The arrival of Aston Martin’s new Valhalla Spider is not exactly a stunning revelation – an open-topped variant of the marque’s first production mid-engined supercar was always on the cards. A strictly limited-edition production run like the Valhalla Coupe, the Spider adds a layer of visceral intensity for the driver whilst also making them much more visible to the world at large, which may of course be an integral part of the ownership experience.

Importantly for stats trackers, Valhalla Spider loses none of the headline figures that accompanied the Coupe; you can hit the 217mph maximum speed (that’s 350km/h) with the roof on or off. The powertrain is also as before, 1,079PS generated by a combination of the 4.0-litre twin-turbo V8 and three electric motors (the Coupe was Aston's first hybrid). The Spider does get a little bit more aero trickery and some re-balanced ESP to improve the downforce and driving balance, but otherwise it’s business as usual.

The Spider’s weather protection is multi-faceted. The standard fitting is a black fabric roof that can be easily and swiftly removed and stowed on board; the process is equally easy to reverse once the inevitable raincloud appears. This option, however, is a little bit like a toupée in that it can’t quite be relied upon when the performance ante is upped; top speed is limited to 124mph (200km/h).

That would normally be enough for most of us, but if you don’t want to feel held back while also not being exposed to the elements, then you’ll have to splash out for the optional carbon fibre hard-top, which allows you to unlock the Valhalla Spider's full performance potential.

The addition of a clip-on wind deflector is also deemed essential, most especially in the way that it channels air around the rear ‘snorkel’ air intake (which in turn is taller on the Spider variant). All this top swapping feels like an elaborate compromise but it's hardly something that’ll trouble the lives of potential Spider owners.

The Coupe’s full suite of active aerodynamics is also present and correct, constantly adjusting the balance of airflow for maximum grip and handling balance. Other enhancements include the addition of the carbon fibre Touring Seat as standard, offering marginally more comfort that the original seat set-up (these can be swapped out for the carbon fibre seats at no cost should you desire).

The Valhalla Spider is not for shrinking violets, with the Q by Aston Martin service ready and waiting to be deployed to rustle up bespoke colour and trim for practically every available surface; the two-tone silver and gold elements shown here are a case in point. No-one buys a supercar for privacy reasons, so you can safely assume that those who buy a drop-top supercar are making a play for attention.

Flip up the Valhalla’s carbon fibre dihedral doors – unchanged from the Coupe – fire up the V8 and there’s little to no chance of ever effecting a subtle getaway. This is a performance machine that gives a performance all of the time, with the combined skills of Aston Martin’s design and engineering team coming together to ensure that form, function and thrills are not compromised in any way.

‘Valhalla Spider… preserves the aesthetic beauty and dynamic bandwidth of Valhalla Coupe while introducing the expanded opportunities for enjoyment and engagement that can only be found in an open-cockpit supercar,’ says Aston’s CEO Adrian Hallmark, ‘High speed or low speed. Rain or shine. Roof on or roof off. Road or track. Valhalla Spider ticks every box.’ Prospective owners eager for the attention will have to wait until Q3 2027 for first deliveries.

Aston Martin Valhalla Spider, price tbc (but likely to be more than the £850,000 Valhalla Coupe), AstonMartin.com, @AstonMartin

This is a very handsome car indeed. From every angle, the ‘new’ Polestar 5 (we’ll tackle those quote marks in a minute) offers up exactly what one would expect from a flagship performance product, long, low, lithe and finely proportioned.

So why the ‘new’? Seasoned Polestar gazers will have been aware of the 5 for quite some time. The car itself has been in the works since the end of the last decade, previewed by the Precept Concept way back in 2020. Described by then CEO Thomas Ingenlath as embracing ‘a new interpretation of Scandinavian minimalism’, it was still a distant endpoint on a long wishlist.

A more production-polished preview of the 5 emerged in 2022 before the trail went cold for a couple of years and Polestar focused on its core offering – the 2, 3 and 4. The production-ready Polestar 5 didn’t arrive until the 2025 Munich Motor Show and now here we are, at the tail end of 2026, finally driving the finished car. Yet far from being out to seed and deserving of its pension before it was even launched, the Polestar 5 somehow manages to still look right on the money.

There are two things going on here. The first is the power of successful proportions – in particular, how much ‘easier’ it is to render a form that is low, lithe and suggestive of style, performance and elegance when you have a bit of space to play with. Polestar 5 is a big car, over 5m long and over 2m wide, giving the team’s designers (at that point led by Maximilian Missoni, before he transferred out to work at BMW and Alpina) room to lower the height and stretch out the roofline.

To the casual observer, the 5 looks a little bit like a Polestar 4 that’s been put on the rack, losing the earlier car’s upright stance and introducing more grace. And more pace. The blend of package and performance simply would haven’t been possible without a bespoke platform, and in this respect the Polestar 5 represents a vote of confidence in the brand’s longevity from its parent company Geely.

Both P4 and P5 share the absence of rear fenestration, a controversial deletion that is now also seen in the Jaguar Type 01. In packaging terms, it makes sense because it allows rear seat passengers to have more headroom and the boot to be more spacious. In technological terms, it shouldn’t matter because of the existence of high-definition rear-view cameras and screens to replace the view.

In psychological terms, however, there’s still a hit to take. It’s not that the cabin is darker – the swooping panoramic glass roof that stretches for over two metres right down to behind the rear passengers' necks lets in more light than you could conceivably need. What’s missing is a sense of all-round perception, particularly for passengers.

Perhaps it’s an evolutionary hangover, but no amount of sensors and screens can make up for the very human desire to simply turn around to see what’s behind you. And if you’re in any way longsighted, the digital rear-view mirror joins the rest of the digital cockpit as a hit-or-miss collection of frustratingly blurry details.

That’s the only real criticism to level at the Polestar 5, unless you’re absolutely allergic to touchscreen controls. If so, you will in no way be endeared to the huge 14.5-inch centre display panel controlling everything from the door mirrors to the glove box. This is the Polestar way, it must be said, and although animation speed and responsiveness are top-notch, so is the arrogance with which the company has stayed wedded to its anti-analogue approach.

Things are slightly mitigated by the addition of contextual steering wheel buttons, and more day-to-day familiarity will presumably start to build up the muscle memory. Yet as first impressions go, it’s not great.

Selecting drive and moving off gives the P5 a chance at redemption. Happily for the Polestar team, we can report that they’ve succeeded. In the anachronistically picturesque surroundings of Northumberland’s Alnwick Castle, we found a medieval landscape threaded with extremely good modern roads. Here the big four-door excelled as a performance car, with a superbly balanced ride and creamy acceleration.

The ‘standard’ twin engine model doesn't have the active MagnaRide damper system offered on the Performance variant. Joakim Rydholm, Polestar’s ebullient senior chassis development engineer, was on hand to extol the virtues of this system and its ability to swiftly cycle through driving modes – as well as cloak the Polestar 5’s hefty 2,500kg curb weight.

The Performance trim upsides – more power, swifter acceleration and that excellent suspension – are mitigated by dramatically less range (346 miles versus 421 miles). It’s worth repeating that the headline figures of a particular EV are rarely confined to the same model; the car with more power, bigger wheels and a sportier stance is very rarely the car with the longest range. Polestar 5 proves this point yet again.

In fact, the bits that are best about this car are shared between models, so it becomes even harder to recommend the Performance version. The interior is 4+1, rather than a full five-seater, although the rears can have massage function and there’s lots of leg room.

The front seats are from Recaro and the cabin materiality is excellently considered at every level, from the flax and resin-based materials Polestar has developed as a recyclable alternative to carbon fibre, to the use of technical-style colours and textures. Audio comes via a 21-speaker system from partner Bowers & Wilkins, which includes a dash-spanning soundbar, while traditionalists can opt for Bridge of Weir leather.

Another thing we admire is Polestar’s insistence on a very granular breakdown of the cradle-to-grave emissions of all its models, a lifecycle assessment that feels like it really should be something other manufacturers adopt (which would in turn make it a more useful set of metrics). By way of illustration, the team demonstrate that the cradle-to-gate (i.e. rolling out of the factory) figures of Polestar 2 were 26.1 tonnes of CO2. For the Polestar 5 – a larger, faster and more efficient car – the figure is 23.8 tonnes, so something is clearly working.

All in all, it adds up to an aesthetic that hovers between retro futurism and forward-thinking futurology. How well the current Polestar style will date is anyone’s guess, but our hunch is that in a decade or so they’ll experience a cliff-like drop in desirability, before swinging around to swiftly achieve classic status.

If you’re in the market for a svelte, swift and zero emission saloon car, there’s now more choice than ever, although it’s still hardly the most dynamic sector – saloons are still very much on the wane. That’s not to say that the choice is lacklustre. The Polestar 5 goes head-to-head with the Porsche Taycan and its sibling, the Audi e-tron GT. There’s also the slightly pricier Jaguar Type 01 to consider and – for a wildcard – the Lexus ES.

The latter eschews the outright speed and style of the others in favour of practicality (and a much more attractive sticker price) but probably doesn’t have the brand lustre to make it a true competitor. There’s also Bentley’s forthcoming Torcal to consider, although now we’re well and truly in the realm of crossovers.

It’s the Taycan that should be considered the 5’s natural rival. The e-tron GT, although wonderful, suffers even more than Porsche when it comes to depreciation and doesn’t have anything like the brand recognition of the Weissach-designed electric missile. Yet with just four models in play and annual sales (last year) of 60,000 units, Polestar is certainly on a lower rung than Porsche, let alone Audi (1,623,000 units across at least 14 models, all of which have numerous variations).

Despite the interface missteps and the unconventional window situation, Polestar has still managed to command significant brand loyalty in a very short space of time. New models, including the SUV variant of the Polestar 4 and 2027’s next generation Polestar 2 will give it even more of a boost, especially the compact Polestar 7, with its close mechanical relationship to the popular Volvo EX30.

Finally, there’s also the Polestar 6, a mooted but still not yet confirmed coupé/roadster variant. If it happens, the 6 promises to push the company even further into luxury territory, building on the desirability that oozes out of the Polestar 5.

Polestar 5, Dual Motor from £89,500, Performance from £104,900, Polestar.com, @Polestarcars

Perhaps a little bit overlooked in the media frenzy surrounding the revival of the Citroën 2CV (and then further crushed by the inevitable attention given to dubious aerial stunts), the all-new Smart #2 is a city car that revives the spirit of the original. Smart has returned to its roots, putting the rebooted brand back into the heart of the environment it was originally created for.

As is increasingly the case for car makers, Smart spans the worlds of Europe and China. The partnership make the most of brand equity and manufacturing nous, with the design elements handled by Mercedes-Benz and the engineering overseen by China’s Geely Group. This arrangement, set up in 2019, kicked off with the Smart #1 in 2022, followed by the Smart #3 and Smart #5, with each model getting successively larger and, well, less ‘smart-like’.

The company hopes to put that straight with the return of the #2, announced last year and swiftly followed by the Smart Concept #02, which in turn has led to the final reveal of the production model at the 2026 Paris Motor Show.

Although it’s not quite as white and chunky as the concept, the Smart #2 should shoot straight to the top of the fast-growing micro-city-car segment. From the days of the original Swatch-inspired two-seater, Smart’s smallest model has always tried to cram a big-car sensibility into a tiny package.

Smart #2 is no different. Even though it’s not the first electrified two-seater from the brand (back in 2007 there was an EV that eventually evolved into the niche Smart EQ Fortwo EV), the new car joins a market awash with competitors, and not just in the ultra-compact and legislatively incomparable quadricycle category led by the Citroën Ami. In Paris, there were a number of new microcars on display, none of which quite managed to steal the spotlight away from Smart.

The main reason the #2 trumps its rivals is that it successfully continues the ethos of not compromising conventional car characteristics like safety, space and performance, whilst still offering a truly tiny 2.74m footprint. Sitting on the company’s Electric Compact Architecture (ECA) platform, the new car retains the original’s silhouette and four-square stance, with an interior configured to maximise space.

An S-shaped cockpit ensures passengers don’t get short-changed in the space department, with a bench-style front seat and split rear tailgate for added practicality. With a car this scale, the details are all important, with everything from the turning circle (just 6.9m) to the range (290km/180 miles on the WLTP scale) going into the pot to make this machine as practical as it is lovable.

The original Smart quickly became a cult car in congested European city centres and Smart wants to retain a piece of that action. To that end, it’s launching the #2 with a special Couture Edition (999 units in Europe and 999 units in China) inspired by the concept car. Featuring Atelier White Matte paint and a Platinum Gold roof, it’ll be shipped with the most upscale interior equipment package, including heated seats and a glass roof, along with a specially developed seven-speaker Sennheiser Sound System.

In the endless quest for the ultimate personal mobility machine, smart thinking is definitely back.

Smart #2, price tbc, more information at UK.Smart.com, @Smart_Worldwide

Monaco is home to the world’s most excessive and influential yacht show. It isn’t the largest by visitor numbers or boats on display, but the yachts that moor in Port Hercule tend to be the finest in their class. Over 35 years it has become the place where builders, brokers and buyers come to see what the market has to offer next, which also makes it the best place to read where the industry is heading. Younger owners, longer stays and a new appetite for quiet. These are the yachts that set the trends for 2026.

Longer stays: the superyacht as home from home

Yachts are becoming somewhere to live rather than to visit. ‘The average number of days per year has increased to around 120,’ says Tommaso Vincenzi, Sanlorenzo’s chief executive, on board Sanlorenzo’s new flagship, Silver Fox. Just a few years ago it was half.’ Starlink lets owners run a business from the water, with larger offices being installed. ‘You cannot buy time,’ says Massimo Perotti, Sanlorenzo’s Executive Chairman. ‘So how you spend the time is very important.’

Silver Fox by Sanlorenzo

The first 74Steel is the largest yacht Sanlorenzo has built, with Zuccon International Project designing the exterior and structure, and Francesco Paszkowski and Margherita Casprini owning the interior design. The owner’s deck has a full-beam suite, a private terrace and its own large office. On the lower deck, more than 200 sqm of beach club and spa open to the water, alongside a children’s room complete with a Lego wall.

SanlorenzoYacht.co.uk, SanlorenzoYacht.com, @SanlorenzoYacht

Pangea by Amels

The first Amels 80 was delivered in October 2025, with an exterior by Espen Øino and interiors by Sinot. She was built for long-range cruising, with an owner’s deck that runs to 517 sq m. At the top, the yacht builder claims the 200 sqm sun deck as the largest in her class, complete with an oversized Jacuzzi pool.

Lower down, a 6.5m pool has a glass floor that lights the beach club beneath, where gym, hammam and sauna open to the sea on three sides. Sleeping up to fourteen guests sleep in seven suites, there’s also a helicopter landing area on the foredeck for speedy entrances and exits.

AmelsYachting.com, @AmelsYachting

Wellness on the water: the floating retreat

The onboard gym used to be squeezed in wherever the space was available. Owners now ‘design vessels around how they would like to stay, to recover, healthy at sea,’ says Sanlorenzo’s Vincenzi, pushing gyms and spas from secondary amenities to the centre of their onboard experience.

Nixie by Lürssen

Delivered by Lürssen in June and designed inside and out by RWD, Nixie is owned by billionaire Revolut co-founder and CEO Nik Storonsky. Focused on wellness and recovery, Nixie has a six-metre glass pool sitting proud of the deck, with an adjustable water level. Beneath it sits a 270 sqm beach club, which holds a gym, a cryochamber and fold-down sea terraces.

The sun deck is dedicated to the spa, which features a sauna, steam room, massage room and beauty salon, while the helideck doubles as a sports court. Edmiston offers her for charter at €2.4 million a week, making her the fourth most expensive charter yacht in the world.

Lurssen.com, @LuerssenYachts

Sea Raider X by ISA Yachts

Despite its sharp, sporty lines and name, Italian yard ISA’s new flagship, Sea Raider X is built for comfort as much as it is for speed. The main deck is built around a 6.5m panoramic pool, while the beach club has a hammam, a gym and a bar, and connects directly to the garage. Vallicelli Design drew the exterior and Enrico Gobbi of Team for Design the interior, which sleeps 14 guests in seven cabins.

ISAYachts.com, @ISAYachts

Quiet and calm: silent running at rest

Quiet was a word used regularly at the Monaco show. Taken literally, it pointed to the increasing use of batteries and electric drives that let a yacht sit at anchor without the hum of generators. ‘No noise at all, no vibration,’ is how Vincenzi sums up diesel-electric.

The other is a matter of taste. Sanlorenzo’s chief marketing & communications officer Renato Bisignani describes the continuing trend of ‘stealth wealth,’ ‘a more quiet, non-ostentatious way of living’, among buyers who would rather own something discreet than something that shouts as it enters into harbour.

Raijin by Nautor Swan

The second Swan 128 sailing yacht to be launched and named for the Japanese god of thunder. Nautor’s Dual Energy system, developed with Danfoss, generates power under sail and stores it in a 189 kWh battery bank, which is enough for up to eight hours of fully silent running at anchor.

Germán Frers drew the hull and Lucio Micheletti the streamlined deckhouse. Inside, Misa Poggi, Antonie Bertherat and Heini Gustafsson pair bring Japanese and Scandinavian influences, with oak, white ash and rattan.

NautorSwan.com, @NautorSwan_official

SHE by Sanlorenzo

SHE might be the smallest yacht on this list but the statement is significant. SHE is the first in Sanlorenzo’s Heritage line, which brings the golden age of 1960s yacht styling back, only it’s underpinned with modern engineering. Zuccon International Project penned the retro-inspired exterior, while Piero Lissoni took the lead on the interiors.

Underneath lies the Volvo Penta’s IPS hybrid drive, a hull laminated with bio-based resins and an electric carbon-fibre tender. Inside are a full-beam owner’s cabin and a saloon glazed floor to ceiling. Sanlorenzo calls the approach ‘Tomorrow’s Timeless.’

The first five units within the Heritage Line were sold before SHE was unveiled, including one to former Ferrari executive Luca di Montezemolo.

SanlorenzoYacht.co.uk, SanlorenzoYacht.com, @SanlorenzoYacht

Yachts with jobs: work as well as play

Two of the biggest yachts moored up in Port Hercule proved that superyachts can also serve a purpose beyond pleasure. As well as supporting scientific expeditions, the biggest yachts serve as mobile executive suites, a perfect spot for a roving board meeting.

Leviathan by Oceanco

Billionaire gaming baron Gabe Newell’s new Oceanco-built yacht Leviathan was delivered in 2025, with naval architecture shared with Lateral and interiors by Mark Berryman Design. Newell also bought Oceanco that same year, so almost 3,000 people who helped shape her have had their names engraved on a glass panel on the main staircase.

But it’s the working spaces that set Leviathan apart. The dive centre, laboratory, hospital and a 3D printing workshop will be put to work in supporting marine research and diving programmes of Inkfish, an ocean exploration organisation.

OceancoYacht.com, @OceancoYacht

Draak by Oceanco

The second yacht in Newell’s portfolio in Monaco, Draak began life in 2014 as Equanimity, before a spell as Tranquility. Oceanco rebuilt her as Leviathan’s companion vessel, with a tender deck, a dive centre with a decompression chamber and a crew mess with a chef’s lab.

A 12.6-tonne crane and heavy-duty davits sit on deck, and 18km of new cabling runs through her. Many of her previous creature comforts were stripped to make her more functional.

