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2020 Rolls-Royce Cullinan Road Test | Aboard the HMS Cullinan

A tenet of good writing says you can’t modify a superlative. “Very best” gilds the lily, and “one of the best” is a hedge. Best is all you need say. ThatÂ’s the spirit of the phrase “the Rolls-Royce of Â…,” which gets applied to any kind of thing, say a particularly nice vacuum cleaner. It's immediately understood — “Rolls-Royce” is all you need say. So itÂ’s a special occasion when the pinnacle of automotive excellence, and the symbol of supremacy in everything wrought by human hands, heaves to in oneÂ’s driveway. The Rolls in this case was the 2020 Roll-Royce Cullinan, the most expensive SUV in the world, this one costing $394,275. This Cullinan arrived in lustrous Jubilee Silver (a big improvement over the purple one our contributor Jason Harper drove a few months ago). The car appeared to be carved from a silver ingot. Our first-drive review back in 2018 called the three-ton Cullinan a monolith, and thatÂ’s spot-on. It looks imposing and not to be trifled with, like a British warship. And in fact this car was built to a nautical theme, with a two-tone interior of Charles Blue / Navy Blue. A hand-painted coachline of Charles Blue traced its gunwales. Cullinan even sounds a bit like a British warship (they have the best names). But its namesake is the 3,100-karat Cullinan diamond, the largest ever discovered, chunks of which are part of the Crown Jewels. The car is an enduring symbol of British Empire, though with a lot of German parts. What can one say? We drive a lot of expensive cars at Autoblog, but it's a bit hard to understand why there even is such a thing as a Rolls-Royce press vehicle. What sort of information could a critic impart? Do you expect to hear it wasnÂ’t nice? Well, it was. Was the V12 not smooth? Like English cream. Was it not comfortable? Its cabin was expansive and its seats accommodating, and its ride was every bit the “magic carpet” Rolls promises, with sensors alerting the air suspension of upcoming unpleasantries in the road surface. And like a magic carpet, the system settles the car back down to earth for a gentle landing when youÂ’ve arrived. Yet the self-righting wheel centers make it appear as if you'd never left. And who would benefit from criticisms, if there were any? Few reading this have the means, but those who do would likely choose something more anonymous for real-world use, such as a top-trim Range Rover. Even a Bentley Bentayga would be less expensive, if only slightly less attention-getting.

Former BMW M boss and Maserati CEO killed in freak motorcycle accident

It's a tragic coincidence that on the same weekend the BMW M4 Coupe Concept was introduced in Monterey, one of the men most integral to BMW's M and Motorsports divisions, Karl-Heinz Kalbfell, was killed in England. Kalbfell, a vintage motorcycle enthusiast, was set to compete in the Lansdowne Classic Series at Brands Hatch and had an accident during a practice session. After going wide at Druids Corner and falling, he was hit by a competitor following close behind and died of his injuries after being transported to hospital.
Kalbfell, an engineer, began his career at BMW in 1977 in the communications department; a decade later he was chairman of BMW M GmbH, overseeing development of some of the cars responsible for the myth of M. In 1994 he was named chairman of BMW Motorsport, and his cap full of feathers includes getting the BMW V12 into the McLaren F1, getting the BMW V8 into two Morgan cars, along with developing BMW's Formula One engine and return to the sport. Not incidentally, he also assumed leadership of Project Rolls-Royce after BMW bought the British marque in 1998, which means he oversaw the Goodwood factory upfit and the creation of the Phantom.
He left Rolls-Royce for a brief stint at Fiat, heading Alfa Romeo and Maserati, then went into consulting for clients like Lotus and Paragon, who built the Artega GT. As Autocar notes, Kalbfell "had an abiding sense that customers needed to be attracted to cars by their aura and reputation, not just their engineering." He will be missed.

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.