. Get your copy or subscribe here, or stay up to speed with the Robb Report weekly newsletter.
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Show Stopping Fun
Robb Report Australia and New Zealand teamed up with Sydney Harbour Concours d’Elegance in late February to celebrate a weekend of fine motor cars on Cockatoo Island.
Robb Report Australia & New Zealand and Citizen Kanebridge, the new private members’ club brought to you by this masthead’s publishers, offers exclusive access to magical experiences and unrivalled networking.
This year’s Sydney Harbour Concours d’Elegance on Cockatoo Island did not disappoint. Our invited guests—including speakers Gerard Doyle, General Manager ASX Refinitiv Charity Foundation; Ant Middleton, the British adventure and TV personality turned hydration-drink disruptor and owner R3SUP; and Lex Pedersen, CEO of automotive investment firm Chrome Temple—enjoyed unlimited access to the three-day event and an elegant sufficiently of Champagne, wine and whisky, as well as an exquisite catered lunch inside the Citizen Kanebridge Private Members’ Lounge. They enhanced their experience by VIP transport to and from the mainland via superyacht.
The British-born event, which also has iterations at Pebble Beach in California and Hampton Court Palace in England, once again teamed up with the world’s most prestigious marques (among them Aston Martin, Bentley, Brabus, Genesis, Lamborghini, McLaren, Rolls-Royce and Porsche), to display their latest supercars alongside the pageant of owner-driven vintage vehicles.
On Sunday, Robb Report’s Editor-in-Chief Horacio Silva treated guests to a special preview of the winners of this our annual Car of the Year awards, showcased in our coming March 2025 issue. Our lips are sealed.
To learn how to become a member of our exclusive new community, visit Citizen Kanebridge.
Thank you to the following sponsors: Whisky and Wealth, Jacob & Co, Wine Selectors, Mulpha, Jackson Teece, Young Henry’s and Resup.
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19/03/2025
Patron’s New Ultra-Premium Tequila Is a Reposado Blend That Punches Way Above Its Age
Patron’s latest luxury tequila is a blend of ages.
There are certain categories in the tequila world that indicate how long the spirit has been matured, so what happens when you combine a few of them together into one release? Patron is the latest brand to get in on this multiple-maturation blending action with the new high-end El Alto release, a combination of tequilas aged for different lengths of time.
In the whisky world, an age statement represents the minimum age of the liquid that’s in the bottle—in other words, a 10-year-old scotch may have liquid much older than that in the blend, but 10 years represents the minimum age. When it comes to tequila, there are also rules in regards to how it has to be labelled based on maturation, and like whisky that depends on the youngest liquid in the blend. The core of El Alto is an extra anejo tequila (the exact proportion isn’t revealed), meaning it was aged for a minimum of three years. But master distiller David Rodriguez decided to blend some anejo (aged one to three years) and reposado (two months to one year) tequila into the mix as well, making this an expression that is defined as reposado instead of extra anejo even though it has some ultra-aged liquid in the blend.
According to the brand, 11 different types of barrels were used to mature the tequila in El Alto, with the majority being hybrid barrels consisting of American oak bodies and French oak heads—each type of wood is thought to impart different flavours into the spirit. “The tequilas that harmoniously come together in Patron El Alto are a result of selecting the finest 100 percent Weber blue agave in the highest parts of Jalisco, Mexico, a territory known for producing the sweetest agaves,” said Rodriguez in a statement. “We took four years to focus on only the best of the best and perfect the bold, sweet flavors of this expression the right way: naturally.”
This type of multi-aged tequila seems to be part of a growing trend, with a few other brands releasing similar high-end expressions including Cincoro and Volcan de Mi Tierra. Perhaps it’s a way of stretching supplies or a tactic to get consumers to dip their toes (or tongues, preferably) into another luxe tequila, a category that is growing every year.
This month Australians are getting an exclusive taste of the El Alto as this formerly USA-exclusive release is launching here with The Bacardi Group. You can find El Alto in selected hospitality venues and at Barrel & Batch for $298 as these chic spots that represent the “pinnacle of celebrating momentous occasions,” according to the brand.
