Design Review: Ferrari 458 Italia



There are many different ways that people respond to a new vehicle and there are many different aspects that might be considered in the review of its design. But just as most of our impression is formed in the initial few seconds when we first meet someone, so it is that our first response to a new design - particularly an expressive, emotive design like a new Ferrari - is often the most important.

With the new 458 Italia it is hard not to continue to be distracted by the strength of our positive initial reaction; one we had in common with almost all of the car designers present at its Frankfurt debut. But why is this new design from Pininfarina such a 'poster-pin-up'? And what beyond the initial 'wow' can we say about it?

The first aspect to any design that we register are its proportions. At 1213mm tall, 4527mm long and 1937mm wide (nearly identical to its predecessors, the F430 Maranello and 360 Modena), it's immediately obvious that the 458 is a 'supercar', even if is a lot taller than the supercar icons of the early 1970s: the 1973 Ferrari 365GT4 Berlinetta Boxer, for example, was 100mm lower.

The 458 differs more from its immediate predecessors in its secondary proportions that relate to the position of the cowl, header, DLO, wheels and other major elements - all of which combine to underscore the drama of its core supercar proportions. Notably, the waistline and cowl point are lower on the 458 Italia compared to the F430, and lower than on a Lamborghini Gallardo too. This gives the effect of pushing the car further down into the road - of lowering its center of mass - and also increases the glazing area, which visually lightens the car. And though this low waistline has no explicit ‘retro' quality, it does subtly reference, along with the slim A-pillars, this car's 1970s forefathers.



Another unique proportional aspect to the Italia is the way the rear fenders sweep up and twist towards the center of the car as they move rearwards. From a normal eye-height rear three-quarter view this feature accentuates the perception of the waistline diving downwards at the front and also gives the impression of the rear wheels pushing outwards, although for aerodynamic reasons there is little plan shape in the flanks.



Aerodynamic targets have also affected the graphics of the 458: notably this is the first mid-engine Ferrari with no side inlets as air is drawn in from underneath the car. The ducts in the top of the front and rear wings are for brake cooling and for venting air out of the engine bay.



After the split second of subconsciously reading the proportions and graphics that frame the 458 as a supercar, and one with a more expressive identity than most of its genre, we start to take in the sensuous form language.

More than anything else, this is perhaps the single greatest achievement of the Italia, although we had a foretaste of it last year in the Sintesi concept car from Pininfarina. The surfacing references the heritage of some of the first mid-engine Ferraris with its relatively large curvaceous volumes, but keeps them taut and contemporary with crisp but shallow angle creases.



These lines then innovate in the way they manage the surfaces between them: witness the way a crease starts just behind the front wheel, arcs upwards briefly before sweeping down and fading below the door handle to then re-emerge delicately above it and sweep into the rear haunch and the trumpet style rear light. This movement in the secondary proportions and form of the car give a unique energy to the 458 Italia that starkly contrasts with the seductive severity of the Gallardo and the quiet sobriety of the McLaren MP4-12C.

So these are the ingredients that make the new Ferrari such a luscious and contemporary supercar design. But beyond the powerful first impression this car makes there are many intriguing details.



Set into the single front aperture are two aquatic like fins that deform under increased air flow at high speed to reduce the air intake rate; between these is a black surface, off of which the Ferrari prancing horse is suspended forwards; and at the rear there are three exhaust pipes, the center one slightly smaller in diameter. Other innovative details include the way the DLO base line changes direction to echo the swell of the rear fender and finishes at a very sharp point, and the way the Enzo-style trumpet rear lights integrate into the surrounding trunk deck.



The interior of the 458, which is attributed to Ferrari's Design center (not Pininfarina), appears at first glance to be just an evolutionary Ferrari design. But there is a big innovation in the reconfigurable secondary displays, and the related design of a very compact integrated secondary control interface and steering wheel controls.



The design also really uses the low cowl to maximize the uniquely mid-engine car view forwards and create a sense of space, and there are some great new details like the asymmetrical air vents.



Our first impression of the 458, as it was for many others, was that this was a luscious design that perfectly filled the long empty space of what a modern mid-engine Ferrari should be. After considering several aspects to its design - it's proportions, graphics, form language, detailing, interior and how it relates to its predecessors and competitors - we are even more galvanized in thinking that, for the first time in a long time, here is a true 'pin-up' Ferrari design whose first impression of a luscious 21st century supercar looks set to last.