OceancoYacht.com, @OceancoYacht

Where there’s parity between the sprawling American auto market and that of Europe, it tends to be traffic that flows from east to west, at least ideologically. America, when not in the death throes of a myopic, insular administration, has long valued the quality, idiosyncrasies and status of the European import. So much so, in fact, that many key players have long manufactured cars in the US (Mercedes in Alabama, Volvo and BMW in South Carolina, VW Group in Tennessee).

When it comes to cars flowing in the opposite direction, you’ll certainly find a few US-built models arriving on European soil (the majority of Mercedes’ and BMW’s SUV range, for example). There’s the odd anomaly; the Polestar 3 is built in the States but Polestar as a brand is banned from American sale due to its Chinese connections, a deep-level distinction shaped by the car’s software stacks, which somehow differ from the Chinese-owned Volvo EX90 built alongside it).

Yet for the most part, American-owned, designed and manufactured cars make their way to Europe in negligible numbers. In the almost exact inverse of the US perception of Euro makes, when an American car leaves its natural habitat, it somehow takes on a rather gauche, oversized and unduly prominent personality.

With this in mind, one approaches the Corvette with trepidation. Built at Chevrolet’s Bowling Green Assembly Plant in Bowling Green, Kentucky, USA, this is the eighth generation of a model that has come to define American sporting ambitions.

Originally introduced in 2020, the C8 Corvette has been given an overhaul for the 2026 model year and – crucially – is now available in right-hand drive, something very rarely acknowledged or accommodated by niche American models.

At its debut, the C8 marked a major shift in the traditional Corvette package. As the first-ever mid-engined model (aside from a scattering of concept cars across the decades), the C8 instantly flipped its performance metrics and target market, aiming squarely at existing challengers from the likes of Maserati, McLaren, Lamborghini and even Ferrari.

For the most part, these established exotics sit in an even higher price bracket, but is the combination of a refreshed driving experience and the undeniable charisma of the Corvette name enough to elevate the American offering?

The C8 comes in three flavours, the purist Stingray (a name harking back to the 1959 concept that inspired the generation 2 model), the hardcore Z06 and this, the E-Ray, which blends a hybrid powertrain and all-wheel drive to make it the best all-round blend of performance and practicality.

The bulk of the power comes from that most American of engines, the Small Block V8. At 6.2-litres it’s one of the largest displacement motors on the market; it puts out 482hp, with an additional 162hp contributed by the electric motor.

That makes for a hefty total and some competitive stats; the ability to reach 62mph in just 2.9 seconds, paired with short electric-only hops when you don’t want to be accompanied by the spluttering din (or majesty, depending on your predilection) of the V8. To be fair, the Corvette turned heads at every opportunity, young and old. It feels like a generation or two since schoolboys have bothered paying any attention to modern cars, but the Roswell Green Corvette obviously struck a chord.

The name of the body colour hints at a certain playfulness in the Chevrolet camp, an acknowledgement that this car isn’t all about po-faced posing or strutting its stuff. For sure, it’s hardly subtle but it leans into its ridiculousness. It’s a car that makes people smile, not sneer, and on the polarised streets of London, where every automotive and non-automotive choice is inherently political, that can only be a good thing.

So far, so good. What also surprised us was just how easy and entertaining the Corvette was to drive. Since we last experienced the Corvette E-Ray, the interior has been given a thorough overhaul, jettisoning some rather wayward and performative ergonomics in favour of a three-screen drive set up that now includes an additional configurable display.

Sure, switchgear is still scattered liberally across the various surfaces and the screens themselves suffer slightly from shoehorning rectangular displays into curved and slanted forms. There’s a subtle flash of carbon fibre, but mostly it’s all black leather and a microfibre suede that feels a little bit like Alcantara.

Low speed ride is perfectly pleasant, even on the UK’s rutted roads, and the suspension can be firmed up for smoother, swifter progress. The V8 can easily be made to sound uncouth, but power delivery can be supplied steadily and relentlessly without invoking unnecessary drama or attention.

Keen drivers can dial in performance-centric data recording apps through the screens, although the E-Ray isn’t nearly as track-focused as the Z06 (it does, however, share the faster car’s wide track, over 9cm broader than the Stingray). Options include extensive personalisation, as well as removable electrochromic roof panel on the coupe in place of the regular removable roof. There’s also a true convertible with a full power roof.

If anything, the car’s Achilles Heel is its styling. Visually, the C8 Corvette has to manage the tricky act of transferring 70 years of front-engined heritage to a mid-engine layout, a switch that hasn’t been handled with aplomb.

There’s too much going on, especially in side view, where the cooling vents carve great chunks out of the flanks, creating an incredibly complex door profile while adding only complexity, not drama. The front end takes the faceted forms and angular lights of the C7 Corvette (2014 to 2019) but gives the impression of a higher, less droopy nose, always one of the Corvette’s signature looks.

At the rear, the sheer width of the car and deep rear splitter makes is more appropriately dramatic. The C8 will give way to the C9 before the end of the decade and in the meantime, the Corvette name has been giving GM’s designers a workout as they evolve the next generation language. A trio of Corvette concepts, including one created at GM Advanced Design in Leamington Spa point to a few ideas.

The UK-designed concept was joined by the US-penned Corvette CX and CX.R Concepts; all three suggest the car will evolve still further towards the supercar it was always meant to be. We also got a quick glimpse of the C9 coming to life in clay on a tour of GM’s Design Center last year, which suggested the next car will be rather more voluptuous and elegant.

Right now, however, the Corvette is raucous, loud and fun. Could you use it every day? It’s not an impossible suggestion – there’s a modest frunk under the angular nose and a wide rear luggage compartment behind the V8 (it’s not recommended that you put perishable or frozen groceries here, due to the proximity of the engine).

The removable roof panel can also be stowed here at the expense of some luggage space. The all-wheel-drive system comes via electrical assistance to the front axle, which makes the car feel more planted in British drizzle.

This will always be a very niche machine, brought to right-hand-drive markets in tiny numbers for those who want to drive something different. Corvette carries with it a heritage and – in the modern era – a genuine sporting competence that makes this a leftfield choice without compromise. It’s not quite out of this world, but the Corvette E-Ray looks and acts the part when set against its rivals.

Corvette E-Ray, from £158,720, ChevroletEurope.com, @CorvetteEurope

Porsche has revealed the concept version of its new supercar, the Mission S. Unveiled last night (15 October 2026) in New York, the Vision Model precedes a limited-edition model that’ll sit above the 911 as the pinnacle of the Porsche range. It's overseen by the company’s new head of style, Tobias Sühlmann, formerly at McLaren, Aston Martin, Bentley and Bugatti, who took over from outgoing boss Michael Mauer earlier this year, following Mauer’s influential 21-year stint in the role.

The location – a pier in Queens – was chosen as it was the same spot that the 1953 Porsche 550 Spyder made its American debut, the first step on the way to establishing Porsche as a global sportscar powerhouse. Like the 550, the Mission S will be mid-engined. Yes, engined. Despite the company being at the forefront of sporting electrification, wayward geo-politics and timid consumers have dulled the drive towards zero emission performance. Back in 2023, Porsche showed the electric Mission X; that was subsequently put on the back burner as the market cooled.

There’ll presumably be no lack of demand for a production version of the Mission S. It follows in the footsteps of the 959 (1986), Carrera GT and (2003) and 918 Spyder (2013) as a halo product destined for hardcore (moneyed) enthusiasts who have half an eye on an investment as well as a technical showcase. Porsche has indicated that the production car – due hopefully before the end of the decade – won’t be quite as rarefied and scarce as its predecessors, a way of permanently pushing the Porsche brand into the half million euro sector.

Unmistakeably Porsche, yet also evolutionary in its treatment of the famous silhouette and frontal graphics, Sühlmann has delivered a purist vision for the brand. ‘The Mission S is the result of a forward-looking, holistic design strategy,’ the designer says, ‘This vision model illustrates a fundamental strategic direction that we will soon be translating into our future product portfolio.’

Inside and out, there’s a commitment to reducing unnecessary visual clutter and accretions. No main display, for example, just a mounting dock for your smartphone alongside the classic five dial Porsche dashboard. At the rear, the aerodynamic bodywork elements appear to flow around an internal volume, a similar approach to the ‘car-in-car concept’ Porsche used in its own GT1 (and which Singer Vehicle Design adopted for the DLS Turbo or perhaps even the rear treatment of the Ferrari Luce).

There are plenty of visual quotes to Porsche’s past for keen-eyed fans. According to the company, ‘the shut lines that merge into the light graphics pay homage to the G model… the flat front takes its cue from the GT1, while the dynamic-looking roofline beneath the rear wing is reminiscent of the 959’, while the wheels update the 928’s familiar ‘dial’ design. Somehow, however, the Mission S manages to be all its own thing, finished in Firn White Metallic, Light Red Metallic and Black Chrome, all modern updates of classic Porsche racing colours.

There’s no word on powertrain or stats just yet, just an emphasis on driver engagement and engineering excellence. Compare and contrast with the final reveal of Tesla’s Roadster, nine years after the concept was first shown. With Porsche arguably taking a more conservative path, bolstered by decades of experience, the Tesla Roadster debuted with a striking demonstration of its optional cold-gas thrusters, developed by SpaceX, and a promised 0-60mph time of less than a second.

Outside the tiny world of the 0.1 per cent equipped with the means and motivation to buy and run such machines, supercars and hypercars exist as entertainment for the masses. The Mission S and Roadster highlight a yawning gulf between class and chaos.

Porsche.com, @Porsche

Peugeot chose Scotland as the venue for the UK launch of the new E-208 GTi, a suitably epic landscape for a little EV with big boots to fill. Billed as the spiritual successor to the original 1984 Peugeot 205 GTi – a pristine version of which (not a Tollman Engineering version) was laid on to admire alongside the waters of Loch Lomond – the new model arrives at a time of invigorated interest in small, sporting electric cars.

Can the new arrival recapture that magic, and more importantly, does that magic mean anything to a generation of car buyers who barely know the original? We drove the E-208 GTi just a few weeks ahead of the Paris Motor Show 2026, when Peugeot, along with its Stellantis stablemates, showed off another sporting EV concept, the RCZ Vision. It also had an even lairier version of the GTi on its stand, the E-T16. Whilst the latter could prove to be a pocket-sized electric supercar, the regular model offers a blend of practicality and zesty fun.

The E-208 is already an accomplished small EV at just 4.1m long. The all-important ‘GTi’ badge is accompanied by a host of visual and technical updates that Peugeot hopes will earn it its place amongst the greats. The headline figures are encouraging – an impressive 5.5-second sprint to 62mph makes it the swiftest car in its segment. The electric drive system puts out the equivalent of 281hp, and the GTi is lowered, widened and given a limited-slip differential for proper B-road handling ability.

However, the company has tried hard to shoehorn anything and everything into its brand narrative. 'The Peugeot GTi takes its place at the head of a clan', apparently, 'a lineage of passion passed down from driver to driver to driver.' A little later, we're told about the link between Peugeot and Charles Rennie Mackintosh, their shared approach to heritage (capturing the essence of Scottish culture without being retro or revival, as per the 208's quiet homage to the past).

It's a tenuous connection, but apparently Peugeot is also good at stripping away unnecessary embellishments, focusing on proportions and creating chairs/cars that stand the test of time, along with the subtle use of contemporary technology. 'We are inspired by nature, not by plants but by the lion and the felinity of the lion. Its weight, its stance, a bundle of energy ready to pounce,' Peugeot continues, rather over-egging the lion metaphor as usual.

After a hefty Mackintosh injection, which included a trip to the Carmody-Groarke swathed Hill House in Helensburgh, there wasn't all that much time to actually drive the car. What little time we had behind the compact, slender steering wheel, showed a small car with real character that goes beyond the deep red carpets, bi-coloured seats, 1980s-inspired typography and occasional racing stripe.

The 208 starts out as an excellent package – just as the first 205 was to its GTi equivalent. Aside from Peugeot’s love/hate inspiring i-Cockpit layout, with its low-set wheel and high-set dashboard (which is very height dependant), the interior features an acceptable blend of digital and analogue controls, snug front sports seats (and even snugger rear seats).

Steering is quick and direct, and the swift acceleration certainly encourages you to push on when behind the wheel, the same psychology that infused the original generation of hot hatches (and gave them such ruinous insurance rates as a result). The downside, in this electric era, is that spirited driving is still incompatible with long range travel; Peugeot quotes a maximum urban range of 310 miles, but motorway speeds and B-road blasts could easily halve that.

If you can accept these foibles, the E-208 GTi could certainly get its claws into you. All in all, a flawed gem.

Peugeot E-208 GTi, from £34,245, Peugeot.co.uk, @PeugeotUK

Forty years after setting out to redefine precision and performance in the automotive industry, Acura enters its next chapter with the Nexera Vision. Unveiled at The Quail during the recent Monterey Car Week 2026, the Japanese marque’s latest concept car signals a bold new direction, centred on emotion, dynamism and the thrill of driving.

‘Our 40th anniversary is an opportunity to refresh our design language, while keeping the core message of the brand consistent,’ says Acura creative director and vice president of auto design, Yasutake Tsuchida. Boasting a muscular silhouette, wide stance and dual-hinge butterfly doors, the concept car is a clever expression of Acura’s performance heritage. Finished in Matte Titanium, the sculpted bodywork is paired with 22-inch centre-lock wheels made from recycled aluminium and carbon-ceramic Brembo brakes.

‘With the Nexera Vision we are exploring what timeless beauty could look like in the future,’ notes Tsuchida. The relationship between form and performance extends to the aerodynamic detailing. A deployable rear spoiler manages airflow over the decklid to support efficiency, high-speed stability and braking performance, while forged carbon fibre features across the aero-channel fascia, rocker panels, diffuser and door structure.

‘Sportiness, dynamism and performance remain our direction. We are evolving the surface treatment to express those qualities in a more emotional way,’ says Tsuchida. Alongside the performance-led features, the lighting offers a distinctive expression of the brand’s evolving identity. Ultra-thin lamps concealed within the bodywork create what Acura calls ‘phantom lighting’, revealing a new interpretation of its A-mark when illuminated

‘We want people to recognise Acura through both its lighting signature and the beauty of its surfaces,’ notes Tsuchida. This signature will carry through to future production models, beginning with the forthcoming RDX Hybrid, connecting the concept’s visual identity to Acura’s next generation of vehicles.

Inside, the Nexera Vision’s cabin feels refined and uncluttered. ‘Almost everybody has a giant screen in the centre of the cabin. Our question was: why don’t we focus more on driving?’ The front seats are integrated into the floor, placing occupants low in the car and creating a closer connection with it. Rather than adjusting the seat, the driver moves the steering wheel and pedals to suit their position, creating a cockpit tailored around them. ‘Acura is a performance brand, so the interior should put driving at the centre of the experience’, states Tsuchida.

The material palette builds on this approach, combining tactile richness with a restrained visual language. Flashes of pink punctuate the monochrome cabin, set against forged carbon and gloss-black surfaces, while recycled aluminium and CircuLeather introduce a focus on material innovation.

Made from hides sourced as by-products of the food industry, CircuLeather retains the character and supple feel of natural leather while offering a more circular lifecycle. A proprietary process allows it to be repurposed at the end of its life as a fertiliser ingredient that supports plant growth.

These materials bring comfort and resource-conscious thinking into a cabin shaped around performance. ‘We developed the exterior and interior in parallel, pursuing simplicity across both so that they share a common design language,’ Tsuchida says.

The Nexera Vision brings together sculpted proportions, advanced technology and innovative materials to express Acura’s renewed focus on the driving experience. As the Japanese brand enters its next chapter, the concept car previews a design language that will shape its future vehicles, balancing simplicity and emotional appeal with its longstanding commitment to performance.

Acura.com, @Acura

The 91st Mondial de l'Auto de Paris is currently underway at the city’s Porte de Versailles exhibition centre in the south of the city. After the seismic shock of the pandemic, which put paid to the annual motor show circus, the industry cut back on the razzmatazz and ushered in few fallow years on the show circuit as everyone regained their strength (read our reviews of the 2022 and 2024 events). Now showmanship is back and, for the 2026 event (12-18 October), Paris is a stage for a new generation of stars that want to take back the glory days of European industry domination.

In this analogy, the Chinese auto industry is waiting patiently in the wings to seize on any missed cues. It’s a strategy that has served the country’s massed ranks of new brands well as they hoover up the strategic gaps in Euro offerings with every conceivable size of crossover and SUV, all competitively priced and excessively optioned so as make them extremely good value for money.

What China does not have – yet – is heritage. The following were among those new and newish Chinese brands present at Paris 2026; Aito, Avatr, BYD, Changan, Chery, Omoda, Jaecoo, Deepal, Denza, Forthing, Foton, GAC, Geely, Leapmotor, Li Auto, Maxus, Nevo, Xpeng and Zeekr. Into that tangled word salad of brands, allegiances, sub-brands, partnerships and launches you can now add a few more ingredients, including 212 and Linktour, making themselves known for the very first time.

You might be familiar with some of the above – you might even drive one (the Jaecoo 7 is currently the UK’s best-selling car), but even hardened auto journalists are finding it tricky to keep track of the number of new models, many of which cluster around the popular C-segment with not much in the way of design differentiation and memorable naming conventions (although admittedly the Geely Monjaro made its debut at the show – yes, it genuinely does appear to be named after a GLP-1). There was also the Leapmotor B03, the Omoda 4, Geely E2 and upmarket Project KO11.

For the European makers, the threat posed by these imports has created conglomerates that seek strength and economic efficiency through unity. The VW Group (Volkswagen, Škoda, Seat, Cupra, Audi, Bentley, Lamborghini, Ducati and Porsche), Groupe Renault (Renault, Alpine and Dacia) and Stellantis (Abarth, Alfa Romeo, Chrysler, Citroën, Dodge, DS Automobiles, Fiat, Jeep, Lancia, Maserati, Opel, Peugeot, RAM, and Vauxhall) all share platforms and components across their respective brands. To set them apart, what’s needed is more brand differentiation.

Hence the big news stories at this year’s show. Stellantis’ simultaneous unveiling of six new concept cars is designed to put clearer water between each brand, drawing on their respective heritages, cultural memories and inherent strengths. Peugeot, DS Automobiles, Opel, Fiat, Citroën and Alfa Romeo all had their time in the spotlight, with the latter three offering up genuine stars in the shape of the Multiplay, 2CV Concept and Cuerorosso Concept.

Aside from its A2, Audi didn’t offer much in the way of new product, whilst VW debuted the ID Tiguan, a competent but slightly charmless electric SUV. Ultra compacts were also in evidence, ranging from France’s quirky Aixam to new offerings from China, including the tiny Pix Moving, presented alongside its autonomous Robobus counterpart, and the tiny electric Linktour Alumi and retro-styled EZI EM-06; the latter both came with charming if impractical chunky off-road-inspired details like roof racks. Most significant of all was the Smart #2, the revitalised brand’s long-awaited return to a ultra-compact two-seater, this time fully electric.

Another Chinese model making its debut was Beijing Automobile Works’ 212, which offered up a selection of distinctly Land Rover-flavoured off-roaders (with a hint of Toyota stirred into the pot) like the T01 Changfeng. We especially liked the company’s two-storey camping tent; it joined the diminutive Kilow Camping and a pop-top version of the Forthing V9 to create a mini-trend of compact camper vehicles. Also notable was the French debut of Californian manufacturer Lucid, hoping to make a splash in Europe with its luxury EVs.

Read on to discover our highlights of the 2026 show.

Citroën

A surprise showing on the first day of the event, the Citroën 2CV Fourgonnette is the commercial companion to the extremely well-received 2CV Concept. Back in the day, the original 2CV wasn’t just a family car, it was the vehicle of choice for French business big and small. From La Poste to the local boulangerie, the box-backed 2CV van was everywhere.