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Neutral, Not Boring: How to Wear This Season’s Most Stylish New Menswear
The soft tones of California’s Joshua Tree provide a perfect backdrop for the season’s refined yet relaxed vibe.
Amid spring 2025’s myriad trends, there was one connecting element: colour. From Alessandro Sartori’s rusty hues at Zegna to Loro Piana’s subdued neutrals, the palette was more sun-bleached than saturated, and the muted tones of California’s Joshua Tree provide a perfect backdrop for the season’s refined yet relaxed vibe.
Stylists Naomi Rougeau and Alex Badia, teamed up with photographer Brad Torchia to create these casual looks that turn a bold statement into a confident whisper.
Berluti leather jacket, $14,067; L.B.M. 1911 merino crewneck, $450; Dolce & Gabbana linen trousers, $1,921; Zenith 37 mm Chronomaster Revival in steel, $13,987.
Umit Benan silk jacket, silk shirt, and linen trousers, all prices upon request; Dolce & Gabbana suede loafers, $1600; Girard-Perregaux 38 mm Laureato Sage Green in steel, $23,954.
Brunello Cucinelli linen shirt, $1500; Loro Piana linen trousers, $908; Zenith 37 mm Chronomaster Revival in steel, $13,987.
Anderson & Sheppard cotton jacket, $4,421; Gabriela Hearst cashmere turtleneck, $1,430; Louis Vuitton cotton jeans, $2n138; Tod’s suede sneakers, $1438.
Canali wool, silk, and linen tweed blazer, $4,011; Thom Sweeney silk shirt, $876; Paul Smith mohair trousers, $908; Church’s patent-leather loafers, $1,768; Parmigiani Fleurier 40 mm Tonda PF Micro-Rotor No Date Golden Siena in steel and platinum, $40,675.
Paul Smith cotton trench, $3528; Ferragamo cashmere sweater, $1,752, and cotton trousers, $4389; Dolce & Gabbana suede loafers, $1599.
Hermès denim shirt, $1,647, and belted cotton chinos, $1,366.
Loro Piana cotton cardigan, $4,381, and linen shirt, $1,768; Todd Snyder linen trousers, $639; Zegna Triple Stitch leather sneakers, $1,768; Morgenthal Frederics sunglasses, $2,564; Berluti silk scarf, $1,221; Parmigiani Fleurier 40 mm Tonda PF Micro-Rotor No Date Golden Siena in steel and platinum, $40,675.
Thom Sweeney cashmere and merino sweater, $956; Brunello Cucinelli linen shorts, $1045; Manolo Blahnik raffia and leather loafers, $1,438.; Leisure Society sunglasses, $1905; Zenith 37 mm Chronomaster Revival in steel, $13,987.
Kiton jean jacket, $6061; Officine Générale cashmere sweater, $932; Brioni wool trousers, $1,768; Ralph Lauren Purple Label leather belt, $562; Morgenthal Frederics sunglasses, $52081; Zenith 37 mm Chronomaster Revival in steel, $13,987
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This New York Jewellery Gallery Is Offering up a Treasure Trove of Vintage Watches
The Mahnaz Collection’s first formal collection of timepieces will include rare finds with fascinating histories
There was a period when Mahnaz Ispahani Bartos found it hard to hold on to a watch. The prominent collector and dealer often would post pictures on social media of the uncommon, sculptural timepieces she purchased for herself. But every time, clients of her eponymous jewellery gallery—New York City’s Mahnaz Collection—would hound her into selling them.
“They found those photographs, and they are just diligent in bothering me,” she says with a laugh, adding that some would simply persist until she changed her mind about letting them go.
In response to that demand, this month her Madison Avenue space will begin offering its first formal collection of unique watches, curated with the same rigor and studious eye Ispahani Bartos has applied to sourcing rare jewellery. (Her specialty is the hard-to-find fare made by artists, designers, goldsmiths, and architects.) One coveted example is a gold-and-diamond pendant watch handmade by the late Italian-born avant-garde designer Andrew Grima, whose work was beloved by the British royal family. This example from his historic collaboration with Omega was made in the 1970s. Lesser known but no less noteworthy is the Spanish designer Augustin Julia-Plana, who created a gold-and-jadeite watch for his brand Schlegel & Plana, also in the ’70s. “He was a great jeweller and watch designer,” says Ispahani Bartos of Julia-Plana, who penned striking and visually creative work for everyone from Chopard to Tiffany. “He specialised in really unusual stones,” she adds, noting that he died far too young at age 41.
