âStangersâdiehard fans of the Ford Mustangâwill have already seen it due to leaks of the official photographs half a day ago. Lucire ran the leaked photos on our Facebook page. But now, we can officially talk about the unveiling, in six cities around the worldâNew York, Dearborn, Michigan, Los Angeles, Shanghai, Sydney and Barcelonaâof the 2015 Mustang, codenamed S550, which commemorates the model line’s 50th anniversary.
Executive chairman Bill Ford was present at the Barcelona event, in front of an audience of 2,500 journalists, dealers and Ford employees.
While the Mustang has officially been on sale in Europe and other markets before since the original model was released in New York on April 17, 1964, the 2015 model is the first which will be sold as a “world car”, as part of Ford’s core range.
Ford notes that the Mustang is its most iconic range, and that it is the world’s most-liked vehicle on Facebook. Nine million have been built since the original’s launch.
Stephen Odell, executive vice-president for Ford in Europe, Middle East and Africa, said in a release, ‘The Mustangâs formidable reputation for performance and its iconic status as a symbol of freedom and optimism precedes it even in those parts of the world where the car has never been sold. The new Mustang epitomizes Fordâs aggressive product acceleration; technologically advanced and forward-looking, but without forgetting the heritage that has inspired Ford customers for generations.’
The new model certainly lives up to the promise. It has the classic Mustang proportions and blends them with Ford’s present design language.
The design language has been seen on other global products such as the facelifted B299 Ford Fiesta and the CD391 Ford Fusion, which will be sold in Europe and other markets as the Ford Mondeo. It is an evolution of some of Ford’s earlier design principles.
The grille opening apes that of the Fiesta and Fusion, but appears in a more exaggerated form, with the Mustang horse placed in the centre, as with the original, the Mustang II, and the models dating from the 1994.
There are also shades of the ItalDesign Ford Mustang concept of 2006, which brought some Italianate touches, such as a tapering cabin.
The rear lights also reflect the classic Mustang ideas, with the tri-bar design that also harks back to the original.
Ford has also injected the rear-wheel-drive Mustang with the latest technologies, equipping the pony car for the 2010s and beyond.
Technologies include Ford’s Sync with voice control and eight-inch touchscreen (in Europe), and drivers can adjust between driving modes.
The convertible has an insulated cloth top, which has a sleek profile when folded, according to Ford.
Moray Callum, Ford’s executive director of design for the Americas, said, ‘You only get one chance to make a first impression and when you see this car, you immediately see a Mustang strong and true.’
Inside, the Mustang has an aviation-inspired cockpit, designed for the driver, and there is more space, thanks to a wider cabin and an all-new rear suspension. The cockpit again blends modern and classic: the two large dials hark back to the original, but the look is more geometric and structured.
The boot can now accommodate two golf bags, thanks to the new platform.
The suspension brings Mustang bang up to date. The front has double ball-joint Macpherson struts, while the rear gets rid of its agricultural live rear axle in front of an integral-link independent suspension. The Mustang promises to be a far better drive than the models of old, suiting worldwide markets. Ford’s stability control includes torque vectoring.
Engines are the classic five-litre V8 (with 426 PS and 529 Nm of torque) and a new EcoBoost 2Â·3-litre four delivering 309 PS and 407 Nm. The automatic model has steering-wheel-mounted shift paddles.âJack Yan, Publisher
Through a sea of black-and-white and sheer chiffon came three stand-outs at the 2013 Massey graduate show, Launch. Sean Kellyâs desert-island-themed collection really stood out, as did the closing designers, Lucilla Gray and her crisp neoprene collection, and Soontariya Utto, with her refined, elegant gowns.
Kellyâs collection, inspired by an island, consisted of layered, tailored menswear in linen-looking khaki-greens and whites. This collection combines exceptional new ideas and design lines with impeccable tailoring. Quirky accessories also featured, such as a fishing-net backpack. Thick, brown leather hats, sandals and other leather items were specifically made for the collection to immaculate standards. Emphasizing impact and wearability through clever styling, Kelly has really hit the nail on the head here.
