The Tesla of Italy, Aehra’s Sexy EVs Now Have Names
3 min
ByAehra, the company that calls itself “Italy’s first pure EV brand,” has two uncommonly attractive vehicles in the works, the Impeto SUV and the Estasi sedan. The designs were first shown in 2022 and 2023 , then unnamed. Pricing for both vehicles is expected to be in the vicinity of US$170,000.
Aehra has some private resources, but is also awaiting government funding. It has submitted a €1.2 billion (US$1.3 billion) development plan to Italy’s Ministry of Industry (controller of the country’s Automotive Fund) to underwrite construction of a 200,000-square-metre plant, which it plans to build at Mosciano Sant’Angelo, in the Abruzzo region of eastern Italy. Aehra says it will create 540 jobs in the region, and 110 more at its headquarters in Milan.
Courtesy of Aehra
Hazim Nada, Aehra’s U.S.-born but Italy-raised CEO and founder, tells Penta he expects the Automotive Fund to be capitalised with €2.5 billion next year.
“The government is quite enthusiastic about this project, and we don’t see anyone else with significant production plans,” he says, adding that automotive start-ups are thin on the ground “in Europe, not just in Italy.”
Nada says the company had originally planned to build its cars via an existing contract manufacturer such as Magna Steyr in Austria, but he says finding a plant that could handle the special carbon-fibre process Aehra plans to use proved difficult. “It’s been a busy year, focusing on the location for our assembly line,” he says. “I hope to move soon to working on consolidating our dealer network and sales process.”
The company likes Abruzzo because it’s not only the centre of Italy’s lightweight carbon-fibre industry, but also a hive of EV expertise at the University of L’Aquila. As its plans changed, Aehra has had to push back its start date. Nada says the company aims to be through the building-permit process by the end of the year or early 2025, then start construction of the plant—a 1.5- to two-year process.
Courtesy of Aehra
Cars should start issuing from the plant in 2027, Nada says. The plan is to eventually scale up to 50,000 vehicles annually. He says Aehra does not intend to produce anything but battery EVs.
“Our focus is to build cars you can’t create with a thermal engine,” he says. “That’s our core. We couldn’t achieve the same results with hybrids.”
The designer of the cars was Filippo Perini, a veteran of Audi and Lamborghini. The cars are certainly beautiful, and closely related in their very streamlined designs. Nada says “the platforms are identical below the beltline.” The vehicles have frameless upward-opening doors (the company calls them Dihedral Facing Doors) that leave a large opening and ease entry and exit. The target is for them to have a very low coefficient of drag, 0.21, which means they should slip easily through the air.
Courtesy of Aehra.
The announced statistics are impressive, with a 500-mile range (close to certain versions of the Lucid Air) via 120-kilowatt-hour Miba Battery Systems packs and a top speed of around 165 miles per hour from the 800-horsepower powertrain. Zero to 62 miles per hour should take less than three seconds in the Estasi sedan, aided by a target curb weight of around 4,850 pounds (low for an EV with that size battery pack). A 10% to 80% fast charge should take 15 minutes.
Like the aforementioned Lucid, the Aehras are intended to be roomy inside. The SUV “will effortlessly accommodate four full-size National Basketball Association players while leaving room for a 6-foot adult in the middle of the rear-seat row,” the company says.
Aehra is targeting North America, Europe, and the Gulf States as markets for its cars. Nada thinks the Impeto SUV might have a sales edge.
“The SUV is easiest in the current market, but we expect to see some surprises with the sedan,” he says.
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Rugged coastal drives and fireside drams define a slow, indulgent journey through Scotland’s far north.
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The beige era is fading. In its place, luxury homes are rediscovering the confidence to use deeper colour, layered emotion and bold palettes.
8 min
For almost a decade, interiors whispered. Minimalism took over, neutral palettes dominated, and many homes drifted into a safe sameness built from beige, cream and careful restraint.
But something has shifted. As the world becomes more chaotic, homeowners are leaning toward spaces that offer warmth, optimism and personality.
Colour has returned to luxury design because it delivers exactly that, but in a considered, modern way, far from the brash maximalism of the 2010s or the timid pastels of the early pandemic years.
The new wave is thoughtful, layered and emotionally led, a resurgence shaped by a desire to feel grounded in our own space.
From Sydney to Melbourne, Atlanta to Toronto and Portugal, colour is back with conviction.
Why Colour Matters
Major global paint houses see the shift clearly. Warm earth tones and gentle pastels are now sitting comfortably beside deeper colours like burnt orange, moss green, berry shades and vintage rose.
Forecasts suggest a swing back to expressive palettes shaped by nostalgia, slower living and a renewed pull toward nature.
This shift reflects what people are living through: rising costs, global tension, digital overload and plain old burnout. People want comfort, a sense of connection and something that lifts the mood. Designers are responding with palettes that feel warm, grounded and human.
Colour is no longer about trends, but about emotional resonance.
Lauren Treloar, Dulux Colour and Design Manager, says homes are increasingly becoming “canvases of personal storytelling.”
She notes a growing willingness to use colour to bring “energy, joy and personal character throughout the space,” driven by the desire for warmth, individuality and emotional connection.
The broader colour movement is also reflected in the 2026 Dulux Colour Forecast, distilled into three palettes: Ethereal, Elemental and Evoke.