Citroën is hoping that the new generation 2CV Fourgonnette will do similar business. Bringing the admirable simplicity of the passenger car concept to a small van, the focus here is on maximising load space and practicality, whilst not losing sight of the character that will give this tiny van its competitive edge – a serve as a lovable mobile advert for whichever businesses chose to adopt it.

Citroën.co.uk, @CitroënFrance

Peugeot

An almost inevitable riposte to the R5 Turbo 3E, Peugeot also revealed the E-T16 Concept alongside the RCZ Vision. This muscular addition to the E-208 range is to the electric hatchback what the original T16 was to the Peugeot 205, a radically remastered race and rally machine that bears only a passing resemblance to its sibling.

The clamshell bodywork – where the entire rear-end of the car lifts up – is all present and correct (although obviously less relevant to an EV), while power comes from three electric motors delivering over 800hp. Production is not yet confirmed, but it would be strictly limited edition and very expensive should the E-T16 make it to showrooms.

Peugeot.fr, @Peugeot

Alpine

Whilst the forthcoming Alpine A110 was present only as an abstracted blue sculpture (the production car will be revealed at the end of 2027), Alpine offered up one of the true show stars in the shape of the Alpine A310 Concept. Another exercise in retro design, this two-seater sports car is a contemporary update of the 1971 original.

The modern version doesn’t stray too far from the proportions and details of the striking four-seater 1970s version, one of the most futuristic production cars of the era (and which still looked good when it ceased production, upgraded and enhanced, in 1984). If it goes into production, the new A310 will be an electric supercar that uses the same Alpine Performance Platform (APP) as the next-gen A110 but would only be built in very limited numbers.

Alpine-Cars.co.uk, @AlpineCars

Renault

While Renault subsidiary Dacia showed off its new low-cost Twingo-based Dacia Spring, the parent company is still basking in the success of the R4, R5 and now the new Renault Twingo, all-electric upgrades that have kept the spirit of the originals without compromising modern requirements for size, safety, speed and sophistication. To keep this streak of heritage-driven success alive, Renault chose Paris to reveal the new E-Space concept.

This is the company’s fresh take on the MPV, the category is effectively created back in 1984 with the original mono-box designed Espace. Before SUVs squashed the family car market into high-riding homogeneity, the MPV was the machine of choice for large households. By the time the model had reached its fifth generation a decade ago, the Espace had lost much of its character and individuality, becoming little more than another high-riding crossover.

The E-Space could herald a new beginning. With a very silhouette and packaging proposition to the 1984 car, with a sharp nose and long roofline, the concept is clearly going for maximum interior space. Coach doors – always favoured by concept designers as a better way of showcasing an interior – reveal a red-trimmed cabin with sliding seats. A new Espace might not have the immediate kudos of a compact city car like the Twingo, but with Chinese and South Korean rivals lining up to compete, it could still be a runner.

Also on the stand was the Renault 8 Gordini, a conceptualised reimagining of the cultish Renault 8 R1134 Gordini from 1964. Taking the boxy form of the original R8 plus, with racing blue and striped bodywork, it’s unlikely to go into any form of production, especially with the ongoing focus on Alpine.

Dacia.co.uk, @Dacia_UK, Renault.fr, @Renault_France

Audi

Revealed last month, the A2 E-tron has its global public debut in Paris. Despite its impressive range and the usual Audi attention to detail, the new A2 feels slightly overshadowed by the bolder heritage-infused steps being taken by its rivals. The first A2 (1999 to 2005) still has a strong cult following; has the modern iteration missed a trick by not taking more direct inspiration?

Audi.co.uk, @Audi

Fiat

Alongside the excellent Multiplay Concept, Fiat also showed off its mid-sized Grizzy and Grizzly Fastback, two SUVs that up the brand’s scale without too much dilution of its character. For lovers of super-small cars, the Fiat Multiplina also featured on its stand, a colourful reimagining of the modern Italian piazza.

Fiat.com, @Fiat

Hyundai

Hyundai gave the world its first look at the new Bayon and Tucson, B- and C-segment SUVs respectively. The latter is a long-running model (dating back to 2004) that regularly tops sales charts around the world and both have been shaped and engineered specifically for European markets. Available with petrol, hybrid and plug-in-hybrid powertrains, they promise solid dependability and practicality without over-reliance on character.

Hyundai.com, @Hyundai

Avatr

Chinese brand Avatr announced its arrival in the European market next year, starting with Norway and Spain. The company presented the 2025 Vision Xpectra Concept alongside the world premiere of the Concept T09, although it will be the 06T sports sedan and 07L SUV that will lead the charge in 2027.

Avatr.com, @Avatr_design

Stellantis used the 2026 Mondial de l’Auto in Paris to set out its stall for the near future. Promising a veritably galactic spread of concept cars, plus a vast stand at the show itself, where a grand total of 60 cars across its eight-brand portfolio were on display.

Ahead of the opening day, Stellantis assembled six ultra-significant concepts for a special showing at Hangar Y in Meudon, to the south of the city centre, where a former airship hangar has been converted to a vast event space on a forested site. ‘The Night Before’ promised a close-up view of the building blocks of Stellantis’ Fast Lane 2030 strategy, complete with buoyant CEOs bigging up their respective charges in a familial and welcoming environment.

The music ebbed and throbbed in Zimmer-y approximations, graphics spun across the screen and Stellantis milked the galactic associations for all they were worth. With a runway flanked by tiers of seating, the night was clearly meant to ape the style and presentation of a fashion show, taking care to put clear blue water between each brand with a shift in music, graphics and presentation modes.

This, Stellantis reckons, is its path to success: brand differentiation. With such a big portfolio, there are savings to be made by using shared platforms. That’s all the more reason to dig into the history of each brand, identify what it’s best at and strive to make that the focus going forwards. Think of Stellantis’ future portfolio as a big box of Quality Street, as opposed to a packet of M&Ms.

Of the six concepts showcased at Hangar Y, some were more successful than others, but that speaks volumes as to the prominence and cultural memory of particular brand histories, and how each individual name has managed to steward, shape and evolve these values over the decades. Here’s our guide to the unveiling and the event.

Citroën 2CV Concept

Top of the tree and the best-received concept on the night was the long-awaited revival of the legendary Citroën 2CV. Stung by rival Renault’s assault on the sales charts with its cheekily retro R4 and R5, as well as mindful of stablemate Fiat’s own masterful control of its heritage, it’s surprising that it’s taken Citroën so long. Like the R4 and R5, the 2CV will be electric only. The concept is – we’re promised – apparently very close to the production reality.

There’s a wealth of genuinely entertaining detailing here, all of which hasn’t just been carried out in homage to the original, but as a way of finding new methods to keep costs down. Citroën aims to get the production 2CV (here by 2028, hopefully) to come in at the magic €15,000 mark. Whether global geopolitics will allow such a thing to happen is another matter, but you can’t argue with their thinking.

This pricing is largely down to the new E-Car platform, Stellantis’ dedicated electric city-car underpinnings. With so many of its brands occupying various strata of this important European sector, it makes sense to find a new, ultra-efficient way of catering to it. Alongside the price, the tech is also designed so that cars can be made within Europe itself.

The original 2CV had its origins before the Second World War, a car for everyone that was equally at home on the rutted tracks of rural France as it was on cobbled Parisian streets. The concept takes this stripped-back ethos and runs with it, from the rollback canvas roof to the bent metal sofa stylings of the seats. The door handles, the vents, the removable radio, the creased bonnet, the bumpers, the quirky gear shift – it’s all here. Nostalgists will have a field day, and it's still a delightful sight for the rest of us.

Citroën.fr, @Citroen

Fiat Multiplay Concept

Next up in the desirability stakes is the Fiat Multiplay. Representing a pleasant and perverse stroll down memory lane, the Multiplay takes the three-row six-seater 1956 original Multipla and splices it with the three-abreast quirkiness of the 1999 revival. All of this is intertwined with the DNA of a pick-up truck.

Relatively hefty in scale (4.5m long) and extremely capacious inside, the Multiplay offers three of endlessly reconfigurable seating and a clever rear end that slides forward to open up the boot to the elements so it can take large items like bikes and camping gear.

Slide it back and the interior space achieves its full volume. Flexible interiors elements include the ‘Petsenger seat’ and the ‘Sunseat’ lounger, while the bright pastel packaging and simple interior forms evoke the best contemporary Italian domestic design.

The Multiplay came on stage soundtracked by the spirited and deliberate gibberish of Adriano Celentano’s 1972 hit ‘Prisencolinensinainciusol’; we can only hope the future of Fiat’s Utility Vehicle makes more sense.

Fiat.com, @Fiat

Alfa Romeo Cuorerosso

Fury and spirit are the emotions conjured up by the angry-looking Alfa Romeo Cuorerosso concept, a four-door saloon that previews the next generation electric Giulia. In the sliced and diced demographic pie that makes up the Stellantis audience, Alfa owners are meant to be the most emotional (and perhaps irrational?), letting their heart rule their head. Alfa calls the design approach that's laser targeted at these folks the ‘Bellezza Necessaria’ philosophy.

From some angles, the Alfa Romeo is almost cartoonish in its approach, all red and black masculinity with a throaty voiceover. The deep Rosso red bodywork, massive pepperpot style wheels, illuminated front grille and spoiler that appears to scoop all before it are all amped up elements from Alfas past. As are the insectoid front headlamps, circular rear units and the muscular bonnet and rear haunches come together to complete the picture.

Describing it as a ‘car for people in love with driving’, the Cuorerosso has aesthetic antecedents from recent memory, notably the 4C sportscar and the 2008 Alfa Romeo 8c Competizione. In its exaggerated posture and stance, we think it’s a bit more Brad Bird than Brad Pitt.

AlfaRomeo.com, @AlfaRomeoOfficial

DS Automobiles DS Fever

Along with Maserati (a no-show tonight together with Jeep, Lancia and Abarth), DS Automobiles is probably batting on the stickiest wicket in the Stellantis camp. Ostensibly a luxury brand, DS builds great and elegant cars that sit in a great airless no-man’s-land betwixt premium and volume offerings.

To help balance the books, DS needs to sell more cars and the best sector in which to do that is the upscale supermini. Hence the DS Fever concept, styled F3VER in a not-so-subtle nod to the fact that it previews the next generation DS3. This is an important car for the brand, the model that started it all and helped persuade others that small cars could be premium objects of desire.

Setting itself a tall target of ‘reinventing the compact car’, DS Fever offers a weighty, well-balanced stance and a neat rear three-quarter view. All those semi-translucent panels and intersecting colours give customers ample opportunity for customisation (which helps the bottom line).

While the infinity-style rear lights work well, our first glimpse of the front end was a bit like seeing a deepwater fish loom out of the gloom. ‘It doesn’t try to look like anything else,’ said the company spokesman, candidly.

DSAutomobiles.com, @DS_Automobiles

Peugeot RCZ Vision

The RCZ Vision was joined be the T16 Concept on the Peugeot stand, but at The Night Before it stood alone, a representation of the newest iteration of Peugeot’s ever-evolving design language. Taking the form of a revival of the quirky RCZ from 2009, the concept does a decent fist of making the bubble-topped original more elegant and fluent. The first car was meant to be an Audi TT rival but never quite got off the ground.

The Peugeot design revival has certainly given its hatchbacks, SUVs and estates a good going-over, but the company still hasn’t made a truly beautiful two-door since the Pininfarina-penned 406 Coupé from 1997. Could the RCZ be the one to fix this omission? Or is it simply representation of the ‘soul of our brand’, with a little bit too much emphasis on its alleged leonine qualities.

The double-bubble glass cabin is mirrored in the transparent glass information screen hung from the dash, while Peugeot’s idiosyncratic quartic steering wheel – the ‘hypersquare’ – is all present and correct. A brightly illuminated Peugeot badge finishes off the front end – an almost universally adopted device across this future preview of the Stellantis range.

Peugeot.com, @Peugeot

Opel STX Concept

Perversely, all things Opel are known as Vauxhalls in the UK, even if every other aspect of the car changes. For a long time, Vauxhall was one of the biggest UK manufacturers and it’s fair to say that a vox pop of older car buyers would describe the brand as British. Opel, on the other hand, is very German. So German, in fact, that it announced the new STX Concept with a flurry of campy Berlin techno and doubled down on the Germanic engineering obsession that the concept represents.

So could this boxy four-door shooting brake pass off as a Brit when the badges are switched? Possibly not. The STX Concept offers up an idea of the future direction of the non-SUV elements of its range. Cars like the Astra Sports Tourer do venerable service in a culture that largely overlooks the utility of a small but practical estate car. The STX – Sports Tourer Experimental – wants to change that staid image and give it a bit of a kick.

From the abrupt verticality of the Kamm-style tail to the ultra-faceted frontal treatment, the ‘Vizor’, with its new vertical light elements, the STX Concept could set Opel (and Vauxhall) on a very different course, one that’s more emotive rather than staid and practical.

Opel.fr, @Opel

Lake Tahoe is a long way to go just to experience an additional 15mm of suspension travel. But that’s the situation we find ourselves in as we ponder the role of the new Mini Countryman Untamed Edition, a bolstered and buffed-up version of the carmaker’s largest model that’s aimed at adventurers with more than just a casual relationship with the outdoors.

Our first glance of the Untamed is not especially wilderness adjacent. Perched on the edge of a lakeside golf course, the Mini Countryman Untamed Edition makes its debut graced with an Autohome roof top tent, the most visible manifestation of the effort that has gone into making this the peak Countryman variant.

This is an immaculate resort, a place where entropy is fought with tooth and nail and migrant labour, countless open gas fires heat up the bright blue Nevada skies and the architecture is all monumental masonry and chunky timber. As a result, there aren’t many parallels to be drawn with the Untamed Edition’s materiality, which majors on hardwearing, durable surfaces with a tactile textured feel. It’s all part of the auto industry’s renewed interest in the role of CMF (Colour, Material, and Finish), and how twists and tweaks in interior presentation can radically alter our perception of a product.

Interestingly, Mini’s team – led by Head of MINI Design Holger Hampf – aren’t keen on stressing recyclability, simply pointing out that these things should be taken for granted these days. Instead, there are other inspirational origins, including Sir Paul Smith’s Mini Strip concept, a bare-bones edition of the Mini Cooper that ultimately manifested itself as the production Mini Paul Smith Edition.

Both cars pointed the way towards a more earthy, hard-wearing and tactile interior treatment, one that the new Countryman variant has taken to new levels. Hampf also reminds us of other earlier off-road Mini concepts, the “Red Mudder” Mini Cooper S by fashion label DSQUARED² from 2011 and the 2009 Mini Beachcomber Concept. Then there’s the impressive racing history of the original Mini, which won the Monte Carlo Rally in 1964, 1965 and 1967.

It all adds up to a spirited playfulness, a value BMW has worked hard to integrate into public perception of Mini since it took stewardship of the brand at the turn of the century. ‘Mini is one of those brands with a 60-year history – it’s a huge responsibility as a designer,’ Hampf admits, ‘you have to get it right.’

BMW’s work with Mini is a masterclass in branding, updating the image of a much-loved design and engineering masterpiece (but a very poor piece of business) into a contemporary icon. Out of this warm soup of happy social and cultural memories, BMW’s crack team of brand stewards shaped a model infused with just enough spirit of the 60s original to carry it aloft into the cynical 21st century.

In addition to the lifted suspension and adjustments to steering and traction control, the new scar also gets more rugged Pirelli Scorpion All Terrain Plus tyres, exclusive 19” wheel designs, two new paint colours and a host of other enhancements inspired by travel, adventure and the hard-wearing, technical sheen of gorpcore materials and detailing.

Rubber floor mats, elastic straps on the centre console and woven bicolour dashboard material all make the interior more robust, while the exterior gets protective black film, a new grille and the Mini’s first matte exterior finish, Frozen Nomad Blue.

There’s even a tie-in with Helinox, makers of lightweight, foldable outdoor furniture, to really rub in the adventuring ethos. The Untamed Edition will be made available across all markets and models, so you can choose an EV, hybrid or ICE version should you so desire.

The SUV has always represented embedded potential, an aspiration to get away from the urban grind and hit the trails. For the most part, many compact SUVs and crossovers are all mouth and no trousers, their off-road origins subsumed into mere styling. But as another publication recently pointed out, today's Mini Countryman is larger and heavier than the original Range Rover 'Classic', a car which arguably still has the edge when it comes to off-roading.

The Untamed Edition goes some way to redressing this anomaly. Yet like Arc'teryx jackets in Brooklyn, only a small percentage of wearers will actually head out for a weekend hike.

In Nevada, the Untamed Edition certainly went on to earn its spurs. Thanks to the increased ride height and new tyres, the Countryman proved adept at tackling one of the state’s vast network of 1,500 off-road trails. Even the grizzled old hand who led us up the hill, gliding across crevasses in his heavily modified Jeep Wrangler, grudgingly admitted to being impressed that these off-the-shelf SUVs made it up his mountain, through deep ruts and massive boulders (and thanks in no small part to the skill and enthusiasm of my co-driver).

Coming down is markedly easier, and with the sunlight streaming through the trees and the dust clouds kicked up by the tyres, the attractions of this outdoor lifestyle become evident.

The US – Mini’s third largest market after the UK and Germany – is the ideal home for the Countryman Untamed, a place where true wilderness still exists beyond the suburb and the strip mall. Its authenticity might ultimately be a clever concoction, but if you want capability without the overbearing presence of a big SUV, the Mini Countryman Untamed Edition can definitely take the rough with the smooth.

Mini Countryman Untamed Edition, more information at Mini.co.uk, @MiniUK

Pray tell what is this, you ask. A Saturn V on a skateboard, that’s what. It’s called the Nichols N1A. It’s a handsomely raw British-built giant killer that looks like it’s been cooked up in a shed in the 1960s. Behind the cockpit sits a stentorian 7.0 naturally-aspirated pushrod Chevy V8. This produces 705bhp, while the whole car weighs just 900kg thanks to a bonded extruded aluminium and carbon-fibre chassis. 783bhp per tonne; that’s more than Ferrari’s latest hybrid hypercar, the F80. The N1A is a humble sports car that’s downed a gourd of Asterix’s magic potion. Its top speed of 240mph will leave the digital Fezza in the dust.

This is power-to-weight and performance we associate with old-school Formula One, which its inventor knows a lot about. He shouldn’t need an introduction, but he does. If you’re a petrolhead you’ll have heard of Colin Chapman, Gordon Murray, Rory Byrne and Adrian Newey – the Mount Rushmore of F1 designers. Steve Nichols should have a giant carving of his head somewhere at Silverstone, too. The 79-year-old American sketched the most dominant F1 car of all time, the McLaren MP4/4 which won 15 out of 16 races during the 1988 season (and would have won them all had Ayrton Senna not clouted a backmarker while leading at Monza).

Alongside colleague John Barnard, he was a pioneer of carbon-fibre monocoques. After this first chapter at McLaren, Nichols followed Alain Prost to Ferrari, before returning to McLaren as engineering director on the MP4/13 and MP4/14 that took Mika Hakkinen to double world title glory. Having retired from grand prix racing a quarter of a century ago, Steve’s turned his attention to the cars that first excited him as a young engineer and race fan: Can-Am.

