{"id":172149,"date":"2026-05-28T11:08:12","date_gmt":"2026-05-28T09:08:12","guid":{"rendered":"https:\/\/www.startupbusiness.it\/ferrari-luce-maranellos-electric-car-is-pure-innovation\/172149\/"},"modified":"2026-05-28T14:54:45","modified_gmt":"2026-05-28T12:54:45","slug":"ferrari-luce-maranellos-electric-car-is-pure-innovation","status":"publish","type":"post","link":"https:\/\/www.startupbusiness.it\/en\/ferrari-luce-maranellos-electric-car-is-pure-innovation\/172149\/","title":{"rendered":"Ferrari Luce: Maranello\u2019s electric car is pure innovation"},"content":{"rendered":"\n

There is a quiet paradox at the heart of the Italian product\u2019s identity: we call it \u2018Made in Italy\u2019 \u2014 in English \u2014 because its value is not measured within the borders of the country that produces it, but beyond them. It is an identity projected onto the outside world, designed to be recognised by others before we recognise it ourselves. It can be rooted in the past just as much as it can look to the future. And that is exactly what Ferrari is doing with its first electric-powered model, the Luce. <\/p>\n\n

The Ferrari Luce is, today, the most significant Italian product to emerge from the intersection of mobility, luxury and advanced industry. Not because it has four wheels \u2014 a Panda has those too. But because, just as happened with Olivetti and its typewriter and later the P101, it radically shifts the paradigm. The form may seem familiar. The meaning is entirely different. <\/p>\n\n

A technical detail is worth a thousand words: the Ferrari Luce and the Ferrari Hypersail <\/a>share the same rear axle component. A mechanical element designed to manage power, control and performance has been transferred from the electric car to the full-foil ocean-going sailboat. This is not a marketing ploy. It is a transfer of technology between different worlds. It is the industrial approach of a company that has stopped thinking in terms of product categories. <\/p>\n\n

\"\"<\/figure>\n\n

Sostenitori e detrattori<\/h2>\n\n

This Maranello-built project proved from the outset to be highly divisive. It could hardly have been otherwise, because Ferrari is not just a car brand: it is a symbol that everyone feels entitled to comment on, defend, criticise, love or challenge. <\/p>\n\n

Every decision made by the Prancing Horse thus ends up becoming a matter of public interest, almost a matter of sentiment. The Ferrari Luce, even before its technical architecture could be fully understood, was judged in the same way one judges an Italian national team kit, a poor line-up, or an unexpected call-up. Everyone has an opinion, even those who have never designed a car, driven a supercar or really studied what it means to incorporate electric technology into Maranello\u2019s industrial design language. <\/p>\n\n

But it is precisely this reaction that speaks to the power of the legend: Ferrari sparks debate because it belongs not only to those who buy it, but also to the imagination of those who look at it.<\/p>\n\n

\"\"<\/figure>\n\n

The announcement on social media sparked an uproar, with hordes of detractors horrified at the sight of Maranello\u2019s new car, as if, now the championship is over, everyone has suddenly become an expert in design. There are obviously pros and cons to every position; the most sensible criticism is that which, setting aside for a moment all the aspects of extraordinary technological innovation that the car embodies \u2013 we\u2019re talking about over 60 patents \u2013 focuses on the design. Even to those who are more detached from the issue, the fact that Ferrari\u2019s owners chose to turn to international designers traditionally less closely associated with the automotive world, rather than Italian designers, including those who have produced the most beautiful cars in motoring history, strikes a chord with many. Whatever the reasons behind this choice, the result is a car whose design objectively fails to evoke that thrill of emotion one normally feels when seeing a Ferrari on the road. <\/p>\n\n

On the other hand, there are also those who have welcomed it with great enthusiasm because it represents a break with the past, because it breaks free from what we might call \u2018defensive mediocrity\u2019: that Pavlovian reflex that leads us to judge as \u2018extravagant\u2019 or \u2018elitist\u2019 anything that defies immediate understanding. The frontier of design \u2014 fashion, industrial, technological \u2014 is by definition the place where the mainstream does not venture. And that is where the future is built. <\/p>\n\n

