| | Jonathan Bell, transport & technology editorThe dramatic surroundings of Santiago Calatrava's Città dello Sport in Rome is an unlikely location for industrial self-sabotage. If you believe even a tiny proportion of the online invective hurled towards Ferrari these past few days, then a terrible crime took place here this week. Ferrari means a lot to a lot of people, and many of them took noisy umbrage at the LoveFrom-penned lines of the new Luce after its long-awaited reveal. |
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It's hard to pick up a consistent critical thread in the comment vortex that ensued. Is the car too electric, not conventionally beautiful, unrepresentative of Ferrari's ethos/spirit/attitude, altogether too woke? Having tracked the Luce’s journey these past few months, I had an inkling that it wouldn't get an easy ride. Jaguar’s upcoming Type 01 effected a similar meltdown, when it was heralded by the Type 00 concept in 2024, and the resolution, clarity, sophistication and finish of the Luce is worlds ahead of (what were then) Jaguar's rather vague stylisations. Change is hard. Yet what seems to have kick-started the Ferrari furore is that the commentariat have taken this change to heart; it clearly feels very personal. So why does a brand that sells fewer than 15,000 cars a year mean so much to so many obvious non-customers? The reason this shift in emphasis in design, packaging and technology appeared so catastrophic to so many is that the Ferrari brand and mythos is nothing more than a fragile shell of symbolism. It’s the encapsulation of traditional aspirational consumption, a cruel mirage that shimmers with desire yet demands the existence of multiple levels of inequality to maintain this status. Unrequited love for the (traditional) image of Ferrari is deeply reactionary and self-defeating, but it persists because to disavow it is to ask too many difficult questions. The Luce can’t upend this unequal power dynamic, but it certainly threatens to change it. As a result, social media is awash with those kicking back against this threat. Oh, and the photographs really don’t do the car justice at all. |
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Jack White on his first art exhibition: ‘You have to get your ego out of the way’
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‘People don’t know this side of me. I want them to see that this came from a passionate place, in an attempt to try to get somewhere with it,’ says Jack White, walking Hannah Silver round his first art exhibition, ‘These Thoughts May Disappear’, opened this week at Damien Hirst’s Newport Street Gallery in London. The show features more than 100 works that reinvent the detritus of life – discarded objects rethought entirely or coated generously in a glossy epoxy resin – going back to pieces White made as a teenager.
It might seem an unexpected move from the musician and frontman of bands including The White Stripes and The Raconteurs, but White’s passion for revitalising the discarded, it turns out, began early, with ‘garbage picking’ for old furniture to fix up in Detroit in his youth. ‘I was taught about the creativity in taking an old piece of furniture that's headed for the dump and rescuing it and bringing it back to life.’
What finally prompted an art exhibition? ‘No one had ever really invited me to or encouraged it, so I’ve never really sought it out. I just made work in my own time. Until Damien Hirst said, “Well, why don't you do one at our gallery?”’
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For artist and designer Talin Hazbar, every fragment of rock tells a story |
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Syrian-born, UAE-raised artist and designer Talin Hazbar was around ten when she began collecting an informal ‘materials library’, picking up stones and other objects from within the citadel in Aleppo. Amassing in earnest began while she was studying architecture at the American University of Sharjah, gathering sand from across the UAE and beyond to experiment with mould-making. Many of these materials and tests now line the shelves of her studio in Sharjah Art Foundation’s Al Hamriyah complex, including pieces of calcified fishing nets and coral from the sea just beyond its walls.
‘I’m fascinated by how materials behave and the forces that influence how they decay, accumulate and change shape,’ says the artist, for whom every mark and fissure in a rock is like a scar, revealing something about shifts in weather patterns, ecologies and social history. Hazbar tells Malaika Byng about her practice, and her tribute to the courtyard fountains of traditional Syrian homes, using stones from the Levant, destined for autumn’s Design Doha Biennial.
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Dining out in Los Angeles is hotting up this summer |
Los Angeles is one of America’s greatest dining destinations, thanks to a confluence of cultures, year-round Californian produce and a touch of Tinseltown glamour. Whether it’s a beloved taco truck or a white tablecloth joint, you’re sure to find it in the City of Angels. Such a thriving culinary scene means that hundreds of restaurants open in LA each year, more than 750 in 2025 alone, according to one recent analysis.
With so much choice, it can be tough to choose where to book your next night out. We’ve done some of the legwork for you, narrowing in on a selection of some of the best openings this year so far, from a popular West Hollywood rooftop that’s had an elevated refresh to the pool-view summer hotspot, pictured here, where a classic Negroni beckons.
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