The Canadian-American Challenge Cup was a radical sports car racing series held in North America from the mid-1960s to the mid-1980s. These open-cockpit, closed-wheel machines had a wide, flat silhouette, with a tiny windscreen and a long tail. The pushrod V8s were bestial. The fat tyres and vast exhausts added to the aesthetic of industrialised testosterone. They looked more like land-speed weapons or prototypes than finished racing cars. Just looking at them makes me want to grow a moustache and take up smoking.

The most lauded Can-Am cars were built by McLaren. The Nichols N1A takes direct inspiration from the McLaren M1A, the first sports car designed and developed by Bruce McLaren’s team in 1963. The M1A and its derivatives all had a similar power-to-weight as that of the featherlight and fire-breathing N1A. However, these Can-Am cars were built strictly for the track. The N1A is fully road-legal with a number plate and a thumbs up from the DVLA.

‘When I was looking for a project to keep me amused in my old age, the idea of taking a fresh look at the very first McLaren, the M1A, had great appeal,’ says Nichols. McLaren Automotive says it’s fully focused on the future not the past, which has allowed Nichols Cars to create a heritage product without stepping on any toes. Additional inspiration comes from what was arguably the most famous papaya-coloured McLaren before Lando Norris won the 2025 F1 title, the Chevrolet-powered M6A. Bruce McLaren drove this to victory in the 1967 Can-Am championship.

John Minett is Nichols Cars’ co-founder and CEO, and a veteran PR and commercial leader in the automotive and motorsport industries, including at Lamborghini and Super Aguri F1. ‘A lot of what ended up in Formula One [in the late 1960s and 1970s] started life in Can-Am,’ explains the 71-year-old Brit. ‘But as well as that, we wanted to get back to that era where things were designed to look beautiful. People didn’t really appreciate that it didn’t just go clean through the air, its flowing shape helped to push it down onto the track. I’d seen a car called the Ferrari P4/5, a one-off Pininfarina project based on an Enzo [commissioned in 2006 by the film director and financier James Glickenhaus]. It was a thoroughly modern car, but it was a nod to the 1967 Ferrari 330 P4. I thought it was a really successful update of 1960s styling themes. I’d always liked the McLaren M1A visually, and I thought that could lend itself to something similar. You can show it to someone who knows the era, someone of a certain age, and they’ll see a Can-Am car, but you can also show it to someone in their twenties and they’ll see a modern supercar. I’ve been asked on several occasions “is it a Pagani?” I couldn’t be happier with those two different reactions.’

‘Initially we intended it as a prototype,’ says Steve, ‘but time and registered interest has meant pursuing it with the aim to turn it into a beautifully finished vehicle worthy of my design philosophy.’ Nichols says a maximum of 150 cars will be built, though I expect the total number will be lower.

Starting at £500,000 (plus taxes) and being too impractical for the school and Sainsbury’s run, it’ll have an intrinsically exclusive clientele. I expect them to be older committed petrolheads, some hailing from Europe but mostly from the States. They’ll have at least another ten cars in the garage, including a McLaren no doubt. The N1A is what they’ll take out for visits to megabucks private members’ tracks such as Thermal in California, Concours Club in Miami and Ascari in Rhonda, Spain. The convenience of the N1A is you can drive it to the track, no trailer necessary.

So far three cars have been built: a dark blue prototype which has been destroyed, the light blue prototype seen here, which Wallpaper* has test driven, and a red car with white stripes that represents the first customer car. But there are more orders in the book. The tight-knit Nichols team of ten is almost exclusively comprised of ex-F1 people, mostly from McLaren. Among their number is Senna’s mechanic from his Lotus days, Mark Hannawin.

The studio is in Hampshire, but production itself is outsourced to Ray Mallock’s RML Group in Wellingborough, Northamptonshire, which has built road and racing cars for Aston Martin, Nissan, Chevrolet, Bentley, McLaren Automotive and Saleen. And there’s been additional input from others in Nichols Cars’ extensive black book, like Dick Langford who worked on the Cosworth DFV when that ruled F1, turning his attention to the N1A’s LS7-based ‘smallblock’, Bob Mustard who was responsible for some of Lotus’s best chassis, and Ben Wood who was chief aerodynamicist for the Mercedes F1 team. This whole project is like The Expendables for pensionable engineers living in the UK’s motorsport valley. It’s an incredible talent pool.

The first 15 customer cars that Nichols is releasing will be labelled ‘Icon 88’ editions, complete with a plaque celebrating one of each of the MP4/4’s 1988 wins. Wallpaper*’s car, the prototype, gets the unofficial 16th plaque commemorating McLaren’s double DNF at that year’s Italian grand Prix. Unlucky for Alain and Ayrton, not so unlucky for me.

Size-wise, it’s similar to a Lotus Elise, but inside it’s even more spartan. Sitting in the N1A is an extreme feeling before you’ve even pressed the starter button. Your view of the road is incredibly low, just above the tips of your feet. The moulded Perspex windscreen is in the business of diverting air more than actually shielding you. The tiny seats are raked so far back that factor 50 is definitely necessary for the forehead. Having a passenger is a squeeze. This is a car you really want to drive alone so you can get your elbows out.

The aluminium open-gate six-speed transmission, adopted from the Audi R8 V10, is located door side, so on the right on this right-hand-drive car. It’s just like a Senna-era single-seater. The car’s wide pontoons and scalloped doors mean changing gear is actually very ergonomic, and the lozenge-like knob itself is inspired by something one of the Nichols lads found in a toolbox. ‘Oh look, it’s the gear knob Senna won the 1989 Monaco Grand Prix with. Might as well use it.’

One should ease oneself into a car like this, in terms of pedal action. Get a feel for the grunt and the carbon-ceramic brakes and the way it steers. In standard mode, power is restricted to 450bhp. Once you’re comfortable, press the button marked ‘11’. Presumably Steve and John are Spinal Tap fans. This unleashes all 705bhp and you’ll never want to go back to the standard mode again.

Although the experience of driving this car is as raw as freshly slaughtered bavette, it’s actually pretty easy to lean on. It’s planted and it doesn’t snap. It rewards the driver by boosting one’s confidence. No need to feel intimidated so long as you respect it. It’ll growl, but it won’t bite. Once you start to push the car, it becomes addictive. I drove it across the Pyrenees into Andorra. Then I got up very early and ragged it up a mountain at sunrise before the traffic came crawling out. It’s one of the most satisfying experiences I’ve ever had on the road. Mash the throttle, get the revs above 4,000rpm and it comes alive like nothing with a licence plate should.

The soundtrack is Michigan-made drum and bass played by trumpets and throttle bodies. When the rhythm section kicks in, it sounds like God gargling Listerine. It makes a clacking roar; like dominoes the size of Stonehenge’s stones falling, hundreds of them, or the cacophony the Royal Marines band might make inside CERN’s large hadron collider: A brassy amplified apocalypse. There are no official acceleration figures, but 60mph arrives in about three seconds and it just goes on and on to the point I could no longer see because my glasses were vibrating too much on the bridge of my nose.

Most modern sports cars are like riding in a fast elevator. You whoosh up half a dozen floors a second without feeling like you’ve moved. The N1A is like abseiling back down again, and the building is on fire and filled with Iranian terrorists. It could be dangerous, but it’s very, very exciting. Double wishbone suspension on each corner with four-way adjustable Quantum dampers soaks up the undulating road. The car’s fluidity is a testament to its top-class engineering. The steering is heavy, but the whole experience is so composed that you could quite happily pound away at the N1A all day without ever tiring.

Never before has analogue motoring been more appealing, given that blue-chip manufacturers are hell bent on selling us cars designed to mollycoddle, restrict and anaesthetise. The N1A is all about emotion and freedom. It’s wild, in the same way wild salmon is far superior to farmed. It provides a serotonin rush that should probably require a prescription. To some, half a million quid is a better workaround. The engineering Expendables have created a wonder drug. If you could drive this car every weekend, you’d be a happier person.

Nichols-Cars.com, @NicholsCarLtd

Hyundai’s Ionic 3 electric car is a keenly priced compact hatchback that’s strong on design and engineering. Its ‘aero hatch’ shape boasts the lowest drag coefficient in its class, helping it achieve up to 308 miles on a single charge. It looks, particularly at the rear, like a chamfered and lowered Range Rover Evoque. The marketing people at JLR would have us believe that the Evoque was partly designed by Victoria Beckham. The Ioniq 3 is sharper and more streetwise; like VB swapped the Spice Girls for Bikini Kill.

At the front, its slim horizontal lights emphasise the car’s wide stance and are the current Hyundai signature. A more clandestine clue as to the car’s identity can be found in the four illuminated pixels on its nose. Dot, dot, dot, dot – that’s morse code for the letter H, signifying this might not be a car at all but a submarine in search of an opioid fix.

Hyundai labels its design language the ‘Art of Steel’. It’s inspired by the raw tension and purity found in steel production, reducing surfaces to very deliberate volumes that create visual impact. Each shape mirrors how metal naturally bends. Three different ‘sheets’ intersect to create characterful feature lines, while a single continuous surface extends from the C-pillar to reinforce a message of strength and precision.

The wheels are designed to aid this slippery 0.263cd object in slicing through the air like a samurai sword though mayonnaise. But despite the aero obsession, it’s plenty spacious inside. Thanks to the cab-forward design and flat floor, there’s legroom for three adults in the back, although the tapering roof line means they’ll need to leave their Homburgs at home. The cabin has lots of cubby holes and shelves, making it more accommodating than most studio flats, and the light colour palette results in an airy environment with a Nintendo vibe.

Thanks to Hyundai’s new Pleos operating system, connectivity is hyper-fast and the UX system is intuitive. At up to 14.6 inches, it boasts the biggest screen in its B-segment class, but Hyundai has thoughtfully positioned buttons and switches so you’re not fully reliant on having to stab at the touchscreen as you’re driving, which is a common criticism of many manufacturers – especially Chinese brands and Chinese-owned Swedish ones. The Ioniq 3’s buttons are tactile, and one suspects every surface and switch has been thoroughly thought out. It’s all distinctly premium, much more so than, say, an MG, Chery, Citroën or Peugeot.

The squashed, thick-rimmed steering wheel feels nice to hold and looks like it may have been liberated from Daft Punk’s gymnasium. It has good rake and reach, and the cloth seats are supportive and slightly 1970s Italian in style (Alcantara is also available on some models) and are heated and ventilated if you go for the spec above the base model. It’s so spacious you’d swear it was actually a C-segment car, and this is reinforced by the 411-litre boot, which includes an underfloor ‘megabox’ that’ll fit 119 litres or charging cables, muddy boots and unsightly gubbins. Rearward visibility is excellent thanks to a split rear window reminiscent of that of the old Honda Insight.

Not that you really need to see where you’re going. The car’s SmartSense driver assistance system means the driver doesn’t require any cognitive functions at all to avoid an accident (personally those ruddy bongs and alerts make me want to write the car off just to put us out of our shared misery). It even has Memory Reverse Assist, so if you find yourself in a sticky situation you can’t get out of – I’m talking a dead-end around a tight curve, rather than an armed mugger or a letter from HMRC – you press a button via the touchscreen and backwards you go, autonomously, avoiding any scrapes.

The Ioniq 3 is built in Izmit, Turkey, but it was actually designed and developed in Germany and is the first Hyundai EV to have been developed principally for the European market. Built on the K3 platform that Hyundai shares with Kia, it has a 400-volt electrical architecture and uses a single electric motor on the front axle. There are two battery options, 42kWh and 61kWh. The 61kWh battery unsurprisingly enjoys longer range, a best-in-class WLTP figure of 308 miles, whereas the 42kWh car will only get you 213 miles, but that’s still not bad in comparison with its price-point competitors.

What is surprising is that the smaller battery produces more horsepower – 145bhp compared with the 61kWh unit’s 133bhp. The smaller battery allows you to hit 62mph from standstill in 8.8 seconds, while the slightly heavier and less powerful version takes 9.5 second. Or 9.6 seconds if you choose the range-topping N Line Evo version. This is supposed to be the sporty one, but the aggressive-looking diffuser, integrated spoiler and 19in wheels, which will impress young people in supermarket car parks, end up adding an extra 0.1s of drag. Both batteries yield a top speed that’s slightly over the tonne and can charge from ten to 80 per cent in half an hour.

In addition to pleasing design, state-of-the-art technology and high-quality construction, the Ioniq 3’s trump card is price. The entry-level Advance spec car with the 42kWh battery should be £22,245, but because it meets the requirements for the UK government’s Band 1 Electric Car Grant it’s actually yours for £18,495 on the road. This is also true of the long-range 61kWh car. £3,750 off across the board, meaning the top-of-the-range, kinda sexy but also pretty pointless N Line car is just £28,195.

By ponying up almost ten grand extra you will be going slower, but you’ll have more cred among teenagers in tracksuits. The Premium trim option, which is the one most UK buyers will opt for (extra kit over the entry-level car includes bigger wheels, a heat pump, forward instrument cluster, auto wipers and a wireless charger), clocks in at £23,695 post-grant. The cheapest long-range option is £21,495.

The Ioniq 3 would be the obvious choice were it not for the achingly enticing and retro-futurist Renault 5, but that’s three grand more and it won’t take you as far between charges, nor is it nearly as spacious or refined. And if you want to beat boy racers away from the traffic lights you’ll need the Abarth 600e Scorpionissima, which is nearly as fun to drive as it is to say, but at £38,375 it’s double the price of the Ioniq 3 Advance.

The Ioniq 3 is the thinking person’s choice: democratic luxury for those on a budget who value technology and design, who recognise that in the blue-chip family EV market, it’s the Koreans who are killing it right now. The Chinese aren’t having it all their own way.

Hyundai Ioniq 3, from £18,495 (with grant), Hyundai.com

So here it is, the Jaguar Type 01, the car that begins Jaguar's new electric era. Many years in the making - and that's just the PR campaign, the Type 01 needs to take the storied brand into uncharted waters, more upmarket and luxurious than any model that's gone before it, but also defiantly and irreversibly electric.

Through a staggered series of unveils and reveals that found themselves on an unwitting collision course with the wretched culture wars, the Type 01 arrives in a slightly different - and hopefully more mature - than that which greeted the original Concept 00.

Electrification is still an outlier in this sector, but hardly an effected eccentricity. The whingeing contingent that was never going to get with the programme haven't gone away, of course, but they are a little quieter. Even the Ferrari Luce, which stole more than its fair share of negative thunder when revealed back in May, is starting to grow on people, and the addition of the Bentley Torcal to the high-end EV club has helped even more.

Type 01 is a fastback, four-door, four-seat electric saloon. Scale is very much central to its character. At 5,235mm long, Type 01 is knocking on the door of cars like the Bentley Flying Spur, Rolls-Royce Ghost and even the Cadillac Celestiq, but none can match the Type 01’s dramatically low 1,403mm height, something that’s more akin to a sports coupe (the Luce is over 14cm taller).

The underlying electric powertrain and battery (new 850-volt architecture with 118kWh of usable battery) isn’t to put to use to re-shape the interior accommodation (as per Jaguar’s only other dedicated EV, the long discontinued I-Pace) but instead sacrificed on the altar of proportion and drama.

It’s an EV with a very long bonnet and extended rear overhang, forms that help the aero but which also draw a clear line back to the proportions and lines of past Jaguars. Like the Polestars 4 and 5, Type 01 does away with the rear window, replacing it with a camera and screen.

The inclusion of massive 23” wheels as standard (same as the Luce, although it also has truck-like 24” wheels at the rear) helps shrink the Type 01’s silhouette but there’s no escaping the fundamental conclusion; big is better and biggest is best, at least where luxury conveyances are concerned.

Detail design is exquisite, from the new Jaguar monogram to the use of aluminium and brass-effect finishes, Woolblend DuoWeave textiles from Kvadrat, and lightweight NeoGrain material from Ultrafabrics.

From a design point of view there is a lot to admire here, especially the commitment to a minimalist aesthetic that at times tips over into brutalism; the crisp folds of the rear three-quarters as it meets the shoulder line, the near-vertical treatment of the area behind the rear wheel arches and the slatted ‘frames’ that define the front and rear elevations.

Inside it’s a similar approach, with a single 24” OLED instrument panel and a compact 7” touch screen in the centre console. But is it all a step too far in terms of brand image?

Arguably Jaguar’s absence from the fold over the past two years has raised the stakes but also kindled some additional fondness for the brand – everyone wants this car to do well. In pure statistical terms, the Type 01 is competitive, with a projected EPA range of up to 400 miles (450 miles on the WLTP scale), which should translate into 300+ miles at the kind of high-speed cruising it looks suited to.

With up to 1,030PS on tap, the Type 01 should hit 62mph in 3.2 seconds, although a more useful (if illegal) metric is its ability to whisk from 62mph to 112mph in just 4.0 seconds.

There’s obviously lots more to say about the Jaguar Type 01 and when we drive the car we’ll dig down into more detail. However, as a scene-stealing flagship for a company that wanted a full creative re-boot, Type 01 can’t be faulted. Now it just has to deliver the driving experience to match.

Jaguar Type 01, more details at Jaguar.com, @Jaguar

Lexus are going out on a limb with the new ES. An elegant fastback saloon, it harks back to the brand’s heyday as a purveyor new era luxury for consumers sickened by the fiscal excess required to bring lightly optioned German cars up to true luxury level.

Instead of demanding customers tick all the boxes, with a corresponding increase in price, Lexus provided practically everything as standard, making cars like the LS and GS a smart alternative. Aggressive over-engineering also helped the newcomer’s case, and the soon the combination of Japanese reliability, crafted comfort and extensive onboard technology swept the board.

Then Lexus went big on SUVs and crossovers, from small to large, helping popularise the genre at the upper end of the market and using sister company Toyota’s copious experience with hybrids to revolutionise another market sector. These days, hybrid SUVs and crossovers dominate the Lexus line-up. Saloon cars don’t get much of a look-in; in fact, saloon sales are down right across every sector.

So why the ES? Sharing underpinnings with Toyota’s Camry and Crown (two models that aren’t available in the UK), it has a similar silhouette and the same basic proportions. The original ES joined the Lexus line-up back in 1989; this is the eighth iteration and the first to be all-electric.

In the US, the Toyota Camry starts at around $29,000 (or roughly £22K). The ES comes with a much punchier £59,000 starting price. How can these differences be accounted for? Japanese craft and hospitality have always been integral to the Lexus marketing message, while the company offers an enduring case study of how to create a brand that responds to market research.

Way back in 1983, the so-called ‘Circle F’ project was initiated by Toyota, keen to break into a North American luxury market that was then dominated by European manufacturers like BMW and Mercedes-Benz.

Over the next few years, 60 designers, 2,300 technicians and 1,400 engineers blew through $1bn and made no less than 97 prototypes on their way to creating the acclaimed 1989 Lexus LS460. In the decades that followed, other Japanese and South Korean carmakers followed a similar playbook, spinning luxury divisions off from volume brands (Nissan’s Infiniti, Honda’s Acura and Hyundai’s Genesis).

This approach is now in its final evolutionary form, as the big Chinese conglomerates – Geely, SAIC, Chery and Xioami, etc. – are seeding new brands to the wind like an array of bubble machines, with some popping faster than others.

For Lexus, this new front of extremely accomplished competition has led to a doubling down on the role of craft and heritage, along with the elevation of Japanese manufacturing and craft culture as a point of culturally identifiable difference. Words like Omotenashi (the Japanese spirit of hospitality), Takumi (the work of a master craftsperson) and Kaizen (continual improvement, as per Toyota’s legendary factory-running skills) have become part of the Lexus word cloud.

There’s nothing different here to the way that a company like Rolls-Royce, Bentley or even Jaguar sell themselves as arbiters of British style, taste and values; what seems to matter most to all these manufacturers, Lexus included, is ‘brand salience’ – the ‘unaided awareness of a brand.’