Amidst all this commotion, however, there are two objective facts: the car\u2019s selling price of \u20ac550,000, which is far higher than any competitor\u2019s and even than many Ferrari models already highly prized by enthusiasts, and the sudden and substantial slump in share prices on the stock market; we shall see how things develop in the coming days, but the immediate reaction from investors has been, to put it mildly, very lukewarm. <\/p>\n\n

\"\"<\/figure>\n\n

It\u2019s all down to technique<\/h2>\n\n

You can\u2019t see the technique. You can feel it. And that\u2019s the point. There\u2019s a fundamental misunderstanding in almost the entire debate about Ferrari Luce: people are discussing how it looks, when the most radical work lies in how it is perceived. <\/p>\n\n

The Luce is the first electric Ferrari in history \u2014 and that alone makes it a technical and cultural artefact even before it is an aesthetic one. The figures are staggering: 1,050 horsepower, four independent motors, a 122 kWh battery, 0\u2013100 km\/h in 2.5 seconds, a top speed of 310 km\/h, a claimed range of 530 km, and charging up to 350 kW. Starting price: \u20ac550,000. But focusing solely on the figures is like reading the hardware specifications of an iPhone without understanding what iOS is. <\/p>\n\n

Because the real work \u2014 the work Ferrari carried out alongside LoveFrom, the studio run by Jony Ive and Marc Newson \u2014 is not merely decorative. It is perceptual, psychological and cognitive. It is the very same process that governs the design of digital products when UX and UI cease to be separate disciplines and become one: research, usability and visual aesthetics merge to offer an experience that is intuitive even before it is rational. You don\u2019t think about the interface: you live within it. <\/p>\n\n

The Ferrari Luce works exactly like this. The absence of an internal combustion engine is not a void to be filled with simulations: it is a new space to be designed. The low, short bonnet, the vertical windscreen wipers that do not disrupt the airflow, and the dominance of glass and aluminium \u2014 these are not standalone aesthetic choices, but the result of an architecture that rejects imitation. The battery at the rear lowers the centre of gravity by 95 mm compared to the Ferrari Purosangue. The four independent motors enable bilateral torque vectoring: the car steers not only via the steering wheel, but through the difference in speed between the wheels. The paddles on the steering wheel do not simulate a non-existent gearbox \u2014 they manage five torque levels and five power levels, delivering rhythm, feedback and a physical connection with the electric drive. <\/p>\n\n

Even the sound has been designed with this logic in mind: Ferrari hasn\u2019t artificially replicated the roar of a V12. Instead, it has recorded and amplified the actual vibrations of the electric motors using precision accelerometers, creating a sound feedback that changes during acceleration, deceleration, upshifts and downshifts. It\u2019s not nostalgia. It\u2019s UX applied to mechanics. <\/p>\n\n

The result is a cockpit where the main controls remain in front of the driver \u2014 not on a large screen to be scrolled through \u2014 and the manettino integrates power management, battery, efficiency, suspension and launch control into a single physical interface. The very philosophy that made the iPhone revolutionary was not the hardware \u2014 it was the unique fusion of hardware, software and user interface. iOS was not an operating system: it was a paradigm of interaction. The Ferrari Luce is, in this sense, the iOS of the luxury electric car, made in Italy. <\/p>\n\n

It doesn\u2019t ask to be looked at. It asks to be understood. And to understand it, we must stop using our eyes as our sole means of judgement. <\/p>\n\n

\"\"<\/figure>\n\n

A physicist, a designer and Apple. The Ferrari model for open innovation <\/strong><\/h2>\n\n

