Ferrari has finally entered the electric-powertrain domain with its Luce sports car, which some adore while others absolutely hate. The controversial performance car is the Italian marque’s maiden venture into clean, responsible transition, designed in collaboration with Johnny Ive. While the names involved are larger than life, I hope they have some vehicle planned for the near future that lands everyone on the same page.
While the world is busy dissecting what’s right and what’s sheerly comical about the new prancing horse on the block, a retro-futuristic Ferrari concept takes us away from all the noise and into a realm where performance cars are minimalist and purely revealing. Meet the Ferrari TESTaZERO, which feels more Ferrari than the Luce for good measure!
What defines the concept is its pure geometric design language, which cliches the usual Ferrari territory, yet it manages to adapt the core Ferrari DNA in a very unassuming manner. That DNA comes from the Pininfarina-designed Testarossa, preserving the 12-cylinder mid-engine sports car’s skeletal. The side stakes and width are more synthetic in their adaptation, while the side profile and the front and rear sections of the body give off PlayStation vibes.
The body has a very low-slung presence with the skirtings hugging the tarmac, barely having a paper-thin distance between. Knee up, and you have everything chopped off literally. The body above the wheels, forged by Spanish firm Llagos Design, simply doesn’t exist, giving new meaning to open-air roadster fun on a cozy tropical evening drive. Those five-spoke wheels are inspired by the Maranello Sport Prototypes of the late 1960s, and they matter ever so much more in this concept as they are the focal point.
The rear-wheel-drive TESTaZERO accommodates the V6 engine in a see-through compartment on the flat rear. Flush in the middle is the space for the two riders who nestle in the minimalist interior of the vehicle. The contoured shape of the unified cabin section is ergonomically designed for comfort as one takes this radical Ferrari on a spin. There are no unnecessary dashboard elements or dials, just the ones necessary for the thrill of driving. The yoke-style steering wheel carries the same minimalist design language.
On the whole, the sports car is designed for the thrill of driving, although the aerodynamics might take a backseat due to the open shell configuration and the layered design of the front grille and the sidepods. The headlights and the tail lights are neatly fused into this layered architecture, which also conceals the rear diffusers, which could have done with a more full-bodied approach. In customary Ferrari style, the scissor doors add flair to the whole experience. I just hope the riders don’t take it out when the weather is unforgiving!
Ferrari has been quietly working under the wraps to design an electric sports car in collaboration with LoveFrom, led by Jony Ive and Marc Newson. After much speculation and a run of rumors for quite some time, the Maranello-based car maker has finally revealed Luce, its first-ever electric sports car, to the world, which, quite frankly, looks unlike the prancing horse we are accustomed to seeing. The four-door EV is all set to arrive in the USA by spring 2027 for around $430,000, and we hope the performance will mute critics like us, who have been used to the sculpted form of the Ferrari for decades.
Love it or hate it, the exterior and interior done by Jhony’s design house is a radical shift from what the Italian marque is known for. The car is shaped more like a performance SUV that can safely carry around five people inside. Yes, that’s right, as the Purosangue SUV held that honor before this reveal. Under the hood, the muted prancing horse is built around a completely new all-electric architecture.
Ferrari Luce gets its combined 1,050 horsepower thrust from the four independent electric motors that hurl it from a standstill to 200 km/h in mere 2.5 seconds. Top speed can go in excess of 310 km/h, which is right there in the Ferrari territory. The electric motors feeding four of the wheels independently derive their power from the 122kWh battery pack developed on the 800V architecture. Driving range on this performance vehicle is claimed to be 530km, but I’m sure in the high-octane driving modes, it’ll drop quite significantly. Ferrari has confirmed that the EV supports 350kW charging speed, with more than half the battery juiced up in just 20 minutes.