One of the most important learnings from Lexus’s intensive start-up process was the importance of customer service, whether in the salesroom or dealership. It’s a value that persists to the present day, accounting for the impressive levels of loyalty the brand commands.

With all that said, the ES is still a bit of an outlier. Might it tempt buyers of the UX and RZ models out of their SUVs and back into saloons? Although the ES is relatively conservative, it’s also discretely distinguished, inside and out. Its SUV siblings might be more distinctive but, if truth be told, they were also rather awkward and ungainly looking. It didn’t take Lexus long to lose the classical simplicity of the original LS460 (its lines paid undeniable homage to Bruno Sacco-era Mercedes). Once lost, this design ethos hasn’t ever really been rediscovered.

The ES is a small glimmer of light for those of us who like their luxury to be cool, calm and collected. At 5m long it’s a big car, but it never looks overbearing. The front end features sharp-edged lighting signatures and vertical air intakes but loses the yawning maw of earlier cars; this being an EV, it doesn’t need a spindle-inspired radiator and it’s all the better for it.

A prominent side strake adds a sense of dynamism, as does the rising coachline, whilst at the rear the steeply raked rear screen terminates in a neat tail bisected by a horizontal light bar.

The test cars were offered in a sober but not unpleasant colour palette, including Sonic Copper and Sonic Titanium (shown here), and while the 21” wheels look more dramatic, pragmatists should note that opting for 19” wheels gives you 28 miles of additional range.

Inside, the specification is suitably impressive. The bamboo door trim pairs very well with the black and white leather specifications (available as both synthetic and real versions). Creating using a combination of 3D printed elements with bamboo inserts, it is different, elegant and tactile, with a backlight function that accentuates the geometric patterns.

The company has continued its long-running audio partnership with Mark Levinson, offering a 17-speaker upgrade to the standard 10-speaker set-up. An enhanced reclining rear-seat package is also in the works, with heat, ventilation and massage functions.

The dashboard combines a scattering of physical switches (some of which are invisible until illuminated) with a 14” multimedia screen and 12.3” steering wheel display. It’s not all elegant and practical; the interior lighting can be set to pulse in time with the music, for example.

All these little detail improvements add up to a cohesive whole; a redesigned HMI with fast graphics and Google Maps. There’s plenty of storage around and under the centre console, while the spacious rear seat makes the most of the car’s 5m length and the fastback rear lifts to reveal a 517-litre boot.

From a drivetrain point of view, the ES comes equipped with a mid-sized 77kWH battery, good for 361 miles of WLTP-rated range, which means at least 300 miles in regular use. Power output is equivalent to 224hp and 62mph comes up in 8 seconds – slow by EV standards. Sprint times are largely irrelevant in the real world, but mid-range acceleration is smooth and unfussed, adding to an overall sense of calm accomplishment.

Lexus design in general is on the up. Recent motor show reveals have included concepts with real flair, running the gamut from six-wheeled MPV to micromobility and supercar. Some of these might even make production. The new ES is conservative in comparison, but it might just herald the start of a new era of bold – and beautiful – Lexus design.

Lexus ES, from £59,341, Takumi Edition from £72,545, Lexus.co.uk

It is, concedes Francis Lapp, founder of Gdańsk-based Sunreef Yachts, a very James Bond kind of boat. Sunreef, better known as a maker of twin-hulled sailing yachts, has teamed up with Brabus to create a special edition of its 55-foot Ultima 55 boat, filtered through the German coachbuilder’s extreme automotive lens.

The result – the first collaboration between the two brands, with others under discussion – is very sleek, very black, with a carbon fibre exterior that’s part exposed just like a supercar. It’s a suitably gadget-laden vessel too, with platforms that extend out of the side of the boat while it’s at rest, enhancing its beam by two metres to create a beach club area, and a hidden gangway that also extends automatically at the touch of a button.

Inside there’s more of the same: an extendable and retractable carbon fibre table; sun loungers that convert into settees; a 43-inch TV that rises out of a countertop and floors accented in aluminium with illuminated Brabus logos.

‘We wanted to collaborate with a brand that has a very specific design approach and implement that right across the boat,’ says Lapp, ‘The appeal comes from the resulting look but also the engineering.’

The engineer and entrepreneur founded Sunreef in 2022 as a catamaran specialist, with shipyards in Gdańsk and the UAE, where the Ultima 55 is built. One has been sold to date with two more sales on the cards. ‘The Brabus look also fits well with what is a particularly fast boat,’ Lapp continues.

Indeed, the Brabus Ultima 55 is capable of 40 knots – unusually fast for a boat of this size - in part due to Sunreef’s advanced foiling system which lifts the vessel higher out of the water to reduce hydrodynamic drag, provide a smoother, quieter ride and improve stability. ‘It means the boat is more stable at speed, and speed is a large part of the appeal,’ Lapp continues.

Power comes from twin 725hp, six-cylinder marine engines that have modified by Brabus, renowned for their ability to upgrade and enhance high-end cars, particularly those from Mercedes-Benz.

Stability is also a key reason why clients might choose a catamaran over a mono-hulled boat, since it allows for something closer to a ‘house on the sea,’ as Lapp describes it. ‘People who want to spend a lot of time at sea want their vessel to be especially steady’.

The Brabus Ultima 55 will, it’s hoped, also extend both brands’ reach. For Brabus, it’s a gateway into the as-yet-untapped high-performance multihull category, following the smaller Shadow line that it co-developed with Axopar Boats and revealed earlier this year. For Sunreef, the venture takes the shipyard into the heart of yachting’s more luxury-forward, brand-conscious market.

‘Sunreef is known among its customers for its sustainability, those who love a sailing vessel with hybrid or electric engines,’ says Lapp. ‘But the Brabus boat is aimed at a different customer who is perhaps more passionate about cars and a certain kind of style’.

Sunreef-Yachts-Ultimate.com, @SunreefYachts, Brabus.com

Aston Martin doubles down on its luxury credentials with two new announcements, one automotive and one architectural. The latter is the unveiling of Q London, a bespoke space on Mayfair’s Berkeley Square that’ll serve as both flagship showroom, destination event space, and a first point of contact for new owners and those looking to embark on their own unique commissions via Aston Martin’s Q service.

The new space is located on the east side of the historic city square, completing a run of premium brand showrooms in the area, and takes up the ground and basement of a 587 sq m unit. Inside, there’s space for up to four cars, as well as specification suites, informal and formal seating areas and a boardroom (which doubles as a private dining space). The new space follows the template set by Q New York on Park Avenue.

Q London’s opening was accompanied by the world debut of the new DBX GT, the latest variant of Aston Martin’s (rather venerable) sporting SUV. As the suffix suggests, the GT variant majors on comfort and luxury, rather than the more outright performance-focus of its sister model, the DBX S. The grace, rather than the pace, if you will.

Subtle changes to exterior styling dial down the outright aggression of the more lairy versions, while there’s then an added focus on interior craft and comfort. The latter is also given a fillip by revisions to the chassis, making the big DBX more pliable over rougher road surfaces.

The twin-turbo V8 is hardly lacking in power – it has 727PS – but with a power delivery that’s tuned to be slightly less aggressive than the DBX S. A sprint to 60mph can be achieved in 3.1 seconds and the GT will top out at 193mph. The exhaust note has been tuned to be more discreet in standard driving modes, with a more sonorous/aggravating soundtrack available in Sport and Sport+ modes.

Aston spotters will be able to distinguish the GT straight away by a new ‘double vaned’ grill, which emphasises the width of the car even more. A similar two-piece treatment is given to the side strake detail, which now incorporates one polished and one satin element. Body colour paint extends all the way to the lower sills and rear diffusers, while there are also elegant new 22-inch wheels with a satin titanium finish.

Other new trim details include monotone, duotone and tritone options, with textured finishes like quilting and perforations. New seat designs – plusher and more curvaceous – along with an ‘individual’ rear seat layout that keeps the car’s five-seater capability but emphasises three distinct places through colour, trim and form.

All this is set beneath a standard panoramic glass roof. The overall message is that this is not a carbon fibre-swathed track monster, but rather a more refined and relaxing iteration of an accomplished performance car.

Aston Martin DBX GT, price tbc, AstonMartin.com, @AstonMartin

When is a private jet not a private jet, but not a commercial flight either? Wade Black thinks he has the answer. He’s the serial airline-industry entrepreneur who has co-founded a new business by the name of Magnifica Air, which aims to tap both those private jet travellers who want to save some money, and those first-class flyers who want to step up to something more luxurious still. When we last checked in, the airline had just revealed its spacious interiors and amenities, while a campaign to recruit pilots starts in Spring 2027.

The idea is simple. Magnifica Air will operate new Airbus Corporate Jets – seven by the end of next year, with a planned 25 in all within five years – from private, purpose-built terminals in the US, where dedicated lounges will provide a ‘white glove’ service that means the check in/security process can happen as late as 30 minutes prior to travel.

Each aircraft will carry a maximum of 54 passengers – though Magnifica Air says as few as 40 remains profitable – so there’s plenty of space, though there will be a minimum of two private suites on board as well. On flights of more than three hours, all seats will be lay-flat ones.

‘The idea is to bring the world of private aviation to the scale that these kinds of [large] aircraft can offer,’ explains Wade, who has also served on the boards of Flexjet and the specialist medical airline Seven Bar Aviation. ‘If you look at current marketing data, everything points to a demand for more premium travel. People are demanding positive experiences and want something better than the inefficiency and anxiety of [typical airline travel], even in first class.’

He calls what Magnifica Air offers ‘private class’, with tickets at between 1.5 and two times the average first-class price, depending on route demand. Each of its aircraft has been outfitted, at a cost of around $20m per aircraft, to correct all of the things that people find bothersome about more standard airline travel, from overhead baggage compartments (there are none) to cramped toilets – on Magnifica Air’s aircraft, the facilities are, says Black, comparable to a ‘high-end residential bathroom’.

The food service, he promises, will be of a very high standard, while Magnifica Air will also be the first airline to offer a new $2m air purification system – reducing the chances of boarding a flight fit and leaving it with some kind of bug.

‘For most people [the incentive to fly with Magnifica Air] will be about stepping up,’ says Black, though not for all: he notes that, despite their public image, many private jets do not offer high interior or service standards, despite their advantages in providing point-to-point travel.

‘People are more service-minded now and are willing to pay for it,’ he adds. ‘The problem for the main carriers is that they are inherently hooked into a hub-and-spoke network [when an airline routes most of its flights though a central main airport to connect passengers travelling to smaller regional ones], so there’s not a lot they can do about the airport experience.’ And he adds that while they may want to devote more space to non-coach/economy seat classes, the cost and logistics of refitting aircraft are prohibitive.

Although Magnifica Air is launching in the US – its inaugural route is between Miami and New York, with other departures set to connect Los Angeles, San Francisco, Dallas and Houston, with seasonal routes to include the Caribbean and major cultural/sporting events – the company aims, in time, to partner with established carriers for long-haul international flights. ‘I can see the same model working elsewhere [around the world] too,’ Black adds.

MagnificaAir.com, @Magnifica.Air

At 53 metres, M/Y HEED falls just short of the informal megayacht category (generally considered to start at 60m+). Whilst it might not be afforded ultimate bragging rights on the berthside, HEED isn’t about overall scale but quality and uniqueness of the execution.

Built in Viareggio, with a hull shaped by Arrabito Naval Architect and an exterior by Alberto Mancini Yacht Design, HEED contains a remarkable interior scheme by Achille Salvagni Architetti, the London, New York, Palm Beach and Rome-based studio that works across all manner of high-end interiors, from furniture design to hotels and private residences. It was Salvagni who brought the project to Rossinavi, and the end result is a true collaboration.

Like all yachts in its class, HEED is a truly bespoke creation, a one-of-one build that involved a lengthy process between shipyard, designers and client. Externally, HEED presents with a sleek and elegant superstructure, with a vertical bow and long ribbons of glazing on the main deck and the upper deck, home to the main saloon and owner’s suite respectively.

The latter has views towards the bow, complete with a private terrace and lap pool. Throughout the interior, softly curved timber has been used to line the principal living spaces, emphasising and highlighting design elements like the circular portholes and floating timber stairs, as well as the screens, stowage and access doors.

The yacht is also fully furnished by Salvagni’s studio, with a rich selection of curvaceous shell- and pebble-like furniture and bespoke pieces, ranging from the owner’s bed with its curved headboard to unique lighting elements.

The materials used highlight contrast and craftsmanship, with unconventional joinery and alignments. Brushed, bleached wengé floors are paired with bleached teak walls, with insets of gloss polished dark eucalyptus. Marble and timber is used in the bathrooms, while throughout HEED there are distinctive metallic accents that combine copper, rose and deep red - amaranth - ‘flashes of intensity inspired by a Mediterranean sunset’.

In the dining room, an installation of polished seashells sprawls across the walls and ceiling, adding another layer of texture to the wood-lined space with its bespoke oval table. According to the studio, ‘doors, wardrobes and handles also avoid conventional profiles, swelling and curving as though shaped by water, pressure or wind.’

A fold-down starboard balcony opens up the dining experience to the sea. This flexible approach is also adopted at the beach club and pool, where two fold-down platforms extend the usable outdoor area and provide direct access to the sea. The yacht is equipped with an onboard battery system that serves as the power source when the yacht is at anchor, for a zero emission ‘hotel mode’.

Ahead of the main saloon is the yacht’s garage, with space for a tender and other water toys. Below this is the crew cabin with berths for eight (a separate captain’s cabin is located in the wheelhouse). A bulkhead separates this area from the main guest cabins, consisting of three en-suite VIP double cabins and one twin cabin.

In addition to the main saloon, which runs the full beam of the ship and offers views to the horizon in each direction, HEED is equipped with an Observation Deck. ‘This has been an extremely stimulating project, one that will truly leave its mark on the market,’ says Federico Rossi, Chief Operating Officer of Rossinavi, ‘With generous open spaces, a panoramic owner’s cabin and a large pool, it is a yacht designed to be lived on, where functionality leads without compromising on style.’

At 499GT, M/Y HEED weighs in under the 500 Gross Tonnage threshold, above which a number of additional international maritime regulations kick in, vastly increasing the requirements and rules for crew numbers as well as access to smaller marinas.

Alberto Mancini explains that ‘working within the 499 GT threshold allowed us to rethink proportion and space with greater freedom. Placing the owner’s suite forward on the upper deck creates a quieter, more intimate connection with the sea, while the metallic grey hull reveals the beauty of the yacht’s clean, sculpted surfaces through a delicate play of light and shadow throughout the day.’

Achille Salvagni Atelier describes the end result as a ‘private world shaped by water and wind: tactile, fluid and slightly mysterious, where the interior does not compete with the sea, but breathes with it.’

‘From the beginning, I was interested in creating a world suspended somewhere between the sea and the sky: an interior without rigidity, where architecture seems to lose its conventional boundaries and become something softer, more instinctive, almost alive,’ says Salvagni, ‘I wanted the interior of this yacht to feel as though it had not been designed, but rather shaped by the forces that surround it — by water, wind, light and time.’

Rossinavi.it, @Rossinavi, SalvagniArchitetti.net, @AchilleSalvagni

Royal Huisman has revealed its Project 410, described as the world’s largest sloop – a yacht with a single mast and two main sail. Measuring an impressive 85m (280ft), Project 410 is a sloop rigged sailing yacht, or megayacht, currently undergoing final completion at the company’s shipyard in Vollenhove, The Netherlands.

The company has revealed new renders showcasing the design, with exterior and naval architecture by Frers Design and interiors by Wetzels Brown, after a period of intense secrecy surrounding the superyacht’s construction.

From the outset, the intention was to create a ‘sailor’s yacht’, despite Project 410’s scale (Royal Huisman say it’ll be amongst the ten largest sailing yachts in the world). The balance of interior accommodation to the fluid, dynamic hull was carefully stewarded from the outset, allowing for generous living spaces that haven’t compromised Project 410’s ability to slice through the water.

The accommodation is arranged across two decks with a low-profile pilothouse set behind the mast, developed by Royal Huisman’s sister company Rondal, specialists in carbon fibre and aluminium rigging. According to Mani Frers of Frers Design, the yacht’s ‘pure deck lines form a single arrow shape from bow to stern, incorporating the glass pilothouse, while the raked mast and uniquely engineered boom reinforce the yacht’s dynamic profile.’

The hull has been formed with large windows, skylights and high ceilings across the main deck for an unprecedented feeling of space, as well as views to the horizon and up to the billowing sails. In addition to a double-height main entrance, there’s a large salon leading through to a veranda and beach club, while the private owner’s suite is set further towards the bow. There’s also substantial battery capacity on board – which can be charged while sailing – for a silent operation mode when needed.

‘For us, the interior is about creating an environment where people can relax, feel close to the sea and create memories,’ says Gillian Brown of Wetzels Brown, ‘The exterior, interior and experience of sailing have been developed as one continuous expression.’

Project 410 is due to be launched in November, after which the towering carbon fibre mast will be raised (‘stepped’), ahead of customer delivery next year.

RoyalHuisman.com, @RoyalHuisman / Frers.Design, @ManiFrers / WetzelsBrown.com, @WetzelsBrown

On show this weekend at Chelsea Industrial in New York, this installation by Brooklyn-based conceptual art collective MSCHF demonstrates Lexus’s ongoing commitment to art, the avant-garde and the importance of making an impact. Motomorphosis is making its debut during Armory Week and features two outlandishly altered production Lexus EVs, a Lexus RZ450e and a Lexus RX450h+.

Each model has been turned into a sculptural piece, Circle Car and Twisted Car, displayed alongside its original vehicle. The installation is a continuation of MSCHF’s exploration of the intersection between the digital and physical worlds, using techniques and aesthetics more commonly associated with 3D software, Photoshop and CGI and translating them into real-world forms.

Hence the surrealist nose-to-tail loop of the Circle Car, which looks like as if a regular Lexus RZ450e has been extruded along a circular path. It’s paired with Twisted Car, an almost nightmarish vision of the latest Lexus RX450h+ scrunched up like a wrung-out towel, with its signature fluted and twisted body forms given uncanny amplification.

These aren’t concept cars in the conventional sense, but ‘Form Cars’ – at least that’s how MSCHF describes them. ‘Where a car is concretely engineered to move, the works in Motormorphosis are sculpted to produce the idea of movement,’ the studio says. As well as computer-driven processes, the two sculptures also nod to Futurism, the century-old art Italian art movement that strove to convey dynamism through static form.

‘Most conversations about electrification focus on how a vehicle is powered. Motormorphosis asks a different question: what can electricity power in our imagination?’, says Lexus marketing’s senior manager Lisa McQueen, ‘working with MSCHF allowed us to take the automobile beyond its familiar form and explore movement, transformation and possibility in an entirely new way.’

Rather unnecessarily, the exhibition’s disclaimer notes that ‘the vehicles shown are special project vehicles modified with non-Lexus parts that may void warranty, negatively impact safety, and not be street legal.’

Motormorphosis is at Chelsea Industrial, 545 W. 28th St., New York, NY
Motormorphosis.com, @ChelseaIndustrial, MSCHF.com, @MSCHF, @LexusUSA

Sleeper trains are back and they’re bringing with them a world of refined, transformable interiors that turn every class of travel into a spacious, sleek experience to rival and transcend the air travel alternative. At least, that’s the takeaway from the Day/Dream concept developed by specialist transportation design bureau PriestmanGoode in collaboration with three key material partners, Testori, Kydex and Muirhead.