Ferrari\u2019s current CEO, Benedetto Vigna, is not a racing driver. He is a physicist. He didn\u2019t invent the iPhone, but he played a key role in the development of MEMS sensors at STMicroelectronics \u2014 those accelerometers and gyroscopes that enable a smartphone to detect movement, rotation and orientation. He is the man who has brought the physics of microsystems to the world of luxury motoring. <\/p>\n\n

And when Ferrari was looking for a partner for an open innovation initiative \u2014 a concept much talked about in Italy, rarely understood and even more rarely put into practice \u2014 it chose LoveFrom, the studio founded by Jony Ive and Marc Newson. The very same Jony Ive who, alongside Steve Jobs, redefined the concept of the desirable object. Jobs revered him. Ferrari chose him. <\/p>\n\n

America realised this long ago: those who make electric cars also make space rockets. Not with the same tools, but with the same bold industrial approach. Italy is still struggling to learn this. It continues to keep separate worlds that ought to be connected. <\/p>\n\n

\"\"<\/figure>\n\n

\u2018Made in Italy\u2019 \u2013 who does it really belong to?<\/strong><\/h2>\n\n

Ferrari Luce is made in Italy in the truest sense of the word: it embodies philosophy, history and manufacturing tradition. But it does not necessarily belong to Italians. It belongs to Italy\u2019s manufacturing prowess. <\/p>\n\n

This is the distinction that public debate continues to overlook. \u2018Made in Italy\u2019 is not a question of nationality. It is a question of expertise, vision and industrial courage. It is the Piaggio Vespa becoming a luxury item. It is the Fiat 500 redefining an era. It is the Olivetti typewriter foreshadowing the P101. <\/p>\n\n

And today it\u2019s the Ferrari Luce. Design is a language. Not everyone will like it. But before passing judgement, it would be useful to understand what you\u2019re reading, not least to avoid the kind of hype that can even influence the stock markets (all images are taken from the media section of the Ferrari website) <\/p>\n","protected":false},"excerpt":{"rendered":"