The all-electric architecture and the futuristic looks are not the only big changes. Luce comes loaded with technologies never before seen on a road-legal Ferrari. Things like active aerodynamic grilles, active suspension (used in the F80 hypercar), Torque Shift Engagement system to simulate progressive acceleration, and the four-wheel independent torque vectoring we talked about earlier. The Italian marque has also been able to achieve the lowest drag coefficient ever on a road car thanks to the aerodynamic all-aluminum bodywork and the adaptive ride height system, which lowers the front section by 10mm at high speeds.
Cabin on this one is far forward than any other Ferrari we’ve seen, and the center-opening side doors demonstrate what influence LoveFrom has had on the EV sports car. The futuristic front seems floating, while the rear has a more Ferrari sports car vibe to it. Nonetheless, the overall exterior design is “smooth, continuous, and uninterrupted.” The interior carries the same futuristic design inspiration with a Samsung Display developed OLED layered dashboard that employs Samsung’s HIAA tech, natively used in Galaxy phones. The layered layout of the instrument cluster is first ever seen on a production car, as the two OLED panels stacked on top of each other have mechanical hands sandwiched between them. There’s a central pivoting touchscreen with physical switches on the Luce, and another screen on the rear for the passengers. The aluminum steering wheel has a couple of manettino dials, an e-manettino dial to control the powertrain, and a standard five-position unit.
Ferrari Luce has a total curb weight of 4,982 pounds, measures 197.9 inches long, and 60.8 inches high. This gives the maker freedom to set the center of gravity quite low for superior handling and minimum body roll, as the weight distribution is done quite well for sharper handling characteristics. Being one of the biggest road-going Ferraris ever made, the performance EV rides on 23-inch front and 24-inch rear wheels to complement the proportions.
Two Ferraris arrived within months of each other in early 2026, and they could not be more different in what they represent. The Luce, Ferrari’s first EV, debuted its interior in February, designed by Jony Ive and Marc Newson’s LoveFrom studio, all Gorilla Glass panels, pivoting OLED displays, and a key fob that docks into the center console like a miniature iPhone. CEO Benedetto Vigna defended the outside collaboration by saying Ferrari needed people with the experience to prove that electric does not have to mean screen-dominated, which is a reasonable argument until you consider that Ferrari’s own designers have been doing exactly that, beautifully, for decades. The HC25 is what those designers produced at the same moment, for a single client, using the last non-hybrid V8 spider platform the brand will ever build.
Unveiled at the Circuit of the Americas by Flavio Manzoni’s Ferrari Design Studio, the HC25 is formally part of the Special Projects One-Off programme, a two-year collaboration between Maranello and one unnamed client who wanted the F8 Spider’s 710-hp twin-turbo V8 reimagined in a body that spoke the brand’s new formal language. The result is 4,758mm of matte Moonlight Grey bodywork, a three-dimensional glossy black central band housing the cooling intakes, bespoke headlamps using LED modules never before fitted to any Ferrari, and an interior that Manzoni’s team designed themselves: grey technical fabric, yellow-stitched leather, physical paddle shifters, analogue warmth. Put the HC25 and the Luce side by side and you are looking at a brand mid-transition, one foot in the cockpit of everything it has always been, one foot somewhere Jony Ive is leading it.
Designer: Flavio Manzoni (Ferrari Design Studio)
The organizing idea of the HC25’s exterior is that black band, and once you see what it does structurally you cannot unsee it. It begins at the base of the rear wheels, sweeps forward with an arrow-like momentum, curves up and over the door, where it conceals a handle milled from a single block of aluminum, then dissolves into the dramatically raked engine screen at the rear. The band houses the radiator air intakes and routes powertrain heat extraction, so every millimeter of it is functional, thermal management rendered as pure form. It divides the matte grey body into two distinct sculptural volumes, front and rear, that read as separate masses held in tension by this single binding element. The car appears to be moving at standstill, which is either a cliché or a genuine design achievement depending on whether the surfacing actually earns it. Here, it does.
