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Rolls-Royce Alpine Centenary Ghost makes its first North American appearance

Rolls-Royce choose this year's Shanghai Motor Show as the occasion to show off its achingly cool Alpine Trial Centenary Edition Ghost, but The Quail was the site of the car's North American coming out party.
The one-off Rolls pays tribute to a heroic moment in the marque's history, when four 1913 Silver Ghosts, three factory cars and one privateer entry, successfully completed the 1,820-mile Austrian Alpine Trials. The privateer racer in question, James Radley, is the gentleman responsible for the pretty color combination you see on this new Ghost. Radley's blue bodywork over black wheels looked great in 1913 and haven't lost any luster 100 years on to our eyes.
You can revisit the details about this historically rooted Rolls-Royce in the press release below, or simply take a stroll through our fresh gallery of images from The Quail.

Giles Taylor succeeds Ian Cameron as head of Rolls-Royce design

Back in the day, a Rolls-Royce looked pretty much the same as a Bentley, but with a different grille. Once BMW took over Rolls-Royce, however, it was faced with the challenge of visually separating itself from its former sister brand. And most would agree that it did so pretty well. But its cars have looked pretty much the same ever since. What Rolls-Royce needs, then, is a bit of a design shake-up. And that's just what this latest appointment could bring.
After a baker's dozen years as design director at Rolls-Royce (and twenty years designing for the BMW Group altogether), Ian Cameron is retiring from his post. In his place, Rolls-Royce has named Giles Taylor as its new director of design. In his new capacity, Taylor will report directly to BMW Group chief designer Adrian van Hooydonk, and be responsible for all design matters related to the Rolls-Royce brand and its products.
Taylor was promoted to the role from his previous position as head of exterior design for the marque, a position he's held for barely more than a year. We'll be eagerly watching to see what the veteran British car designer has in store for the future of Rolls-Royce. In the meantime you can read the full announcement below.

Rolls-Royce La Rose Noire Droptail a dark floral love letter to customization

Rolls-Royce's boat-themed custom vehicle developments have gone from the 2017 Sweptail to the 2021 Boat Tail and now the Droptail — to be precise, the La Rose Noire Droptail. This is the first of four coachbuilt Droptails, handed over in a private gathering near Pebble Beach to the family that commissioned it. The name La Rose Noire blows a kiss to the Black Baccara, a hybrid tea rose created in France around 25 years ago and a favorite of the matriarch in the family that commissioned the Rolls-Royce. The flower's petals shimmer from almost black to dark red-burgundy and pomegranate depending on the light and the angle of view. Two hues represent this fierce luster on the car: a deep red called True Love and a darker red called Mystery. Painters applied the iridescent True Love to the body with a secret base coat followed by five layers of clear lacquer, each lacquer layer blended with a slightly different tone of red. Rolls-Royce says it took more than 150 experiments to perfect the final product. True Love appears again on the Pantheon upper grille, the shade painted on the backs of the grille vanes. Rolls-Royce 3D-printed the lower intake in a composite material, accented with 202 stainless-steel ingots painted in True Love. Mystery bows on the 22-inch alloy wheels, contrasted with millwork that exposes the alloy spokes underneath. And a new chrome plating process created the darkly reflective Hydroshade tint of the brightwork. Removing the custom roof with its electrochromic glass panel reveals a cockpit that Rolls-Royce used to set new standards for its craftsmanship. The buyers wanted parquetry with a motif of scattering rose petals. Rolls-Royce decided the best way to achieve that would be to create and finish 1,603 Black Sycamore veneer triangles by hand, and lay 503 red veneer pieces asymmetrically among them to represent the petals. The woodwork runs across the instrument panel and in an element along the doors, then down the tail. The application was so intense that a single artist worked in one-hour stints no more than five hours a day in a sound-insulated room "to ensure the focus required."  Then there's the treasure in the instrument panel. The commissioning family went to Swiss watchmaker Audemars Piguet for a custom timepiece, a 43-millimeter Royal Oak Concept Split-Seconds Chronograph GMT Large Date.