Together, the design team has incorporated a swathe of modern materials across a fantasy triple-level train that offers the perfect inter-city travel solution for a sun-dappled European landscape. It’s utopian, for sure, but despite writing this from a cramped standard class seat on an overcrowded, highly delayed service into a different London terminus than I originally booked, the allure of truly sorted train travel is still strong.

Day/Dream envisages a well-staffed trans-European service that includes an onboard hospitality crew who supervise the transformation of the carriage layout from day to night configurations. Unusually, the layouts can be converted across all three classes, standard, business and first, turning the train into an overnight sleeping environment.

PriestmanGoode note that the idea came partly from their copious experience in the aviation sector, where they’ve worked on everything from private jet concepts to Finnair’s AirLounge business class seat to Lufthansa’s First Class Suite configuration, along with work for United, Airbus and Korean Air, amongst others.

There’s also plenty of rail in their portfolio – the agency is one of the go-to suppliers for all forms of railway, from London’s Piccadilly and Elizabeth Lines to Austrian Federal Railways and VIA Rail in Canada, with a clutch of industry awards to acknowledge their contribution.

The new concept was unveiled at InnoTrans 2026, Berlin’s International Trade Fair for Transport Technology. Working with ‘image-infused thermoplastic’ from Kydex, plant-based recyclable fabric from Testori and BioTan low-carbon leather by Muirhead, the interior owes as much to hospitality design as it does transportation.

The reconfigurable interior is reshaped depending on the time of day and has been sized to fit within existing European rolling stock. According to PriestmanGoode, the main aim of the exercise was a ‘deliberate move away from the couchette model that defines most existing overnight rail provision’. Instead, multifunctional spaces preserve capacity and increase comfort.

‘Day/Dream is designed around the lounge as the primary social space, one that belongs equally to every passenger on board, regardless of how they have chosen to sleep,’ says the designers, explaining how, unlike in aviation, ‘privacy is tiered; the experience is not. A passenger in a shared sleeping space and one in a private cabin share the same lounge, the same quality of environment, the same sense of occasion.’

The idea is that a different set of passengers will use the train at different times of the day. For commuting, First, Business and Economy all function as normal; at night, a separate set of overnight travellers boards the transformed carriage interior; while a Business Class day seat might accommodate four daytime travellers, it becomes a single or dual bunk at night.

Remarkably, the interiors have been configured so that open train carriage seating in the day can be turned into private lockable compartments at night. ‘Our understanding of how passengers move between different states, working, eating, socialising, resting, across a long journey has been central to how we have approached Day/Dream,’ says Kirsty Dias, managing director, PriestmanGoode. ‘Designing a space that performs equally well in two distinct operating modes, and transitions smoothly between them, draws on disciplines that are well established in aviation interior design: considered space planning, material performance under continuous operation, and a genuine understanding of passenger psychology at every phase of a journey.’

Rail concepts often require a hefty dose of utopian thinking, and while Day/Dream doesn’t require trackside infrastructural updates or major changes to rolling stock, it’s still very much a future vision of a more democratic and widely accessible approach to long-distance rail. With rail continuing to be the leader in the race to decarbonise the transport sector, maybe it really does make sense to dream.

PriestmanGoode.com, @PriestmanGoode

Bentley’s late arrival in the all-electric space has been freighted with anticipation, especially given the relatively short shrift afforded its more punctual rivals, Rolls-Royce, Jaguar and especially Ferrari. To the untrained eye, the new Bentley Torcal follows an aesthetic path that has been well-trodden by the British luxury manufacturer. A sporting SUV/crossover, it sits below the Bentayga in price and scale and squares off some of that model’s more awkward edges.

In short, the Torcal looks like a Bentley. Aside from a subtle shift in proportions, there’s little hint that the powertrain is electric and not the brand’s famed V8. To the uninitiated, it might therefore seem that Bentley has reined itself in, mindful of the reception afforded to Ferrari and Jaguar and wanting to stay out of the fray. However, that’s not how the industry works. Automotive planning is more akin to steering an oil tanker than weaving through the brickbats of social media.

Even by the time Jaguar had become a tawdry meme amongst edgelord social conservatives and long before the Luce had lit the touchpaper of a bona fide car design controversy, it was way, way too late for Bentley to pivot. The Torcal and the ethos it embodies were already set in stone. It’s therefore not surprising to find members of the Bentley team privately confessing to first night nerves.

Thankfully for them, the end result will not be setting the internet alight with angry missives. The Torcal sits on the VW Group’s Premium Platform Electric (PPE), sharing its 113kWh drive battery and 800V electrical architecture with the Porsche Cayenne.

Aimed squarely at the burgeoning sports SUV segment, Bentley have followed a now familiar playbook with the marketing, stressing the badge, the quality, the capability and the lineage. ‘The only focus was to make the next great Bentley,’ says Product Line Director Martin Page, revealing the car on screen for the first time.

The lowdown on the electrical underpinnings come later, but it does reinforce a persistent feeling of caginess around electrification, especially amongst the luxury brands. Whilst at the bottom end of the market the case for EVs has been all but conclusively made, potential buyers of Bentley and its ilk are being painted as hesitant, conservative and generally allergic to an EV-focused approach.

By now, the technology has matured to the point where the differences in performance and day-to-day usability are negligible. Bentley is emphasising the GT qualities of the Torcal above its performance abilities, although the latter are suitably impressive. Power is around 888PS (the most powerful Bentley ever), a number kept ‘low’ to avoid a neck-snapping, fire-breathing character (and perhaps to avoid treading on the toes of Porsche’s 1,156PS Cayenne Turbo Electric).

The all-important range is around 375 miles (600km), although exploring the 2.9 second sprint to 60mph or the 162mph top speed will swiftly bring that figure down (as will lugging a trailer of up to 2,700kg). Find a 400kW charger and it’ll take just over a quarter of an hour to top the car up from 10% to 80% of battery, in line with most other premium EVs.

Even though a more powerful S model is in the works, it’s not power, speed and/or the convenience of electrification that’ll sell these cars. What’s important is the design and the details. Bentley Director of Design Robin Page walks us through the four pillars that shape the Torcal, progressive, crafted, authentic and curated.

The profile showcases the endless bonnet line and ‘upright elegance’ of the squarish, foursquare stance. The flared rear wheel arches give the Torcal a sense of power and dynamism, what Bentley calls a ‘resting beast’ stance; the car itself is 50mm lower than the Bentayga.

The devil is in the details, and Bentley has clearly made a pact based on lighting design, with a front grille that’s evolved from air intake into a ‘piece of art’, a matrix of diamond shaped crystal forms that illuminate and sparkle alongside the vertical headlights (which in proportion and pattern evoke the earlier Continental T). It’s a bold move but not a pioneering one, with light features become a mainstay of premium design.

Rear light clusters continue the diamond theme, as does the side projection lighting and animated puddle lamps. Inspiration for the swirling, geometric light forms came from real crystal; Bentley teamed up with manufacturer Cumbria Crystal, creating imagery of dynamic lighting patterns that have been translated into the interior graphics.

It’s the kind of above and beyond effort that typifies Bentley’s approach to materiality; work with an established supplier, push the envelop and emerge with a twist on a classic that tells a story as well as conveys a function.

That storytelling approach is also in evidence in the use of merino wool on interior surfaces. Developed in collaboration with Somerset-based Fox & Sons (est. 1772), it’s the first time the material has been certified for automotive applications. There’s also a new sunburst aluminium finish on the dashboard as well as a specially developed engineering walnut veneer.

Finally, for the ultimate twist on dovetailing old and new, Bentley worked with a real orchestra to create the Torcal’s motive soundtrack. This ‘acoustic DNA’ was achieved by mimicking the distinctive burble, throb and thrum of a V8 engine using orchestral instruments, with musicians shifting in tone and rhythm to indicate speed of travel.

Page describes this as ‘more emotional than a V8’, with other sound signatures achieved in similar ways. The turn indicator is a craftsman’s hammer being tapped on leather, while the squeak of real crystal glass is used by the onboard digital assistant. Dig deeper into the car’s many modes and you’ll hear real birdsong and the sound of a flute.

The latter surfaces in the Torcal’s mood curation modes. An evolution of the drive modes found in modern luxury cars, the Torcal offers Sport, Comfort and Refresh, three distinctive driving modes that are colour coded throughout the cabin (Blue, Orange and Green respectively) and give driver and passengers a distinctive environment that can be bolstered by the (all-new) seat massage system and other fripperies.

Other niceties include a 28-speaker Naim stereo with Dolby Atmos, dashboard access via facial recognition, a switchable glass sunroof and four powered doors. Pointedly, there is no passenger screen. Not Bentley.

We won’t get to sample the orchestral manoeuvres that replace the spark until some time next year when the first customer cars (and press fleet) are ready for action. In the meantime, consider the words of Bentley’s (German) Chairman and CEO, Dr. Frank-Steffen Walliser: 'The best luxury motor cars come from Britain.’ Will the shift to electric change this global perception as Bentley looks to beat the curse of the luxury EV?

Bentley Torcal, for pricing and reservation details visit BentleyMotors.com, @BentleyMotors

Every now and again a new design emerges from a marginalised sector that initiates a total rethink. This is the case with Lume’s new Ranger caravan, a design that somehow fuses the best of retro design for the golden era of aluminium travel trailers with a modern sensibility in design, proportion, packaging and materials.

The Ranger is a compact caravan/RV/travel trailer (delete as per your preference). With a fixed rear double bed alongside an internal bathroom and WC, the Ranger crams a lot into a small 5.19m by 2.04m footprint. The missing interior element – the kitchen – is actually on the outside, contained within a slide out unit with integral worksurface, sink and two gas burners.

Lume makes a virtue of its Dutch designer roots, and the Ranger joins a line-up that includes the Adventure, the all-weather Nordic with its extra insulation for sojourns in Northern climes, and the flagship Expedition. The Ranger is the smallest and lightest of the lot (coming in at 1,150kg when unladen, especially helpful if you’re towing with an EV).

While the Expedition is designed for three (the front table converts), it also has a more comprehensive galley set-up at the rear, with the entire end of the caravan lifting up to provide a cover for cooking. In the Ranger, you’ll need an awning to prepare food in inclement weather, but the indoor amenities should make up for the discomfort.

Standard equipment includes a scattering of LED reading and spot lamps, wool felt on the walls and ceiling for a soft touch, high insulation finish, teak wood flooring throughout, a mattress from Dutch specialist Auping and power and USB sockets placed in practical points around the interior. Options are extensive, ranging from a Bluetooth speaker from Bang & Olufsen to tableware and pans to create a true turn-key solution.

Another important detail for more spacious stays is the standard pop-up roof. This increases the interior head height from 2.19m to 2.6m. The aluminium skin conceals a couple of storage areas, and an optional drawbar box at the front can be specified with a Thule bicycle rack. An awning is also available, as is an outside shower system.

The Lume Ranger is laser-targeted at the design lover, from the Airstream-adjacent silvery skin to the well-crafted interior and quality of fixtures and fittings. Light in weight but heavy on style, it promises to be an excellent way to venture out into the scene.

Lume Ranger, from €49,950, LumeTraveler.com, @LumeTraveler

Restomod specialist Lunaz reveals two new Range Rover commissions, showcasing the very different approaches the Silverstone-based company is able to take in its quest to update and uprate classics old and new.

Since it was founded in 2018 by David Lorenz, Lunaz has evolved from specialising in electrification to offering up a diverse portfolio that embraces a number of key marques, from Bentley and Aston Martin through to Range Rover, Jaguar and Rolls-Royce. The company’s workshop is a car-lover’s dream, awash with machinery in various stages of assembly and disassembly.

The two new Range Rovers demonstrate the traditional combustion-powered route as well as Lunaz’s established expertise in create bespoke electric powertrains. We’ve sampled the company’s Bentley, Rolls and Range Rover conversions in the past and come away impressed by the way an EV powertrain bolsters the basic performance without losing sight of the qualities that give these cars their original character.

First up is the Pop Art-inspired ‘Kermit’ commission, a green machine that wear its vivid hues inside and out with pride, complete with contrasting colour strip on the specially trimmed seats, cloth and leather dash and contrasting orange seatbelts. Under the skin, Kermit has a modern V8 – it was originally a black-on-black model created by Range Rover specialist Overfinch.

Updates are extensive but subtle (not counting the colour). They include Lunaz’s own 3D printed dashboard and new centre console, both of which are styled to match the original but contain the space and openings for uprated air conditioning, sat nav and multimedia.

The other new Range Rover has a more refined, traditional look. Designed for a client who wants a car for use on their extensive ranch in Nevada, it utilities Lunaz’s bespoke electrical running gear. Whether ICE or EV, each Range Rover puts out around 350bhp (up from 200bhp in the most powerful model back in the day). The Nevada car has a dark green exterior with ivory leather and tailored textiles inside alongside wooden trim.

Both machines use the classic four-door Range Rover bodyshell, with interiors and extras developed in close collaboration with Lunaz’s design team. Available optional extras run from heated and massaging seats to 360-degree cameras, wireless charging and even Starlink internet connectivity.

The company will be producing just 25 examples of the Range Rover Classic in the current run of commissions, held back not by demand but by capacity at its Silverstone factory.

Range Rover Classic by Lunaz, for more information visit byLunaz.com, @LunazDesign

Škoda is reasserting its role as one of the most sensible, straightforward and practical members of the VW Group family with a pair of new EVs, building on the solid reputation already established by the Elroq. Over the past couple of months, we’ve sampled the latter as well as headed into the Austrian alps to experience the newest arrivals, the mid-sized Epiq crossover and the new 7-seater flagship Peaq.

Sub-editors please note, Škoda will be doing all the heavy punning around here. The press trip was dubbed an ‘epic journey to peak’, overlooking the fact that the latter word has undergone something of a journey into lexicographical ambiguity here in the UK over the past decade. However, the central Europeans are happy to take it literally, hence the Alpine surroundings in the reassuringly ersatz Interalpen-Hotel Tyrol.

It’s a testing time for the VW Group as a whole, so the reception of Škoda’s newest two models will be critical. Industry watchers reckon VW's woes could even spell the end of Spanish outpost SEAT - now the poorest performing pillar of the group after being comprehensively outgunned by its former progeny Cupra (in a truly Oedipal move).

Over the last decade or so, Škoda has made itself essential by emphasising the virtue of little details – an umbrella in the driver’s door, extra storage for phones and drinks, accessories like torches and ice scrapers tucked into nooks and crannies. There are physical switches to back up the screens and overall you feel cared for, not forced into accommodations for the sake of the company bottom line. Such touches inspire a loyal customer following.

With two new models joining an already impressive line-up of BEVs, Škoda is looking to consolidate its position as the intelligent alternative. Together, the Epiq, Elroq and Peaq (small, medium and large) deploy all the tricks the company has conjured up over the past decade to make compelling packages for a broad swathe of car buyers.

Škoda Elroq: the Goldilocks option

First up, the Elroq, sampled in the very un-Alpine surroundings of southern England ahead of the international launch. As the first in this trio of modern-day electric SUVS – a little leaner, friendlier and less overtly in your face – the Elroq sits on the Volkswagen Group's ubiquitous and highly flexible MEB platform. These underpinnings are widely used across the group and form the core of Audi Q4 and Q5, VW IDs 3 through 7, Cupra Born and Tavascan, as well as Škoda’s own Enyaq and the newer, larger Peaq.

Aside from the very Tolkien-adjacent name, this is a mid-sized model that follows Škoda’s unpretentious playbook; ensure there’s plenty of space and loads of kit and don’t skimp on dynamics. Roughly analogous to the Kia EV3, MG S5 and Renault’s Scenic, the Elroq goes all in on design as a differentiation, being the first manifestation of Škoda’s current ‘Modern Solid’ design language.

That’s designer shorthand for modelling and surfacing that feels a little more carved and chiselled, and less about fluidity and verve. If we’re being hyper-criticial, it can come across as a little lumpen, with frontal treatment that’s aggressively busy. The rear end is especially neatly resolved, however.

Aside from the prominent wordmark and bonnet-spanning lightbar, there are no instantly recognisable visual signifiers to be found. Škoda’s heritage has never really traded on striking, individual design. It’s more about a consistent, unified presence that is discrete, handsome and well-proportioned, not earth-shaking and stand-out. The Elroq is just under 40cm shorter than the larger Peaq and around 32cm longer than the Epiq; not significant measurements but enough to place each model into entirely different segments.

For a designer, that’s not a huge amount of space to work with, especially when you’re juggling the consistent application of said Modern Solid in relatively straitened circumstances. It’s therefore to Škoda’s immense credit that its cars never feel like they’re built or designed to a price. Both the Elroq and the smaller Epiq have to conjure up a well-furnished interior in the face of pretty ferocious Chinese competition.

The Elroq comes in three flavours, a 61kWh battery model with a range of 280 miles, an 84kWh model that offers the headline 372 miles of range and the performance vRS model that adds four-wheel-drive and snappy acceleration while sacrificing 30-odd miles of distance.

Škoda Epiq: small and (near) perfectly formed

Too big? Then you’ll want the Epiq. Smaller and more analogue than both Elroq and Peaq, it comes with two battery options, 52kWh for 273 miles of range and the entry-level 37kWh for 192 miles. The Epiq is Škoda’s contender in what’s become the biggest BEV sector, facing off against the Renault 4, Fiat Grande Panda, Kia EV2, and the upcoming Hyundai Ioniq 2, Leapmotor B03X and MG2.

Here is where character, options and idiosyncratic but practical design ideas really impact on buyer choice. It's where the company's ‘simply clever’ mantra can really shine, with the aforementioned features plus news ones like a charge cable cleaner and a modest frunk to store it in. Another aspect of the Epiq that’ll make the stat-hungry buyer sit up and take notice is the 475 litres of boot space.

On the road, the Epiq shines rather than sparkles. It’s an extremely easy car to live with and undertake long journeys in, dispatching the autobahn slog without effort whilst also offering up dynamic lustre in twistier stretches of mountain road.

Sure, it could be smaller still and less upright and SUV-like in its stance and general attitude, but carmakers aren’t going to stop building for this sector any time soon – it’s what buyers want. With that in mind, the Epiq is set to be another winner as well as a genuine alternative to the inevitably cheaper but less well resolved rivals from China.

Škoda Peaq: break out the big guns

In 2022, Škoda unveiled the Vision 7S concept, the first indication it was looking to upsize its electric offering and provide a zero-emissions alternative to the successful Kodiaq PHEV. The 7S has translated seamlessly into the new Peaq, the most elegant of the new trio, largely by virtue of the bigger size offer more scope for proportion and grace.

It’s also a more stylish and upmarket car than the company is used to offering. Starting upwards of £50k – once a distinctly un-Škoda price point – the Peaq comes in two battery sizes (63kWh and 91kWh) and three trim levels, 60, 90 and 90X. These offer ranges of 279 miles, 397 miles and 379 miles respectively (450km, 640km and 610km), although a pair of eager corporate hypermilers have managed to eke out 581 miles (936km) in a standard Peaq.

Like the Epiq, the Peaq has tall sides that are only slightly mitigated by clumsy blacked-out lower sills and then a body-coloured strip below the doors. In the larger car, this oddity is offset by the longer wheelbase and the solid D-pillar, a body-coloured fin that rises up from behind the rear wheel arch and gives the Peaq real on-road presence.

Presence is something we associate with premium design and here we find Škoda doing a lot to justify the price tag and the flagship tag. Inside, there’s a vertically aligned info screen, flanked by a simple but effective array of toggle switches and rollers. The onboard speakers were developed in collaboration with Sonos, while the centre console houses not one but two Qi2 magnetic charging docks.