Grayâs collection created similar impact but for completely different reasons. The colour palette of fresh electric blue mixed with fluro-pink and the whitest white stood out from the dull colours of some other collections. Structured elements were innovatively moulded from neoprene to create out-of-this-world curved shapes where printed chiffon overlays bikini-like undergarments. This fresh collection really caught my eye for all the right reasons. We especially loved the curved, structural sleeve shapes and the tactile print in the white neoprene jacket. Lucilleâs collection reminds me of a different take on Nicolas GhesquiĂšreâs use of neoprene at Balenciaga and the Australian designersâ obsession. Perhaps this is the New Zealand response to the comeback of neoprene, which is no longer restricted to the un-shapely wetsuit.
From the opening outfit of Uttoâs collection, there was something special in the making. The precision cutting and the exceptional tailoring to the couture-like nature of her garments all spoke of a refined elegance, which can so often be lost in ready-to-wear clothes. For someone so young, her taste level far exceeds her years. The moulded hips of her ball gowns matched her jewellery, which was made by hand, bringing a tactile old-world feel. The collection was sewn by hand, bringing it to life. Although crafted all in black, it was still evident that a lot of attention to detail had gone into this collection, from the pin-tucking on the structure corsets and bodices, to the cut of detailing and ostrich feather plumage that appeared on collars and peplums. This was a collection made for the red carpet and was a true show-stopper.âAnna Deans and Sopheak Seng, Fashion Editor
The exhibition, Isabella Blow: Fashion Galore!, opens today at Somerset House, London.
This marks the second time Lucire has covered an exhibition connected to the late editor and fashion patron. The earlier occasion, in 2008, saw curator Donna Loveday of the Design Museum look at Philip Treacy’s hats, and focused on the then Isabella Delves Broughton’s discovery of the designer. This second exhibition, with over 100 pieces, looks at Blow’s collection itself: it is her wardrobe, acquired by her friend Daphne Guinness, to stop it being sold at auction. Architectural firm Carmody Groarke designed the exhibition.
Guinness said, ‘This exhibition is, to me, a bittersweet event. Isabella Blow made our world more vivid, trailing colour with every pace she took. It is a sorrier place for her absence. When I visited her beloved clothes in a storage room in South Kensington, it seemed quite clear the collection would be of immense value to a great many people. I do believe that in choosing to exhibit them weâve done the right thingâand that it is what she would have wanted. I am doing this in memory of a dear friend, in the hope that her legacy may continue to aid and inspire generations of designers to come.’
After Blow’s suicide in 2007, Guinness, who had been friends with her for nearly a decade, sought to preserve her legacy and established the Isabella Blow Foundation.
Many of the garments shown are styled in exactly the way Blow wore them. She was known to only wear work from designers she liked or admired.
A catalogue will be published by Rizzoli to accompany the exhibition, edited by Alistair O’Neil, who curated the exhibition with Shonagh Marshall, with essays by O’Neil, Marshall, Prof Caroline Evans, and Alexander Fury, with new photography by Nick Knight. Graphic Thought Facility has designed the book, which is priced at ÂŁ40.
Blow began her career in the early 1980s as Anna Wintour’s assistant at Vogue. After she returned to London in 1986, she worked at Tatler, British Vogue, and The Sunday Timesâ ‘Style’. In addition to Treacy, whom she discovered at his graduation from Central St Martin’s in 1990, Blow is also credited for discovering Alexander McQueen (at his graduation from the school two years later), Hussein Chalayan, Julien Macdonald, Sophie Dahl and Stella Tennant. She collaborated with photographers Steven Meisel, David LaChapelle and Sean Ellis.
The exhibition includes pieces from the designers she discovered, and is regarded as one of the most important private fashion collections of the era.
Film, recordings and projections at Somerset House take visitors back to the era, while miscellaneous items belonging to Blow, such as her Rolodex, are also on display.
Somerset House presents the exhibition in association with the Isabella Blow Foundation and Central St Martin’s. It runs from November 20, 2013 to March 2, 2014, from 10 a.m. to 6 p.m. daily, with a late night of 9 p.m. on Thursday. Some special hours apply over the Christmas and New Year period. Entry is ÂŁ12Â·50, and concessions are ÂŁ10 and ÂŁ6Â·25 on Mondays.
The video below looks back at Blow’s life, and includes Alexander McQueen’s La Dame Bleue collection from springâsummer 2008, which he dedicated to his mentor.