The Cavallino’s first electric vehicle is a showcase of cutting-edge technology, yet it has also received mixed reviews<\/p>\n","protected":false},"author":125,"featured_media":172148,"comment_status":"open","ping_status":"open","sticky":true,"template":"","format":"standard","meta":{"_acf_changed":false,"_substack_draft_id":"","_substack_draft_url":"","_substack_last_pushed":"","_substack_premium":"","footnotes":""},"categories":[1346],"tags":[1459,1331,1137,1337],"companies":[2748],"journalist":[2238],"class_list":["post-172149","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-must-read","tag-automotive-en","tag-innovation-en","tag-italy-en","tag-sustainability","companies-ferrari-en","journalist-antonio-prigiobbo-en"],"featured_sizes_urls":{"thumbnail":{"src":"https:\/\/www.startupbusiness.it\/wp-content\/uploads\/2026\/05\/Luce_5rtv2_Lightson_6000x3375_b48006a2-bab3-4eef-8ccc-b375a025ca88.jpg","width":150,"height":84,"crop":false,"srcset":false,"alt":"ferrari 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Co-fondatore di Designtech, l\u2019hub di innovazione che avvicina il mondo del design con quello della tecnologia. Advisor di Austrian Business Agency, Emil Banca, Fondazione Symbola, Fondazione Quadrans. Partecipa regolarmente a incontri, convegni, conferenze dedicate all\u2019ecosistema dell\u2019innovazione. E\u2019 stato co-organizzatore degli Italian Innovation Day and Series che si sono svolti dal dal 2016 al 2020 nelle citt\u00e0 di Tokyo in Giappone, Melbourne, Adelaide, Perth, Canberra in Australia e Singapore e co-organizzatore dell\u2019Italy India Innovation Day di AIICP 2021 e 2022. Ha curato il volume \u2018L\u2019innovazione che non ti aspetti. Contesti e visioni per l\u2019impresa\u2019 , l\u2019edizione italiana di \u2018La startup digitale, guida pratica step by step\u2019 e ha scritto la prefazione all\u2019edizione italiana de \u2018La quarta era\u2019 di Byron Reese, ed \u00e8 co-autore di \u2018Cosa e Dove: strategie digitali di ricerca del lavoro\u2019, tutti editi da FrancoAngeli. 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giornalista, fondatore e direttore di Startupbusiness, il primo magazine sull\u2019ecosistema startup e innovazione italiano. Co-fondatore di Designtech, l\u2019hub di innovazione che avvicina il mondo del design con quello della tecnologia. Advisor di Austrian Business Agency, Emil Banca, Fondazione Symbola, Fondazione Quadrans. Partecipa regolarmente a incontri, convegni, conferenze dedicate all\u2019ecosistema dell\u2019innovazione. E\u2019 stato co-organizzatore degli Italian Innovation Day and Series che si sono svolti dal dal 2016 al 2020 nelle citt\u00e0 di Tokyo in Giappone, Melbourne, Adelaide, Perth, Canberra in Australia e Singapore e co-organizzatore dell\u2019Italy India Innovation Day di AIICP 2021 e 2022. Ha curato il volume \u2018L\u2019innovazione che non ti aspetti. Contesti e visioni per l\u2019impresa\u2019 , l\u2019edizione italiana di \u2018La startup digitale, guida pratica step by step\u2019 e ha scritto la prefazione all\u2019edizione italiana de \u2018La quarta era\u2019 di Byron Reese, ed \u00e8 co-autore di \u2018Cosa e Dove: strategie digitali di ricerca del lavoro\u2019, tutti editi da FrancoAngeli. In passato \u00e8 stato curatore di StartupDigest Italy, coordinatore scientifico del Forum per la Ricerca della Provincia Autonoma di Trento, board member di TechChill Milano advisor di di ScaleIT , ha collaborato con Il Sole 24 Ore \u00e8 stato direttore di Innov\u2019azione, bimestrale edito da Apsti, ha collaborato con Corriere Innovazione ed \u00e8 stato presidente del comitato di selezione del Premio Marzotto e advisor di Cetif-Universit\u00e0 Cattolica Milano.","sameAs":["https:\/\/www.abirascid.com\/","https:\/\/www.linkedin.com\/in\/emilabirascid","https:\/\/x.com\/emilabirascid"],"url":"https:\/\/www.startupbusiness.it\/en\/author\/emil-abirascid\/"}]}},"author_name":"Emil Abirascid","categories_names":["Must Read"],"_links":{"self":[{"href":"https:\/\/www.startupbusiness.it\/en\/wp-json\/wp\/v2\/posts\/172149","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.startupbusiness.it\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.startupbusiness.it\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.startupbusiness.it\/en\/wp-json\/wp\/v2\/users\/125"}],"replies":[{"embeddable":true,"href":"https:\/\/www.startupbusiness.it\/en\/wp-json\/wp\/v2\/comments?post=172149"}],"version-history":[{"count":2,"href":"https:\/\/www.startupbusiness.it\/en\/wp-json\/wp\/v2\/posts\/172149\/revisions"}],"predecessor-version":[{"id":172226,"href":"https:\/\/www.startupbusiness.it\/en\/wp-json\/wp\/v2\/posts\/172149\/revisions\/172226"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.startupbusiness.it\/en\/wp-json\/wp\/v2\/media\/172148"}],"wp:attachment":[{"href":"https:\/\/www.startupbusiness.it\/en\/wp-json\/wp\/v2\/media?parent=172149"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.startupbusiness.it\/en\/wp-json\/wp\/v2\/categories?post=172149"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.startupbusiness.it\/en\/wp-json\/wp\/v2\/tags?post=172149"},{"taxonomy":"companies","embeddable":true,"href":"https:\/\/www.startupbusiness.it\/en\/wp-json\/wp\/v2\/companies?post=172149"},{"taxonomy":"journalist","embeddable":true,"href":"https:\/\/www.startupbusiness.it\/en\/wp-json\/wp\/v2\/journalist?post=172149"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}