A collaboration with Printables.com encourages owners to print their own accessory docks for the central storage bins, whether it be hooks, cupholders, organisers, etc. The centre console also houses a folding table that can be deployed when parked up or charging.

Peaq is the only 7-seater BEV in the VW Group, outside of the extended VW ID. Buzz. It’s also rated for towing up to two tonnes. The interior is made even more spacious by virtue of a 2.12m2 glass roof with dynamic shade control. It’s all part of Škoda’s plan to make the car feel more like a moving living room – a ‘relax package’ of options adds a plush pillow on the headrest, massage controls, a leg rest and even a wellbeing app. A ‘camp mode’ feature is also coming soon to take advantage of the car camping trend.

On the road, the Peaq feels refined and hushed at speed, with the chunky controls aligning with the car’s physical size. It’s spirited, but not overwhelmingly so – the Epiq is more agile but doesn’t have the same electrical zest.

Under CEO Klaus Zellmer, Škoda has risen to become the number four best-selling EV maker in Europe. The 131-year-old nameplate makes great virtue of its profitability (as it should, in this day and age), and Zellmer is quick to tell us that the Epiq already has 30,000 pre-orders (10,000 future Peaq owners are also waiting in the wings).

Data suggests that Škoda owners prefer to charge at home rather than on the road (80% versus 20%) so the value of ultra-fast-charge DC systems is moot. Nevertheless, the inclusion of the wellness functions and even an onboard virtual assistant, ‘Laura’, implies that Škoda thinks we’ll all be spending a lot more time in our cars. Whether that’s true or not, let alone desirable, the company’s all-electric threesome are as good a place to be as any comparable brand

Škoda Epiq, from £26,200, Skoda.co.uk
Škoda Elroq, from £33,970, Skoda.co.uk
Škoda Peaq, from £51,980, Skoda.co.uk
Skoda.co.uk, @Skodagram

The 500 Scattante from new British Automotive Studio La Cinquecento makes a welcome change from the deluge of fire-breathing, ultra-high-performance restomods that have come to dominate the market in restored and uprated classic cars.

The 500 Scattante is the exact opposite yet has equal amounts of charm. Featuring a new engine – sourced in this case from the Fiat 500’s successor, the 1970s Fiat 126 – with all-new suspension, braking, steering, cooling and electrical systems, the Scattante (Italian for ‘sprightly’) also has renewed and refreshed bodywork and details.

Founder Max Kindersley approached Milan-based design consultancy BorromeodeSilva to hone and refine the familiar original, reworking every facet of the form without losing sight of the qualities that make the 1957 original such an icon with added functionality for the modern driver.

The project was born out of a long-standing fascination with the car. A Fiat 500 had been in Kindersley’s family for decades, spending the last 25 years or so tucked away forgotten in a barn. This 1973 car was to form the basis of the new project and new company.

’I’ve always loved what the Fiat 500 represents,’ says Kindersley. ‘It’s simple, light, full of character and makes people smile. The idea was never to change that. We wanted to take everything that makes the original so special and see how far we could develop it – to make it faster, sharper and better engineered, without losing the reason you wanted a 500 in the first place.’

BorromeodeSilva’s bodywork widens the car’s stance, adding side skirts and adding minimalist wheels and rally-inspired additional front lights. To the casual observer, it might not be much, but for a true aficionado, something special is clearly afoot.

That attention to detail continues under the skin, with a meticulously installed Fiat 126-derived two-cylinder engine with a twin-spark ignition system. All the revisions and updates have been created to make the Scattante more engaging and responsive.

Potential customers are now being invited to contact La Cinquecento with plans of their own as a limited series of individually numbered cars is in the offing.

Enquiries to 500.design

Hedley Studios, formerly known as The Little Car Company, has built its brand around making classic icons available for a fraction of the price and a fraction of the size – usually 75% scale. We’ve already sampled the Bentley Blower Jr. and the Ferrari Testa Rossa J, now it’s the turn of another classic brand.

After three years of development, the company has announced its first collaboration with Porsche, the 550 J. Powered by an 8kW (11bhp) 48V motor, it’ll hit 40mph (if you’re brave enough) and go for 30 miles before it needs recharging. As a nod to Porsche’s contemporary motorsport-focused models, an RS pack doubles the power, ups the top speed to 50mph, increases the range to 50 miles, as well as adding drilled brakes and adjustable dampers.

Hedley Studios commands a unique position between child-like fun and grown-up art, so picking the right Porsche model to shrink was crucial. Ben Hedley, founder and CEO of Hedley Studios says, ‘With Porsche, you’ve got a few options. The 911 is an obvious one, but so far we've strayed away from more modern cars. The 356 was another great candidate from the early days, but I love the shape of the 550. It's a work of art, it's a beautiful, elegant shape.’

Since it was so small in the first place, the 550 was scaled down to 80% to make the ergonomics work, so there’s still room for two adults to sit next to each other. While Porsche provided access to an original 550 (one of just 90 examples ever made) and archive materials, the goal wasn’t to make an exact replica.

Hedley says, ‘We're not slaves to everything that was done before. We can act like the naughty little brother of the brand, which is a real tribute, actually, a real honour and privilege.’ This shows up in tasteful little quirks like custom switchgear to select the drive modes you’d find in a Porsche Taycan.

The attention to detail continues under the carbon fibre body where Hedley Studios prides itself on maintaining the same handling characteristics as its original inspiration. Trailing arm suspension, famously the same setup you'd find on a classic Volkswagen Beetle, was shrunk down to fit the new car with a few modern tweaks like Bilstein coilover dampers, Eibach springs and Brembo brakes.

Weight placement was also finessed to give the 550 J a mid-engined feel with the batteries tightly packaged behind the seats. ‘Back in the day when it was racing, the 550 had a tiny engine compared to the people they were racing against, but it was so light and so nimble,’ says Hedley, ‘It truly was a Giant Slayer and we wanted to reinterpret that as part of our commission.’

It’s certainly a lively machine. ‘I took this thing out on track for the first time, obviously not being a responsible car company CEO, instead hammering around the track as quick as possible,’ Hedley continues, ‘It was brilliant. You could feel the trailing arm suspension, which is a very different feel to modern double wishbone suspension. I am embarrassed to say I spun it twice because I was driving too fast. It’s really fun and playful, I was just laughing through my helmet.’

Whether the 550 J ends up as a track weapon, art piece or garage queen, Hedley hopes it will resonate with Porsche lovers and automotive enthusiasts alike. He adds, ‘We have a theme where we take these very special cars that have their place in history and respectfully reinterpret them and bring them to a new audience because most of these cars we will never get the chance to drive. They're too rare, they're too expensive and we are trying to open that up.’

The 550 J will be limited to just 250 examples. Pricing starts from £69,500 and deliveries are expected to begin in Spring 2027. HedleyStudios.com, @Hedley.Studios

Rolls-Royce has undertaken yet another foray into exotic, off-the-beaten track materiality. The new Rolls-Royce Phantom Hummingbird, unveiled today, is the latest Private Commission from the company’s Bespoke division, along the lines of the recent Phantom Dragon and the Phantom Goldfinger.

It’s a patient, deep-pocketed customer who chooses to indulge themselves in all that Rolls-Royce Bespoke has to offer. For a start, craft takes time, as does the process of ensuring that new finishes and surfaces can be made sufficiently safe and durable for use in an automotive environment. These cars should be considered closer in spirit to one-off superyacht commissions, where every facet of the design is effectively a prototype made real.

The Phantom Hummingbird is no different. You all know what a Phantom looks like, which is why the images here focus on the interior processes and not the imperious bodywork (even though it does look rather impressive in a two-tone mix of Wildberry and White Sands, along with a hand-applied White Sands Coachline and hummingbird rendering along the flanks).

The innovation here is the use of iridescent abalone shells to create the marquetry patterns across the interior of the car, the first time these sea snail shells have been used in a Rolls-Royce. The shifting, iridescent surface is used to evoke the plumage of a hummingbird, images of which are inlaid in each rear seat picnic table.

In addition, the rear centre Waterfall section also uses a mix of mother and pearl as the basis of a unique botanical pattern. As Phil Fabre de la Grange, head of Bespoke at Rolls-Royce, explains, ‘our clients continually invite us to explore that inspiration in new and unexpected ways, as this remarkable Private Commission so perfectly demonstrates. The introduction of abalone shell into Rolls-Royce marquetry presented our designers and craftspeople with a fresh creative and technical challenge.’

The car was commissioned as a present for the client’s wife, a project handled through the company’s Private Office Dubai. It’s projects like this that maintain Rolls-Royce’s rarefied status; it took nine months to develop the process and application, with each hummingbird formed from 53 laser-cut pieces of abalone and mother-of-pearl. Each piece was cut, hand filed and reduced in thickness to allow for seamless application, giving the car the same aura as a piece of heirloom furniture.

The wood surround is Ash Burr veneer, along with pieces of Silver Birch to supplement the bird and flower design. They’re paired with Creme Light leather with Moccasin and Tan detailing and everything sparkles beneath the familiar Rolls-Royce Starlight Headliner.

There’s a lot of debate right now about contemporary craftsmanship and how volume brands are looking to get in on the act and upgrade their interior quality through techniques, materials and processes that mimic traditional crafted surfaces.

Make no mistake, Rolls-Royce still demonstrates what craft really means, not some ersatz approximation of bespoke. After all, craft is skill multiplied by time, and it’s only at this rarefied level that the investment and ability exists to make such things come true.

Rolls-RoyceMotorCars.com, @RollsRoyceCars

The unofficial rule of the countryside is that if you’re bombing around in anything that looks remotely like a brutalist building, then you’re probably a farmer. No sweeping rooflines or curvaceous windscreens, to be part of the club it’s strictly straight lines and subpar aerodynamics. Watching the Ineos Quartermaster’s angular visage appear above the hedgerow amongst Dorset's rolling hills, it looks at home.

Gone are the days when double-cab pickups qualified as vans for UK tax purposes. Even before the change, the Quartermaster never fell into that category since it can’t carry more than 835kg in the petrol version or 760kg in the diesel. Compare that to the farmer’s true friend, the Toyota Hilux, which can lug around 1,065kg for £20k less than the Ineos, and questions start to arise on the newcomer’s legitimacy.

The Quartermaster undeniably looks the part, but at a starting price of £63,495 the truck bed will likely see nothing more egregious than some muddy boots, wet dogs and anything that would otherwise leave a lingering scent, stain or scratch in the cab. Think of it more in terms of private school pickups in the shires, rather than a tradie and his pickup for hire.

Inside, the cabin takes heavy inspiration from aviation, like its sister model, the Grenadier. Even the passenger airbag light looks like the seatbelt warning sign in a plane. Tactile buttons line the upright dash and spill over onto the ceiling where you can select all manner of off-road performance-enhancing modes.

The small semblance of a driver’s display is a faceless rectangle that houses warning lights and indicators. It’s refreshing to find yourself not sitting in front of yet another screen while driving. Of course, important information like speed and fuel are still visible, just on the right-hand side of the central display (which can be used as a touchscreen or controlled with a rotary dial).

Enjoyably, nestled under the rear seats is a reggaeton-shaming subwoofer, contributing to one of the crispest and loudest sound systems you can find in any pickup. Two pop-up safari-style sunroofs and Popemobile-esque glass all around fill the cabin with light but despite this it still feels quite tight and a bit van-like.

Somehow, despite the interior featuring gorgeous supple leather and well executed technology, alongside plenty of hard plastics and water-resistant features, it neither feels luxurious enough to rival a Range Rover, nor robust enough to live forever like an old Land Rover.

For 2026, the Quartermaster has been updated in line with its SUV-styled station wagon sibling. The most notable improvement is significantly better steering feel and a turning circle that has been cut by a metre . Don’t be fooled though, it still possesses the agility of a 12-tonne truck and any tight situation normally handled with a swift three-point turn will result in no-less than seven shunts backwards and forwards, plus or minus expletives.

Wider and taller than a Defender, old or new, the Quartermaster is the antithesis of what you want on narrow country lanes. It certainly has a commanding presence; just as you’re always forced to give way and reverse at the sight of a tractor trundling towards you on a single-track road, the Quartermaster serves as an automatic stop-and-reverse sign to those coming the opposite direction. Might is right.

Rightly or wrongly, such a vehicle is always going to be something that justifies itself on want alone. The absurdity of the Quartermaster’s 5.4m length has you pouring out of any parking space you manage to squeeze into. Throw in the towering 2m+ plus height, lifted stance and old school Defender-thieved silhouette, and it often ends up looking more parody than pedigree.

A cynic might say that the Quartermaster is not a “Built Tough” Ranger or an unbreakable Hilux; it's a Cheshire-spec Chelsea tractor for cosplaying farmers. That downplays its very real off-road ability however. It probably fares much better in the US, where space is unlimited and code-switching via your choice of truck is a national pastime.

A week stomping about the south coast in what could easily pass for the hero car in a Jurassic Park sequel, and the conclusion is this: much like an actor, the Quartermaster can play a pickup. It can't haul or manoeuvre quite like a farm-hardened Hilux, its size and steering make it too clumsy for work on the yard and it’s far too precious for tools on the back seat.

Nevertheless, the Quartermaster still larks about the countryside like it owns the place, content as a chariot for daily dog walks, trips to the beach with bikes in the back or just the morning coffee run. However you use it, you're definitely playing a part.

Ineos Quartermaster, from £63,495, IneosGrenadier.com, @Ineos_Grenadier

Düsseldorf’s Caravan Salon is one of the RV industry’s biggest trade shows, a chance for innovation to shine in a sector driven by aspiration, technology and the romance of the unencumbered road trip. This year, there were some clear universal trends.

Off roading was the order of the day, with several key players offering up spacious campers on heavy-duty 4x4 chassis, while new materials and new form factors also got a look in. Here are nine of our favourite new homes from home revealed at the 2026 show.

Reisemobile ATventure 1070

We start with road-going titan, the ATventure 1070 by German manufacturer Reisemobile. Based on the Mercedes-Benz Actros HGV platform, the 1070 is the largest of Reisemobile’s three ATventure models, measuring in at a mighty 10.7m long by 2.5m. All of this onboard space is dedicated to luxury for two, rather than rugged overland capabilities for a large family.

A slider expands the kitchen/dining area in the centre of the truck, while the mid-section is taken up by a spa-like bathroom, with the double bedroom at the rear. Uniquely, this is also the location of a staircase to the upper deck, a lightweight demountable structure that adds a private terrace on the roof.

ATventure-Reisemobile.de, @ATventure_Reisemobile

Dethleffs c.core concept

This VW Crafter-based concept camper was created by German manufacturer Dethleffs as an experimental platform for future material and feature research. For a start, the camper body is made of a new lightweight material called Necto, derived from bonded aluminium sheets for stability and strength and excellent insulation values. It’s also flexible, allowing the c.core to be slightly more aerodynamic than the usual brick-shaped RV.

Flush windows and doors give the c.core a stealthy, futuristic feel, while the internal skylights come from the marine industry. Not only is the aluminium light but it also vastly improves the camper’s total recyclability, as does the use of recycled PET (polyethylene terephthalate). An expandable photovoltaic array on the roof helps top up the battery and doubles up as an awning. Other innovations include a pressurized water filtration system.

Inside, the c.core offers a restrained, tasteful palette – not always a given in this industry – and a flexibly arranged lounge to maximise space both at camp and on the move. Space saving features like an ultra-short-throw projector, sliding kitchen worktop and in-built outdoor kitchen also add to the mix of function and practicality. The c.core also includes fixed two berth bunk at the rear with a shower room opposite the kitchen.

Dethleffs.de, @Dethleffs_official

Beauer X6

French caravan manufacturer Beauer specialises in sliding mechanisms that double or treble available floor space once camp has been struck. Their newest model, the X6, was shown in prototype form at Düsseldorf. Unlike the familiar X3, with its circular, shell-like form, the X6 is a more conventionally boxy caravan, with a single slider that effectively doubles the space to create a 3.6m wide camping space.

The main module houses the kitchen, living room and bathroom, complete slide-out terrace and awning. Around the back, the lightweight sliding module, provides generous space for a double bed and a pair of bunks. The company also showed its new double slider X8 model at Düsseldorf.

Beauer X6, from €74,990, Beauer.fr, @Beauerx

Bürstner Habiton 6.1

The new Habiton 6.1 from Bürstner is a two- or four-person camper based on the tried and tested Mercedes-Benz Sprinter platform. Designed for go-anywhere self-sufficiency, the raised 4x4 chassis has impressive off-road capabilities, whilst interior space is subtly improved by the expanded side pod that gives you space for your feet in the transversely positioned bed.

In addition, the mattress in the pop-up is heated for cold winter nights, while an optional large capacity battery helps expand the 6.1’s off-grid endurance.

Bürstner Habiton 6.1, €78,999, Buerstner.com, @Buerstner

VW California Beach inflatables and ID. California Cruise

Think camper and most uninitiated folk think Volkswagen. The company continues to bolster its reputation as a supplier of well thought out, premium small campers with two world premieres at Caravan Salon 2026. The first is a conceptual furniture set for the new California Beach. Developed in collaboration with camping inflatables specialists Stuff Bubble, the Beach was shown with two modular interior concepts, an inflatable kitchen and bed system.

Both components mark a new direction in camper interiors, away from rigid fixed structures and towards a more flexible architecture inspired by contemporary inflatable tent design. Not only do they allow the California Beach to be used as a regular vehicle most of the time, the modules take just minutes to install and cut down on excessive weigh – the kitchen comes in at 10kg, the double bed just 12kg.

The inflatable ideas were joined by a long-awaited member of the California family, the all-electric ID. California Cruise. Based on the well-established ID. Buzz, it’s the first in a series of EV campervans that’ll be introduced by VW’s commercial arm from 2027 onwards.

Volkswagen-nutzfahrzeuge.de, StuffBubble.com, @StuffBubble_original

Norantz IPAR 4

Mining a similar seam to the Habiton 6.1, Norantz’s IPAR 4 is a go-anywhere machine that uses either a Mercedes or MAN chassis to deliver a robust off-roader. The 4-berth model includes a fixed roof extender and the IPAR is also available as the 2+2 pop-up and the pop-up-less IPAR 2. There’s a welcome on quality fixtures and fittings, plenty of storage and extras like a snorkel exhaust for fording rivers.

Norantz.com, @Norantz

Westfalia Columbus Liner

The Fiat-based Columbus Liner from industry stalwart Westfalia has one unique trip up its sleeve. Available with 2-4 berths, the 6.36m camper includes a permanent King size bed in the rear, a convertible double in the front and an optional SkyLounge pop-up, complete with terrace and, should you so desire, espresso machine.

Westfalia Columbus Liner, from €83,900, Westfalia-mobil.com, @Westfalia.fr

Rapido V64

Another compact motorhome that manages to squeeze more space out of a Ducato, the V64 from Rapido incorporates a fixed central rear bed and WC/shower unit, with a single berth space up front in the cab. A clever sliding mechanism stashes the dining table within the kitchen units when not in use and the seating area is positioned alongside the sliding door for al fresco dining.

Rapido-Motorhome.co.uk, @Rapido.campingcar

Adria Supertwin 4x4

Finally, another rugged machine that blends campervan scale with explorer truck ability. The Supertwin 4x4 is the most advanced variant of Adria’s Mercedes-based camper, also available without the raised ride height and additional pop-up sleeping area. A large front skylight brings daylight into the interior, while timber veneer trim options create a warm and welcoming ambience.