The bespoke headlamps feature one-of-a-kind lighting modules that have never appeared on any other car wearing the Prancing Horse badge. The lens profile is exceptionally slim with a central indentation that mirrors the split geometry of the rear lights, reinforcing the car’s dual-volume logic end to end. The DRLs adopt a vertical boomerang arrangement along the leading edge of the front wings, a first for Ferrari, and when lit the front of the car carries the focused, sharp-edged expression of the F80 rather than the softer face of the F8 it replaced. The five-spoke wheels complete the picture with a diamond-cut outer rim and a double-recessed groove that optically enlarges the diameter without adding physical size, a compositional trick borrowed directly from product design.
Inside, the cabin is a lightly evolved F8 Spider, and that is entirely the point. Grey technical fabric meets black leather across deeply bolstered sports seats, yellow graphics trace a boomerang shape across the upholstery that directly echoes the DRL signature outside, and the stitching matches the brake calipers and Prancing Horse badges in the same acid yellow. Physical paddle shifters. Analogue gauges. An HC25 badge on the passenger side of the dash that will mean nothing to anyone who does not already know what they are looking at, which is how bespoke Ferraris have always announced themselves. The yellow is the one chromatic frequency that detonates against the controlled grey and black palette, and it connects exterior to interior with the kind of material consistency that makes a car feel designed rather than assembled.
What the HC25 ultimately represents in Ferrari’s 2026 timeline is the clearest possible articulation of what Manzoni’s studio produces when it works entirely on its own terms. The Luce will be the car everyone talks about when Ferrari’s electric era is discussed, and Jony Ive’s name will be attached to that conversation for years. The HC25 exists for one person, carries no electrification, and will never be replicated. For a brand standing at the edge of its own reinvention, that kind of commission has a particular kind of gravity.
Only 36 Ferrari 250 GTOs were ever built between 1962 and 1964, and one of them sold privately for $70 million in 2018. The body was shaped by Sergio Scaglietti working metal directly over the frame, piece by piece, without drawings, which means the most valuable car in the world was essentially hand-sculpted from instinct and aerodynamic necessity. Giotto Bizzarrini refined the GTO’s form through wind tunnel testing at the University of Pisa and extensive track sessions at Monza, chasing tenths through aluminum curvature at a time when the science of aerodynamics was barely a decade old. The result was a long, low nose, muscular flanks, and a Kamm-tail rear that looked inevitable rather than designed. That visual logic, equal parts science and poetry, is what makes the 250 GTO the single hardest car in automotive history to reimagine credibly.
India-based designer Krishnakanta Saikhom, a mechanical engineering graduate and National Institute of Design alumnus whose Lamborghini Massacre concept we covered on these pages, decided to try anyway. His Ferrari SC250 concept plants a provocative question at Maranello’s feet: what if the 250 GTO’s aerodynamic DNA had been allowed to keep evolving for sixty years, unconstrained by road regulations, homologation rules, or production economics? The SC250 answers by stretching the GTO’s proportional logic into Le Mans Hypercar territory, wrapping a dramatically low, wide body in Rosso Corsa and staging it directly alongside the original in the renders. The juxtaposition is deliberate and devastating. The ancestor looks delicate. The descendant looks like it wants to consume the atmosphere.
Designer: Krishnakanta Saikhom
From the side profile, the most direct visual conversation with the 250 GTO happens through proportion rather than surface decoration. Saikhom has preserved the long-nose, short-tail logic of the original, but stretched everything laterally and pushed the greenhouse rearward until it sits almost over the rear axle, compressing the visual mass of the cabin into something that reads more like a fighter jet canopy than a traditional coupe roof. The fastback line drops sharply into a truncated tail equipped with a pronounced multi-element rear wing, a detail that the original GTO gestured toward with its modest spoiler and that the SC250 takes to its aerodynamic conclusion. The flanks are clean and tumblehome is aggressive, with the body visibly wider at the rear haunches than at the shoulder line, generating the kind of planted visual stance that makes a car look fast even in a still image.
