An increasing number of clients are seeking the expert advice of the specialists of the Tailor-made programme at Maranello, each one with something different in mind. Over the following pages we present some examples of what can be achieved, from Paolo Pininfarina, who realised an FF in line with the tastes of his father Sergio, to those who wanted to re-create the classic models of Ferrari’s past, with original racing insignia, materials and colours. When it comes to personalising your own car, there really are no limits
Estimated reading time: 8 minutes
Turnbull & Asser is a classic British tailor on London’s famous Jermyn Street. There’s wainscoting on the walls, a tangibly historic atmosphere, and nods to some of the firm’s best known clients dotted around the building. Since these number Sir Winston Churchill, Michael Caine and The Beatles, we are talking very well-known indeed. In fact, were you to study James Bond’s shirt cuffs in the opening casino scene of Dr No, you’d be looking at a Turnbull & Asser shirt. Tailoring is expensive, of course, but extremely satisfying. You don’t need to be a spy, Beatle or Member of Parliament to understand the appeal of a well-cut suit, or the intense tactility of fine fabrics. Applying its precepts has also become notably more popular among the high net worth purchasers of fine automobiles. Although Italy’s carrozzeria tradition is almost as old as the car itself, there was a time when Enzo Ferrari disdained pretty much every part of his cars that didn’t feature moving mechanical parts. Well, things have changed. Ferrari’s Tailor-made, now concluding its third year, has established itself as one of the most successful personalization schemes in the car business.
Originally split into three categories – Classica, Scuderia and Inedita – which effectively posited three different potential personalities for a client’s new car, Tailor-made has seemingly out-grown its remit. As Andrea Bassi, who has headed up this special department since July this year, tells us: ‘Personalisation is growing, in the mass market as well as the luxury one. Given that it’s part of Ferrari’s heritage going back to the coach-building era, it’s no surprise that we are at the forefront of it. Of course, customers can still stay within those original parameters if they want to, but they are certainly not restricted to them. We prefer to think of them as starting points to inspire clients.’ It’s evening in Maranello, but the Atelier is still bathed in light. In an adjacent building, Ferrari’s Classiche department offers full restoration and certification for some of its most revered models. In the Atelier, the next generation of Prancing Horse classics are encouraged to take shape. Anyone who still labours under the illusion that most Ferraris are rosso corsa would be stunned by the myriad vivid shades that are now available. I haven’t actually got time to count them all, but the Grigio Canna Di Fucile Opaco (a subtle but powerful matt grey) catches my eye, along with an argento (silver) named after the Nürburgring circuit. Whether or not I can count them all is actually immaterial: make an appointment at the Atelier wearing your favourite socks and Ferrari will do its utmost to match the shade, if that’s what you want.
The temptation not to push the envelope must be almost impossible to resist, as you can tell from some of the images on these pages. Paolo Pininfarina, scion of that famous design dynasty, exercised great taste and discretion when he specified his FF. Its exterior is an historic “evening blue”, with polished aluminium inserts, and stunning rich Tuscan leather inside. ‘I wanted to create a car that my father would have liked,’ Pininfarina tells us. ‘An FF in this colour, and full of rich, understated and elegant detailing, is the car that Sergio would have ordered. But I’m also drawn to things that are special, that really stand out.’ Another client elected to pay homage to the 1956 250 GT Zagato (see TOFM, issue 20) when he was seeking inspiration for his new Ferrari. The exterior blue might be traditional, but the light blue leather and white inserts manage to reference that subtle Ferrari classic while looking wholly contemporary. True elegance is timeless, perhaps. The F12berlinetta hardly needs go-faster stripes, yet it gains an overwhelming sense of purpose in canna di fucile (gun barrel grey) overlaid with a rosso fuoco bodywork stripe, with a matt black grille, carbon fibre kit with highlights, and painted alloys. This treatment doesn’t just change the car’s character, it gives it a whole different purpose. Inside, the red theme recurs, with “Cremisi” Frau leather on the seats and an amazing black 3D “sail” fabric inlay. It feels technical.
Continuing the nautical theme, Ferrari’s North American team worked with the factory to tailor an FF specially for August’s Pebble Beach concours event. The resulting “Ocean” concept beautifully elucidates the Inedita idea.The exterior is an all-new colour called “Blue CHR” (Californian Hydro Reflection) while the cabin is trimmed in a notably soft furniture leather called Boxmark Royal. The seats are inlaid with Kvadrat Canvas, a contemporary textile that is 90 per cent wool and 10 per cent nylon, and boasts environmentally friendly properties as well as looking good. Italian fashion designer Giulio Ridolfo worked with Ferrari to develop it. Teak wood is used inside, on the sills, and most significantly in the boot area. It’s lacquered in a finish that uses nano-technology to offer the necessary robustness.
From issue 23, Yearbook 2013