Adria Supertwin 4x4 600, from €128,299, De.Adria-Mobil.com, @AdriaMobil

A new high-end ‘gateway’ to London has just opened – but you’ll need to be arriving by private jet to use it. Flexjet, the leading luxury private aviation provider, has unveiled its new dedicated terminal at Farnborough airport in Surrey that sets a fresh benchmark for the company’s infrastructure design – and is all set to soothe, support and pleasantly surprise its well-heeled clientele.

Two years in the making, the two-storey, 2,098 sq m terminal offers not only hospitality, relaxation, working and meeting space exclusively for Flexjet ‘owners’, as members of its fractional ownership scheme are known; it also hosts a finishing school for cabin crew; doubles as an event space; and houses Flexjet’s European HQ on the upper floor.

It’s what Flexject CEO Mike Silvestro calls a ‘blueprint terminal’ that sees the company ‘jumping ahead in terms of hospitality’ as it aims to offer the highest quality guest experience.

‘This opening establishes one of the most significant branded luxury environments in private aviation and is a defining moment in Flexjet’s global expansion,’ says Flexjet chairman Kenn Ricci.

The interiors, by Canada-based Carver Hain Art + Design, are inspired by ‘what you see from the sky’, says practice co-director Tracy Hain, referring to the space’s rich textures and warm hues – the latter also tying in with those of Flexjet’s visual identity. ‘I didn’t want it to feel like an airport lounge,’ adds Hain, who previously designed the interiors of Flexjet’s Mayfair office. Here, she has created what the company refers to as a ‘home from home’ for its owners.

There’s topographical carpeting, and softly tactile seating in buttery leather and earthy-toned or rich blue textiles, the fabrics largely from Casamance. Forms are rounded; lighting, including decorative designs by Bert Frank, as well as Cassina and Artemide, is soft throughout; and curved walls and columns are skirted in an embossed liquid metal bronze.

Commissioned artworks comprise a sculpture by British-Canadian artist David Spriggs – a cloud-like whirl, formed of layered acrylic panels and inspired by the vortices that form beneath a plane’s wingtips – and a wood-veneer marquetry work by London-based Olly Fathers in the meeting space.

The latter room, ‘my favourite space’, notes Hain, envisioned not just for meetings but also events, is comfortably cocooning, with wall-to-wall carpeting, fabric wall coverings, an inviting sofa as well as the formal table seating – and all the connectivity you’d expect. It’s set beneath a ‘liquid effect’ painted ceiling achieved through what Hain describes as ‘a rather arduous process requiring many layers, almost like lacquer’.

The oval bar, a centrepiece of the main space, is a natural gathering spot. Flexjet owners will be able to request bespoke dining, with the focus on smaller bites and dishes that can be enjoyed easily in any part of the space.

‘I wanted to evoke a club,’ says Hain of the whole space, ‘somewhere you want to spend time, have a martini at the bar.’

The true party piece? The Fuselage Lounge, which recreates the cabin interior of a Gulfstream G700 jet, at actual size. Fitted out with precision by Hain, it’s complete with a master bedroom. Not just a cute space to work, relax or meet for Flexjet owners, it will also be used for sales and marketing, and is the perfect practice area in which staff attending the training academy can hone their skills.

A galley module can even be rolled out and slotted onto the end of the lounge to facilitate this – an example of the whole hub’s embrace of functionality as well as flair.

The training academy space itself – populated by a series of galley modules – can be open to the rest of the ground floor during events, for example, or curtained off from the lounge space when privacy is required.

The new private terminal is Flexjet’s first in Europe and Silvestro describes it as a ‘gateway to Europe’ for the brand. The US-headquartered company already has nine other terminals either built or being developed Stateside, and an infrastructure presence of some kind in 25 locations globally.

Those using the Farnborough terminal can take advantage of helicopter transfers in and out of London, should they wish (we did the ’copter commute from Battersea to attend the Farnborough terminal launch and it took just 20 minutes, less on the way back). He also notes that owners might simply fly into Farnborough, hold their meeting within the hospitality-focused terminal, and fly out again.

Asked how Flexjet owners and their expectations have changed over the last few years, Silvestro says they are getting younger, buying larger and flying longer distances. ‘The average age has dropped ten years,’ he says.

The company gives that average as around the low-fifties, noting that it is seeing increasing numbers of owners in their forties. Now, at 45, adds Silvestro, if they have the money, rather than starting with smaller planes and working their way up, ‘they are buying straight into big planes, and travelling further. The world is smaller.’

There should be no shortage of takers, then, for Flexjet’s new hub for high flyers.

Flexjet.com, @Flexjetllc

There’s an elusive sweet spot in the midst good design, admirable function and inoffensive pricing, and the Romanian car brand Dacia wants to be right in the heart of it. Over the past two decades, with close collaboration from Renault, Dacia has built itself a rock-solid reputation as a no-nonsense bargain brand.

Models like the ultra-compact Spring city car, no-frills Sandero, seven-seater Jogger, and the perennial favourite Duster crossover have all brought a robust and spirited functionalism to the market. Upcoming models include the more premium mid-size Striker, while last year’s self-consciously cute Hipster Concept showed there’s also scope for the brand to downscale further.

Announced in 2024, the Dacia Bigster is the company’s first push into the ‘proper; SUV market. Available in two flavours of hybrid, the Bigster is one of the most literal car names you’ll find. Measuring 4.57m long, 1.81m wide and 1.71m high, the Bigster is a strict five-seater (Dacia’s seven-seat option remains the Jogger) with chunky, almost Tonka-toy like styling.

It’s big, but not vast (certainly not in the realm of American XXXL SUVs) and therefore avoids all the pitfalls of navigating such a car betwixt town and country – you won’t be hated in the former and narrow country lanes aren’t too much of a trial.

We spent a week with the Bigster, during which time Dacia’s attention to detail really stood out, as did the car’s abilities and interior features. Not all Bigster’s have four-wheel-drive, but the high ride height and dedicated terrain modes make these variants pretty handy off the beaten track. This is always nice to have and in the Bigster’s case, it’s functionality that follows form, emphasising that the black plastic clad wheel arches and business-like bumpers aren’t just for show.

In fact, inside and out there is a pretty heavy concentration of black plastic. Dacia is one of the few car companies who commit to the bit and make a virtue of the cheap and durable material, refused to dress it up with soft touch surfaces or unnecessary trim. What you see is what you get, a rare honesty that really shines through.

The interior layout is also impressive. Yes, there’s a central touch screen display but it doesn’t dominate the dashboard and it’s accompanied by physical buttons for the heating controls. There’s also a built-in smartphone dock, made slightly redundant by the inclusion of Apple CarPlay and Android Auto. The digital dash is clear with consistent graphics, backed up by physical buttons – not haptic switches – on the steering wheel.

So far, so good. You also get regular air vents that can be moved by hand, not given over to servo motors buried deep in the dash and accessible only via the screen. It’s all very much on brand for a company that makes a virtue of building ‘cars for real life’.

Usually, real life means getting from A to B without fussing too much over things like dynamic abilities and other performance metrics. It's absolutely not a criticism of the Bigster to say that it's a fairly forgettable thing to drive, with great ride and economy on the positive side. It simply works.

Inevitably, the innate value of such simplicity has become a form of signifier just like any other brand. Dacia is the Uniqlo of carmakers, starting off as a welcome distraction from excessive label-consciousness but eventually circling round into an identifiable brand all of its own.

It should be pointed out that this pathway only works when the product truly does its job. Just as the Duster has become shorthand for canny, tasteful, inconspicuous consumption, the Bigster looks set to follow suit.

The interior volume is flexible and generous, while another brand differentiator – practical thinking – is in evidence throughout, from clips and storage compartments to modular roof bars, and quirky features like a second room armrest that transforms into a backpack.

Dacia is also on trend with its optional Sleep Pack system, which gives the Bigster a leg-up in the burgeoning world of car camping. Accessories include a rear bed system for the load deck and an awning. All this and more makes the Bigster one of the friendlier, more accessible and acceptable iterations of modern SUV culture. Look after it well, and it’s the kind of car that only gets better with age, as time and experience add a little patina to the palette while the basic functionality remains undimmed.

Dacia Bigster, from £25,215, Dacia.co.uk, @Dacia_UK

Lego House has launched a Ready, Set, Build experience to encourage Formula 1 fans to visit the company’s iconic headquarters in Denmark. The new activity will inspire families and children of all ages to design and test their own Lego race cars, then put them through their paces in a series of interactive challenges.

It's not just about building a car either. Visitors to Billund become the engineers, experimenting with aerodynamics, speed and performance. They also take on pit-stop style build challenges, with giant F1-themed installations throughout the Lego House, all part of an ongoing partnership with the sport that has activations at the Miami Grand Prix and elsewhere.

Known as the ‘Home of the Brick’, the Bjarke Ingels-designed Lego House has become a bucket list destination for build enthusiasts. Filled with more than 25 million bricks, the Jutland attraction – a 90-minute flight from Heathrow - is the ultimate hands-on day out.

Lego’s automotive history now dates back decades. The company first offered model vehicles made of plastic or metal in 1953, long before the DIY modern brick system existed. Models of real world cars and trucks like the Volkswagen Beetle and Ferguson tractor thrilled children, until Lego designers finally reinvented the wheel.

The arrival of the Lego wheel in the early Sixties saw rubber ‘tyres’ mounted on plastic wheels, with a metal axle that could be plugged into a specific brick. Set 400 launched in 1962 and marked a massive evolution in model building, allowing children to create their own wheeled vehicles for the first time. Since then, Lego cars have become some of the brand’s most popular sets.

From the Batmobile to the James Bond Aston Martin DB5, The Back to the Future DeLorean to the Lamborghini Countach, there's a Lego kit for every four-wheeled eventuality. Today, the detail on modern Lego Technic sets – the most advanced line of building kits – is staggering. The 3,599-piece Bugatti Chiron featured a modelled W12 engine with moving pistons and originally cost around £450, rather more than my first road car.

If that’s beyond your skillset or budget, the Red Zone at Lego House is a vibrant play area where enthusiasts can let their imagination run wild. Beside a giant, cascading waterfall built from 2 million bricks, I set about creating a replica of the Porsche 911 Targa that brought me to Billund.

With a huge smorgasbord of colourful bricks at every turn, Lego fans from around the world are here designing their own unique creations. However, built in an era when Lego consisted of simple bricks and not much else, I’m helped by a master builder who could probably knock up a Porsche with his eyes shut.

Surrounded by intimidating Lego masterpieces, including life-size dinosaurs, planes, trains and automobiles, my modest motor looks a rather feeble effort. Other Porsche 911s kits are available off the shelf but at least none are quite like this – one that includes a matching ‘mini me’ figure.

Lego House so proud of its Danish roots that a special edition ‘I Love Billund’ miniature of the building is now available exclusively at the venue. The 1,404-piece set costs £88.

Lego House spokesman, Soren Bering Andersen, said: ‘We wanted to capture not just the landmarks but the feeling of what the town means to us. Billund is at the heart of our story. It’s where Lego play began and where it keeps evolving. This place reflects how a small Danish town grew into the global home of play and creativity.’

For opening hours, tickets, and more information, visit LegoHouse.comPorsche 911 Lego, set 10295, £149.99, Lego.com

Aston Martin’s foray into high-powered two-wheeled machines has been rumbling on for many years. A partnership with Brough Superior was first announced way back in 2019 with the track-only AMB 001, followed by the AMB 001 Pro superbike in 2022. Along the way, the motorbike has also manifested into a collaboration with Richard Mille, but at no point have the fruits of the partnership with the heritage biking brand resulted in a road-legal product.

All that is now set to change. This is the new AMB 002 Roadster, a road-ready iteration of the original superbike that’ll be produced in an edition of 300 units from 2027. The AMB 002 Roadster isn’t simply an adapted AMB 001 but an all-new machine, designed and developed in close collaboration with the Aston Martin Design Studio.

A sport-focused superbike with a pared-back, lightweight form, extensive use of carbon fibre and, naturally, plenty of power. The AMB 002 Roadster will be powered by a water-cooled V-Twin putting out 130bhp, which is tuned for dynamic but usable power delivery to make the most of winding, far-flung roads.

Just as Aston Martin’s definition of automotive beauty has evolved since 2019, so has form language of its two-wheeled collaboration. This is still a sleek machine, no doubt about that, but the AMB 002 is more insectoid and animalistic than the original, swapping out organic, biophilic forms for a ripple of gill-like air vents on each flank and a seat that tapers upwards like a scorpion’s tail. Even the stalk-like wing mirrors feel alive.

Such complexities are complemented with the usual raft of craft, from the glossy carbon fibre surfaces to the hand-stitched saddle leather seats. ‘It was always a long-term dream to make an Aston Martin motorcycle for the road,’ says Marek Reichman, Aston’s executive vice president and chief creative officer. ‘The AMB 002 combines the bold design aesthetic and pioneering engineering innovation which define Aston Martin and Brough Superior’s work to date. It’s a vivid expression of our shared passion for sculptural, visceral, covetable machines.’

Henriette describes the motorcycle as ‘truly one of a kind, both in its design and in the riding experience it delivers’. ‘The AMB 002 is every bit as striking dynamically as it is visually, a razor-sharp roadster that offers exhilarating sensations, creating the impression of becoming one with a lightweight, precise blade, propelled by our all-new, even more powerful engine.’

The new motorcycle will be machined and built at Brough Superior’s HQ in Toulouse, France, where a full array of high-grade CNC machinery is on hand to transform materials like aluminium and titanium into ultra-strong, high-grade components. In particular, the bike’s titanium structural frame demonstrates the benefits of having skilled design and manufacture on site. This crucial component weighs in at the just 5kg, a small fraction of the bike’s total 190kg mass.

Brough Superior can trace its origins back to 1919 and is famed for being TE Lawrence’s motorcycle manufacturer of choice. The company was reborn in the 2010s under the leadership of French enthusiast Thierry Henriette. Orders are now being taken for this limited-edition machine with first deliveries expected in Q3 2027.

AstonMartin.com, @AstonMartin, Brough-Superior-Motorcycles.com, @BroughSuperiorMotorcyles

The long-awaited return of one of Audi’s most celebrated modern model names has been expected for a while. The contemporary A2 isn’t quite the same kind of design revival as a Renault 4 or 5, but traces of the original car’s form are certainly in evidence, not to mention its spirit.

The new Audi A2 is an e-tron, a pure electric car. The headline figure is that it offers a WLTP range of up to 646km (a shade over 401 miles) from the top of the line 84 kWh battery (smaller, cheaper 52 and 61 kWh variants are available).

Audi is citing this as the most efficient model in its history, with an energy consumption of 12.8 kWh/100 km (which converts into a UK-specific Miles per Kilowatt-hour 4.85 mi/kWh – anything over 4.5 is not uncommon but still impressive).

That frugality is all the more fitting given the history of the A2. The original debuted in 1999, following on from the 1997 Audi Al2 concept. A compact, upright hatchback, the A2 combined ultra-light (and expensive) all-aluminium construction with finely honed aerodynamics and a range of efficient combustion engines, including a 1.2l turbo-diesel that could get record-breaking mileage (around 140mpg). It was also beautifully detailed inside and out.

Sadly, it didn’t achieve the required sales to survive and production ended in 2005. It was not replaced. Expensive to buy but cheap to run has never been a particular successful formula in the auto industry – note how difficult it is to get the wealthy into expensive electric cars. Nevertheless, the A2 was ahead of its time in almost every respect and has garnered an enthusiastic following in the ensuing years.

Can the new A2 e-tron combine efficiency with popularity? EVs have made a good deal easier to charge more for less, if you’ll pardon the pun, despite the market’s broad attempts to lower the barrier to entry at the bottom end.

An Audi is a premium machine, however, and although the A2 e-tron won’t change that, it’s notably sparser in interior details if not equipment. The extensive use of 'Softwrap', a new fabric surface, across the dash and door panels gives a certain minimalist, old school vibe.

Other useful features include Vehicle-to-Load (V2L), ie, you can charge your e-bike from the car, a large panoramic glass roof and magnetic charge stations for smartphones. Recycled materials are used extensively, from aluminium to plastic, with a special focus on designing components for recycling at the end of the car’s life cycle.

Visually, there are clear nods to the earlier car, especially in the shape of the glass house and the way the rear window is bisected by the descending roof glass. The front end is rather disappointing in comparison – any hope that Audi was going to head back to the clarity of 90s icons like the TT and A2 were raised by the recent Nuvolari reveal and then cruelly dashed by the towering grille of the new Q9.

The A2 e-tron splits the difference but still errs on the side of big grille=bold personality. Odd, given it’s a pure EV (and even odder given the 1999 A2 barely had any grille at all).

These are all hopefully minor quibbles about a car we’re nevertheless excited to drive. A2 is a perfect name for an EV that majors in minimalism in the service of slippery aero and efficient use of available resources. Here’s hoping that the A2 e-tron can avoid cult status and head for high up in the sales charts instead.

Audi A2 e-tron, from 38,200 euros, first European deliveries Q4 2026, Audi.com, @Audi

The original Fiat 500 is one of those evergreen, highly democratic objects that transcended wealth and class during its lifetime. In the decades that followed, the little 500’s image blossomed into cult car, design classic and highly desirable automotive tchotchke.

The latter status has been given another bump by the recent resurgence of high-end beach cars, spiaggina, inspired by the 60s original commissioned by playboys and industrialists to serve as a last mile transportation solution on the Mediterranean coastline, traversing solely between the yacht, the bar and the beach.

Preeminent in this tiny category of waterside trinkets was the Fiat 500 Jolly, created by Carrozzeria Ghia in the early 50s as a direct commission from Fiat strongman, Gianni Agnelli (Ghia had previously been applying the chopping roof and wicker treatment to other compact European cars).

In the modern era, original Jollys find themselves at luxury car auctions, whilst companies like Castagna Milano can provide a Jolly-fied Fiat Topolino Spiaggina, for a price. Even Fiat itself has ventured into homages based on the contemporary 500C.

The most prominent purveyor of the modern, ultra-restored Jolly, however, is Garage Italia, the creative lab plaything of Lapo Elkann (Agnelli’s great grandson). In addition to electrifying original 500s, the outfit also builds tantalising Fiat Panda restomods and gaudily transformed Ferraris, Maseratis and Alfa Romeos. Garage Italia doesn’t quite have the class of the original carrozzeria, but it certainly has the Chutzpah.

This new, new interpretation of the Spiaggina doubles down on its nautical origins. A collaboration with the Italian yacht design studio Hot Lab (part of the Swedish Viken Group), the new Spiaggina is very much intended as the kind of toy that could be hoisted on and off a superyacht for a spot of onshore exploration.

There are plenty of ways to transform the little Fiat into something with a cheekily camp, more shipshape attitude, from the interior materials to the boat-like livery. The central ‘Heritage Tunnel’, decked out like a Riva, culminates in rear seat storage area that could hold beach reads, magazines or even a bottle of bubbly.

Another obvious nod are the marine grade blue and white floor mats by Italdek, side ropes and specially developed indoor-outdoor fabric, ‘Scia’ by Mariaflora, that will also show up in future accessories. There’s also a Nardi Classic steering wheel, a marine spec item in wood and aluminium. Garage Italia describe this particular Spiaggina as being ‘conceived not simply as a car, but as an extension of the aesthetic language of a boat.’

Interested crews can find out more at Garage-Italia.com, @GarageItalia, Hotlab.it, @Hot_lab_yachtdesign, VikenGroup.se