The front end is where Saikhom makes his boldest departure from GTO orthodoxy. Where the original wore a relatively narrow, rounded nose with small paired air intakes, the SC250 arrives with a full-width splitter assembly that consumes most of the front fascia, flanked by deep aerodynamic channels that feed air under and around the bodywork. A small prancing horse badge sits centered on the nose panel above the splitter, almost understated against the aggression of the aero package surrounding it. The twin vertical gill vents on the front quarter panels directly echo the 250 GTO’s signature side intakes, which is the most explicit heritage callout in the entire design and the one that ties the sixty-year conversation together most convincingly.
The rear is the SC250’s most purposeful face. Four circular exhaust outlets are stacked vertically in pairs on the rear panel, flanked by a carbon-fiber diffuser that rises aggressively from the undertray, and the “SC250” designation is stamped into the bodywork just above the lower valance. The multi-element rear wing sits on twin end plates and reads as a structural aero component rather than a styling accessory, consistent with the car’s overall refusal to treat aerodynamics as decoration. Michelin-shod five-spoke wheels in deep graphite fill the arches at all four corners, and their star-spoke geometry echoes, probably intentionally, the classic cross-spoke alloys that the period 250 GTO wore on its wire-spoked rims.
Saikhom stages the SC250 directly alongside a period 250 GTO in several of the key compositions, and it is a brave editorial choice that pays off completely. The original reads as something assembled from courage and aluminum by people making up the rules in real time. The SC250 reads as the logical destination of the journey those people started. Whether Ferrari would ever sanction something this uncompromising as an official concept is a separate question, and honestly an irrelevant one. What Saikhom has demonstrated is that the 250 GTO’s design language is durable enough to survive extrapolation into a completely different performance era without losing its identity, which is precisely what separates a genuinely great design language from one that only looks good frozen in its original context.
Some objects simply exist in a space, while others carry a presence even before they are used. ROSSO belongs firmly in the latter. It does not read as a conventional speaker. It feels composed, deliberate, almost cinematic in the way it occupies a room. Inspired by the rear light signature of the Ferrari F8 Tributo, the design does not just borrow from automotive styling. It translates the emotional language of performance into a completely different context. What emerges is less of a consumer electronic and more of a captured moment of motion.
The most striking element is the dual circular illumination, which immediately draws attention not as decoration, but as identity. The rings echo Ferrari’s iconic taillights, yet here they take on a new role. They feel rhythmic, almost like a pulse, suggesting energy even in stillness. There is a quiet confidence in this decision. Instead of blending into interiors, ROSSO chooses to stand out, using light to create a focal point that feels engineered and intentional.
The form itself resists stillness. Surfaces stretch and taper, edges feel pulled forward, and the overall silhouette carries a strong sense of direction. This is not accidental. It stems from an ideation process rooted in the geometry of the Ferrari F8, where circular light elements evolve into a broader architectural language. Over time, the design moves away from literal references and instead captures something more abstract. The feeling of speed, tension, and control. The result is a speaker that appears to be in a constant state of readiness, as if it could accelerate at any moment.
Materiality deepens this experience. The ROSSO CORSA finish, with its high gloss metallic lacquer, creates a depth that feels almost liquid, allowing light to glide across the surface and amplify its sculptural quality. It is bold, expressive, and unmistakably tied to Ferrari’s heritage. In contrast, NERO VELO offers a quieter interpretation. Its satin, soft touch matte coating absorbs light, shifting the focus from visual drama to tactile interaction and restraint. CARBON FORMA introduces a more technical layer through its carbon fiber-inspired textured grille, grounding the design in a language of precision and performance.
What makes ROSSO compelling is how these elements come together to shape not just how the object looks, but how it feels. The illuminated rings begin to act as a visual extension of sound, suggesting vibration and energy. The speaker becomes more than a device. It becomes a multi-sensory experience. There is an underlying idea that sound can have a visible presence, that it can be anticipated before it is heard.
