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Rolls-Royce goes glam, celebrates Art Deco heritage in Paris

Rolls-Royce has used the 2012 Paris Motor Show to pull the covers off its art deco-inspired Phantom saloon, Phantom Drophead Coupé and Ghost models. These three bespoke machines are said to pay homage to the 1925 Paris Exhibition or Exposition Internationale des Arts Décoratifs et Industriels Modernes. Not coincidentally, the phrase 'art deco' was coined at that very show.
These three models are finished in period-correct color schemes and feature details that include mother of pearl and silver inlays and ornamental glassware. According to Giles Taylor, Design Director Rolls-Royce Motor Cars, "Art Deco was defined by theatre, glamour and a sense of excitement. Working to create contemporary interpretations of these classic themes has been enormously rewarding for everyone in my bespoke design team." But of course.
Feel free to check out our live gallery of high-res images above along with the official shots released by Rolls-Royce below. There's also a press release or two waiting for your prying eyes, if you're so inclined.

Rolls-Royce to reach 4,000 units this year

Rolls-Royce is, by nature, an exclusive auto marque, but it has been steadily increasing its sales to the point that it could be looking at 4,000 units by the end of this year, setting a new record for the German-owned British automaker.
You don't even need to go back a decade to find Rolls-Royce sales hovering around the 1,000-unit mark. But that was when Goodwood only offered the Phantom saloon. The subsequent addition of the Phantom DHC and Phantom Coupe helped expand its portfolio, enlarged even further by the addition of the Ghost in 2010, by which time total sales were reaching 3,000 units.
The Spirit of Ecstasy marque has been hovering around the 3,500 mark ever since, but with the Wraith now in the mix and its reach extending into growing markets around the world, Autocar reports that global sales could top 4,000 units this year. (Of course that pales in comparison to one-time sister brand Bentley, which topped 10,000 deliveries last year, but Rolls-Royce typically competes at a higher price bracket.)

2016 Rolls-Royce Dawn First Drive

There is apparently a migration of sorts among the set that would buy something like the 2016 Rolls-Royce Dawn, the newly arrived drophead variant of the raffish Wraith. When our theoretical Dawn buyer finds the Cote d'Azur or some such place a bit chilly, perhaps it's off to South Africa. Late March is the tail end of summer, and it's an exceedingly pleasant way to get into the Dawn state of mind. Stellenbosch is just northeast of Cape Town, the "Mother City." What used to be open country occupied primarily by the Khoikhoi and Khoisan peoples, as well as prototypical African game, is now wine country. Our starting point is a vineyard estate called Delaire Graff owned by a diamond baron. South Africa's diverse and stunning countryside is on display as we leave the vineyard and climb. The lower highlands are covered with quasi-Californian scrub, but with altitude the scene transforms into a mist-tickled moor full of low heather-like plants and tumbling rivulets. We traverse the suburban lowlands to a windy road clinging to a cliffside above the crashing surf of the Indian Ocean. Ancient cliffs and peaks jut over us at improbable angles and in fascinating shapes. At the end of our drive, looking across False Bay, the Cape stretches south towards the equivocal boundary between two oceans. Twice and then once, the Cape lighthouse winks at the end of Africa. Most automakers consider sportiness the ultimate attribute. Like its stablemates, the Rolls-Royce Dawn's draw is its timelessness and unabashed luxury. Here that's paired with the inherent hedonism of a convertible, not to mention the cachet that comes with spending $340,000 or more (most likely more) on a car. That figure makes the Dawn more expensive than the Ghost or Wraith, but less than the Phantom range. The Dawn is vast; like most huge things, it commands attention because it takes up so much space. Watching my colleagues dart around town was a bit like watching a flotilla of cruise liners maneuver to their moorages. Like a yacht with a lot of freeboard, the flanks rise impressively to the top of the door, but then there's some tumblehome inward to the thick brightwork strip ringing the cabin. A longitudinal spear of chrome bisects the hood, a bit like a grab-rail on the foredeck. The Spirit of Ecstasy could have graced the bowsprit of any of the windjammers that hove into Table Bay. Twice and then once, the Cape lighthouse winks at the end of Africa.