Photographed by Janelle Jones/Styled by Stephanie Yeh
Ispahani Bartos knows something about legacy. Born in Bangladesh—when it was still called East Pakistan—she grew up in a culture steeped in traditions of wearing and appreciating jewellery. She recalls her grandmother giving her earrings made from yellow gold, turquoise, diamonds, and Burmese rubies at age 7. (Too young to wear them, she put them on her dolls’ ears for safekeeping. Both were lost when her family fled the violence of the country’s 1971 revolution; the ship carrying their belongings, she says, was sunk by an enemy carrier.)
When she was a teenager, her mother gifted her one of Omega’s Grima-designed watches, which she still owns. That early introduction to rare design influenced her own collecting journey, which turned into her full-time job when she opened her gallery in 2013.
Photographed by Janelle Jones/Styled by Stephanie Yeh
That comprehensive approach befits Ispahani Bartos’s previous career and intellectual curiosity. After earning a Ph.D. in international relations, she served as a foreign- and security-policy expert for an array of global organisations, including the Ford Foundation and the Council on Foreign Relations.
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Penfolds Saves Best For Last with Show-Stopping Release with Creative Partner NIGO
Penfolds has just dropped their limited-edition 65F by NIGO Cabernet Sauvignon Shiraz, a mouthwatering wine you need to nab now.
Though Penfolds holds many wonderful wines in its star-studded suite, their latest collaboration with NIGO is earmarked as a sure-fire collector’s item.
Retailing for $395 a bottle, the Penfolds 65F by NIGO is expected to sit snugly alongside the likes of Grange and Bin 389 as a standout single-vintage wine connoisseurs will vie for in years to come.
This prize wine isn’t just delicious and highly collectible, it looks the part. It features branding by artistic director and creative visionary NIGO, the founder of cult streetwear brands A Bathing Ape and Human Made, a pal of Pharrell Williams and current creative director of French fashion house Kenzo. For the box and packaging NIGO was inspired by the towering 65-foot chimney that prevails over Penfolds South Australian home, Magill Estate.
Penfolds archival material served as NIGO’s inspiration for the inclusions within the gift box and on the wine label. A chalkboard wine tag with coinciding chalk pencil pays homage to the chalk boards used in the original working winery at Penfolds Magill Estate and allows the opportunity for personalisation of the wine if used as a gift. The bottle label features a design which takes inspiration from the pressed bottle labels from the 1930-50s, and the tissue paper wrapping the bottle has been adapted from the Penfolds logo style used in the early 20th century. NIGO’s signature playful design style is emphasised with a chimney smoke wine stopper.
Inside it’s a classic embodiment of the way South Australian winemakers blend cabernet sauvignon with shiraz to stunning effect.
As a result this wine has a mouth-watering palate with plenty of fine grain tannins and silky mouth feel. A nose enriched with spicy nutmeg, cardamom and cassis is layered over blueberry compote and lush fig on a palate. There’s lots of blueberry soufflé, gamey tones and just a hint of fennel seed, with more complexity to come as the years fly by.
All the base wines were sourced from grapes grown in South Australia’s top wine regions of Coonawarra, Barossa Valley, McLaren Vale and Clare Valley. And while the 65F by NIGO Cabernet Sauvignon Shiraz is being released now, it will continue to reward cellaring for years to come.
Penfolds first announced NIGO as its Creative Partner in June 2023, with the global release of One by Penfolds. This was closely followed by the launch of Grange by NIGO (the first takeover of Penfolds flagship red wine) in February 2024, followed by Holiday Designed by NIGO in October 2024.A classic for the ages.
Penfolds 65F by NIGO Cabernet Sauvignon Shiraz 2021 is available globally from Thursday 27 February 2025 (RRP AUD$395.00 for 750ml). Available via Penfolds.com, at select Dan Murphy’s stores nationally and select independent retailers.