In a market where many products aim to disappear into their surroundings, ROSSO takes a different stance. It embraces visibility, emotion, and expression. It does not attempt to be neutral. Instead, it invites attention and rewards it. By translating the essence of automotive performance into a domestic object, it challenges what a speaker can be. Not just a tool for listening, but a sculptural artifact that carries speed, power, and intent into everyday life.
You can keep all the LEGO builds on one side and the life-sized version on the other; the latter will always be more impressive. The McLaren P1 driven by Lando Norris, and the Ferrari Monza SP1 are prime examples of cars that look better in their LEGO-ized version. The Moza SP1, designed specifically as a LEGOLAND installation, now has a better installation to be jealous of.
LEGOLAND New York has got its functional LEGO 12Cilindri Spider as a part of the Build and Race experience, thanks to a collaboration between LEGO Master Model Builders and Ferrari. The 1:1 scaled replica of the convertible flagship is powered by the naturally aspirated 6.5-liter V12 engine, producing 819 horsepower. At first glance, you will realize the intricacy of this LEGO build, which looks like a pixelated version of the real thing.
The Master Model Builders put in more than 2,300 hours to build the largest-ever LEGO Ferrari on the planet, meticulously assembling 554,767 bricks. This highly detailed build, modeled on the 12Cilindri Spider, weighs 1,800 kg. It is heavier than the real car, which tips the scales at 1,620 kg. Realism of the LEGO version is surreal as it truly captures the front muscularity and the rear haunches of the sports car without leaving anything to nitpick. The long bonnet if the performance four-wheeler is true to the original version.
It gets functional headlights, carbon ceramic brakes, door handles, a license plate done in white and blue patchwork, and draped in the eye candy Rosso Corsa hue. The interior is contrasted in crème color with a ultra detailed steering wheel and the signature Manettino dial. If that doesn’t impress you much, the car has a real car base with the naturally aspirated 6.5-litre V12 (F140HD), which generates 678 Nm torque at 9,250 rpm. Visitors can open the vehicle’s doors and sit, but not drive the thing, which is understandable given the amount of horsepower it has under the hood.
The most amazing bit is that you can build mini versions of the LEGO 12Cilindri Spider, and drive the car on interactive test ramps at the 15- acres Hudson Valley LEGOLAND. One can test their versions on physical ramps or the digitally scanned tracks of the Fiorano circuit, which is the next best thing to driving the real car.
LEGO has a way of taking things you already love and making you love them in a completely new format. Formula 1 has been getting a lot of that treatment lately, and the brand’s latest direction is hard to argue with: brick-built driver helmets, sized for your shelf and detailed enough to stop anyone mid-step.
The Scuderia Ferrari HP Lewis Hamilton Helmet (43022) and the Scuderia Ferrari HP Charles Leclerc Helmet (43014) are the first two confirmed entries in what looks like a full F1 Helmet series from the LEGO Editions line. Both sets turned up on FuelForFans.com with official hi-res images after blurry leaks circulated a few weeks prior. Now that we can actually see them clearly, the level of detail here is genuinely impressive.
Designer: LEGO
Hamilton’s helmet comes in the kind of golden yellow that makes Ferrari’s livery feel unexpectedly bold. The 2025 season graphics are recreated across the bricks with sponsor decals for UniCredit, Shell V-Power, VistaJet, Richard Mille, HP, and Bitdefender distributed with a surprising degree of accuracy. The deep red visor pulls the whole thing together. Leclerc’s goes in the opposite direction, predominantly red and white with a cleaner, more structured aesthetic. The #JB17 tribute detail sits at the crown, IBM branding runs across the chin, and the smooth white band at the visor line is almost architectural in how it divides the piece.
What makes both helmets compelling from a design standpoint is how LEGO’s engineers handled the curvature. Helmet shapes are notoriously difficult to replicate in bricks. Slightly irregular curves require precision in the build sequence that can look awkward if the angles don’t land right. Both sets pull it off well. The geometry holds. They read as helmets, not just helmet-adjacent objects, and that distinction matters when you’re paying for a display piece.
Each set clocks in at around 884 to 886 pieces and is priced at $89.99. Included with each build is a matching driver minifigure and a branded display stand carrying the driver’s name and signature. The minifigures themselves are a thoughtful detail rather than an afterthought. The Hamilton figure has the curly hair, the beard, and the red Ferrari race suit printed with his car number. Leclerc’s captures that warm, approachable expression the driver is known for. They work on their own as desk companions.
LEGO has rated both sets for ages 14 and up, which is accurate. These aren’t Speed Champions quickbuilds. They sit in the Editions category, LEGO’s answer to adult collector culture, sitting alongside the Botanical Collection and Icons line in terms of ambition and finish. Putting F1 driver helmets in that space is a smart call. The sport’s audience has expanded considerably over the past several years, and the overlap between LEGO collectors and motorsport fans is significant. This drop lands in the middle of that Venn diagram with confidence.
What I appreciate most is that this isn’t just a license slapped onto a generic product. Translating a helmet into a brick build is a specific creative challenge, and the result feels like a genuine collectible rather than a promotional item. The display stands with driver signatures and team branding look like something you’d find in a motorsport memorabilia shop. Place both helmets side by side and they read like a proper installation.
Rumors are already circulating about Max Verstappen and Ayrton Senna editions joining the lineup, which would elevate this into a series worth collecting in full. A Senna helmet in LEGO form carries obvious historical weight, and if LEGO executes it with the same attention to detail shown here, it would be a remarkable piece. The potential for this series is real.
Both helmets are expected to drop on May 1, 2026. If you’re an F1 fan, a LEGO collector, or simply someone who wants a well-designed object on a desk, the case for picking one up makes itself.
Five years after Jony Ive left Apple, and two years after Apple killed Project Titan, we finally know what the Apple Car’s interior *could* have looked like. It just happens to have a prancing horse on the steering wheel instead of a bitten apple.
The Ferrari Luce, revealed last week in San Francisco, is a transplant of Apple’s design language into automotive form. Everything about this interior, from the E-ink key fob to the OLED dials to the obsessive material purity, carries the unmistakable signature of Apple’s design peak from 2015 to 2019, when Ive still occupied his Cupertino office and the car project remained alive.
The Apple DNA is Everywhere
Walk through the components and the Apple DNA becomes impossible to ignore. The key fob magnetically docks into the center console and changes color via E-ink display. This is MagSafe technology meets Apple Watch complications, translated into a car key. The center screen features an analog clock that transforms into a chronograph and compass with the press of two buttons. Pull up any image of Apple Watch faces and the interaction model is identical.
The toggle switches and knobs scattered throughout the cabin represent the physical interface philosophy Ive has been refining since the original iMac. The Digital Crown on the Apple Watch, the mute switch on the iPhone, the volume controls on the HomePod. These are the same careful considerations about how humans interact with objects through touch and rotation. The OLED binnacle behind the steering wheel uses a parallax effect to create depth perception, the same technology that made the iPhone X’s face recognition possible, now applied to gauge clusters.
Then there’s the material palette: recycled aluminum with a microscopic anodized texture, Corning glass surfaces, leather in muted tan. This is the 2017 iPhone X material story. This is the unibody MacBook recipe. This is every premium Apple product from the past decade, reassembled into automotive architecture.
Wait, Is This the Same Jony Ive?
Consider what Ive said at the reveal: “It’s bizarre and lazy to assume the interface should be digital if the power source is electric.”
This is the man who killed the headphone jack. Who removed every port from the MacBook. Who spent twenty years eliminating physical buttons, physical connections, physical everything. And now he’s arguing that physical controls matter? That tactility is essential? That you can’t just solve everything with a touchscreen?
Maybe the context really does change everything. A phone lives in your pocket. You can look at it. A car moves at 200 kilometers per hour. Looking away kills people. Or maybe Ive has simply evolved. Perhaps LoveFrom represents a different philosophy than Apple did, one less concerned with relentless minimalism and more interested in appropriate solutions. Or perhaps this is who Ive always was, and Apple’s commercial pressures pushed him toward deletion when his instincts wanted refinement.
The Luce interior suggests that physical interfaces weren’t the enemy. Bad physical interfaces were. Give Ive the freedom to perfect a toggle switch, to make a dial that clicks with precision, to create a button that feels inevitable, and he’ll choose physical every time. The question is whether we’re seeing growth or contradiction.
The Timeline is ‘Interesting’
Apple started Project Titan in 2014. By 2016, Ive had become increasingly involved as the project shifted from full autonomy toward driver-focused experiences. He left Apple in 2019 but reportedly continued consulting on the car. In 2024, Apple abandoned the project entirely. During those years, Bloomberg reported that the Apple Car was supposed to feature premium materials, minimalist interiors, physical controls prioritized over touchscreens, and a “living room on wheels” concept.
Here’s what actually happened: Ive leaves Apple in 2019 and forms LoveFrom. Two years later, in 2021, Ferrari announces the partnership. That means conversations started immediately after his departure, possibly before. Ive spent a decade developing car interior concepts at a company with unlimited resources. Then he got to actually build one at a different company with unlimited resources and, crucially, manufacturing capability that Apple never developed.
My guess is Ferrari didn’t hire LoveFrom for an overhaul. They hired them for battle-tested thinking that never shipped.
Why Ferrari Said Yes
From Ferrari’s perspective, the logic is clear. They’ve never built an electric vehicle. Their customer base is deeply skeptical of electrification. They need to signal that the Luce represents something genuinely different, something beyond an electrified 296 GTB. So they hire the two most famous industrial designers on Earth, who happen to have spent years thinking about this exact problem at a different technology giant.
It’s outsourcing credibility as much as design. When people inevitably say “that doesn’t look like a Ferrari,” Ferrari can point to LoveFrom and say “well, exactly.” They’ve purchased permission to break from tradition by hiring people with no Ferrari tradition to break from. The prancing horse gives LoveFrom legitimacy in automotive circles. LoveFrom gives Ferrari legitimacy in technology circles. It’s a perfect exchange.
But the question remains: did Ferrari want Ive’s vision, or did they want Ive’s brand? Because what they received feels unmistakably like Apple-thinking while wearing a Ferrari cap.
The May Reveal Will Answer Everything
The real test arrives in May when Ferrari reveals the exterior. Right now we’ve only seen the interior, which is LoveFrom’s natural domain: screens, materials, ergonomics, spatial relationships. The exterior is different. It has to work in a Maranello showroom next to a 12Cilindri and an SF90. It has to look fast while standing still. It has to carry seventy-nine years of design language forward into an electric future.
Can Ive do that? Has he ever designed anything with that kind of visual aggression? His career has been defined by approachability, by objects that invite touch, by forms that recede rather than announce themselves. Ferraris don’t recede. They dominate spaces. They demand attention. If the exterior looks like an Apple product in May, then this really could be what the Apple Car might have become. If it looks genuinely Ferrari, then maybe LoveFrom understands they serve the brand rather than the reverse.
What This Tells Us About the Car That Never Was
The Luce interior reveals something bittersweet about the Apple Car that never was. This is the closest we’ll get to seeing what that vision might have looked like. But it also proves why Apple was probably right to kill the project. It took Ferrari, a company with seventy-nine years of automotive manufacturing experience, five years and presumably nine figures to turn Ive’s concepts into reality. And they still don’t know if customers will accept it. Imagine Apple attempting this from scratch, competing with Tesla on price, managing recalls and service networks and dealer relationships.
The Luce interior is stunning. It’s also a monument to why the Apple Car would have most likely been an operational nightmare, given that Apple isn’t an automotive company.
The irony is perfect: Jony Ive finally got to build his car. He just needed Ferrari to do the hard part.
Ferrari has some really fast road cars like the 288 GTO, Enzo, and LaFerrari that reflect the marque’s affinity towards innovation, exclusivity and performance. Now, the new age F80 joins the ranks with a 3.0-liter twin-turbo 120-degree V-6 engine, complemented by three electric motors. Yes, it’s a hybrid supercar and one of the most powerful the Italian automotive giant has ever produced.
The road-legal car can produce 1,184 horsepower – churning out 888 hp (at max) from the V6 engine, adding 140 hp each from the two front motors, and 80 hp with the rear electric motor. The latter makes use of regenerative braking for another trickle of speed boost when needed. This e-4WD system completely engineered and designed in Maranello is similar to the SF90 Stradale since the rear motor lends torque fill for the V6. So, don’t count out this scarlet monster when it comes to drag racing culture!
At the Ferrari’s Fiorano test track, the F80 managed to slice out a couple of seconds from the SF90’s best time around the lap. The official top speed clocked at 217 mph and acceleration of 0-60 mph in a mere 2.15 seconds. The car has a dry weight of 3,362 pounds courtesy of the carbon fiber central monocoque structure and some 3D printed parts including the upper wishbone. The composite material approach extends with the use of aluminum and titanium for parts such as subframes and screws. According to chief product development officer Gianmaria Fulgenzi, “F80 gives you butterflies in the stomach when you drive the car, it’s an incredible experience.” He adds that the car symbolizes the marque’s “Ferrari Forever” philosophy.
There were thoughts of designing it as a single-seater supercar but ultimately it materialized as a two-seater speed demon. The driver’s cell is slightly more prominent than the passenger’s cell, as the former is oriented more towards the center. The F1 inspiration is evident from the yoke-styled steering wheel with tactile button controls. The physical buttons make a comeback on the right and left and spokes – breaking the recent tradition of all digital layouts by Ferrari in recent years.
Ferrari F80 will be limited to just 800 units, and all of them have already been allocated to filthy rich buyers. Of course, you won’t even think of spending $3 million on this hybrid prancing horse unless you have a fat bank account.
Ferrari SF90 Stradale PHEV has already set the platform for future electric vehicles coming from the house of the Italian automotive giant. The three electric motors mated to the V8 internal combustion engine of the sports car give it a maximum output of 1000cv. Going fully electric will be one of the major goals for Ferrari, and they’ve promised one is coming in the fourth quarter of 2025.
What this EV will look like or exactly be (supercar, sportscar, roadster, or hypercar) is not exactly clear. What is known so far from the filed patents by the Italian marque is the indication of a two-seater sports car that will have a rear mid-engine layout for it to have a lower stance resulting in better aerodynamics. Although it is just one calculated guess we have got just the right concept to build on this speculation.
This is the Ferrari Alto ANGEL two-seater roadster concept that fits right in the puzzle board of what the Ferrari EV 2025 could be. The ride has a low ground clearance, the signature brand silhouette, flowing aerodynamic design and a rear that is most definitely a prancing horse loaded with ample electric power. The hourglass shape running from the front of the EV to the rear gives it a definition that’s evoking. The air intakes on the hood and the side pods further add dynamism to this Ferrari concept.
The panoramic windshield flows to the back with a geometric body panel with a shark fin fusing the two. The cool sea-green headlights run right across the front section that has a futuristic grille right beneath it. The rear has a similar flowing silhouette of brake lights integrated right across the spoiler and continuing with two light bars at both ends. Those wheels are very muscular, loaded on industrial-themed rims that look absolutely dope.
I’m drooling all over this Ferrari EV roadster and if the real thing looks anything close to this it’ll be a big hit. Compare it against the likes of the Tesla Roadster, Pininfarina Battista, Maserati GranTurismo Folgore or Lamborghini Terzo Millenio; and every time my heart will say the Ferrari Alto ANGEL!