Together they champion warm earth-based neutrals, rich burnt oranges, caramels, sage, moss and spearmint greens, alongside soft pinks, vintage rose tones and muted berries. One of the strongest shifts, Treloar says, is the rise of spearmint green, which pairs effortlessly with earthy pinks, browns and burgundies.
Sydney’s Coastal Blues
In one Sydney penthouse, the shift towards colour begins with quiet confidence. Soft aqua and Mediterranean blues wind through the kitchen, living and bathroom in a way that feels serene rather than showy.
The goal, says Nathalie Scipioni, principal architect and director of Nathalie Scipioni Architects, was to unify what had once been a disconnected, boxed-in layout.
“My aim was to open up what had been a closed, disconnected layout and create a home where the kitchen, living and dining areas feel connected and calm,” she says.
“I used one feature colour (blue) to tie the spaces together, applying it in different ways so it feels consistent but not repetitive.”
The palette works because it’s balanced with soft greys, pale timber, brushed brass and plenty of texture.
“I controlled saturation by choosing muted shades and finishes with texture. I used pale timber, brushed gold and soft greys so the blue stands out without overpowering the overall sense of calm,” she says.
Even so, Australia is still colour-cautious.
“I don’t see bold colour making a major return in Australia just yet,” she says. “The market still leans towards neutrals… clients are hesitant to embrace colour because they don’t see it used around them. It is not part of the visual landscape in the same way it is Europe.”
Yet she sees her work as a quiet education, showing that colour can be gentle, refined and deeply personal.
Earthy Depth
Further south, another family home takes colour in an entirely different direction. Here, deep greens, walnut timber, brushed brass, mustard, rust and black stone fill the rooms with a rich, tactile warmth.
The brief was clear: no more beige.
“The brief was to completely move away from the beige and neutral tones that once defined the home and to reintroduce personality through a palette that felt both sophisticated and nurturing,” says Richard Misso, creative director of The Stylesmiths.
“Deep greens and walnut were chosen for their connection to nature… Brushed brass details added warmth and subtle reflection.”
In the living area, an artwork becomes the anchor that unites rust armchairs, an olive sofa, terracotta tones and black stone.
“A multi-tone palette like this works when each hue earns its place and connects through tone rather than saturation,” he explains.
“Texture plays an equal role to colour… creating variation and visual rhythm without overwhelming the eye.”
What’s ahead?
“Bold colour is already making its return, but in a more refined, tonal way… It’s less about maximalism and more about authenticity through colour.”
The American Case
Across the Pacific, a roughly 930-square-metre manor near Atlanta champions a cinematic approach to colour, says Seth van den Bergh, principal designer at The Drawing Room.
Long architectural sightlines demanded strong punctuation points, bold red moments, black walls, saturated accents and warm neutrals.
“At Milton Manor, the palette was built around rhythm and a restrained use of colour,” van den Bergh says.
“Boldness only works when it is balanced with restraint… the ‘fearless palette’ gains its strength from warm neutrals, white painted wood floors and a thoughtful use of colours and objects.
These elements allow the saturated gestures to feel intentional rather than overwhelming. It is that balance that lets the home breathe.”
Even the black walls are handled with precision.
“We layered the surfaces and filled the negative space with related tones… the key is to treat black as a finish rather than a colour,” he says.
For those scared to commit, he recommends beginning with emotion, studying the light, understanding the room’s vistas, then editing to one clear direction.
“Think of it like a film. You would not have all your lead characters speaking at once, so let the room have one clear voice to follow,” van den Bergh says.
For homeowners nervous about bold shades, Treloar suggests starting with how a space should feel and introducing colour slowly through architectural details or textures. Moodboards and real paint samples remainessential.
“Colour can change substantially in different lighting or when colour from other furnishings reflects on the wall,” she says. “It’s all about experimentation and allowing your personal style to evolve.”
Playful Confidence in Toronto
In a Toronto condo belonging to actress Amalia Williamson, colour takes on a joyful, youthful energy.
The space started as a blank, characterless developer shell. With a careful mix of custom cabinetry and budget retail pieces, the palette evolved into a vibrant blend of navy, blush, gentle greens, bold orange and saturated green.
Crucially, the bold accents came last.
“We actually selected those accents at the very end,” designer Isabel Clune of Isabel Clune Design says. “The foundation of the room was already rich with colour but in a soft, muted way.
The saturated green pendants and bold orange stools became the perfect counterbalance… It’s a controlled pop, not a swing into ultra-maximalism.”
Even the surfaces balance practicality with beauty.
“I always design with equal consideration for function and beauty… Marble can be refinished, it’s naturally heat-resistant… its subtle imperfections and patina add character over time.”
The embossed tile was chosen purely for its visual impact, with marble behind the stove for everyday practicality.
It proves colour doesn’t require huge budgets – just intentionality.
Colour Me Happy
Colour at Portugal’s Viterbo Interior Design begins with feeling, not pigment. As Gracinha Viterbo and Miguel Vieira da Rocha explain, “we never begin by selecting colours, we begin by talking about how people live.”
The team worked with the family to map the emotional temperature of each room, asking what mood each part of the home should hold: where they should feel energised, where they should slow down, where they should decompress and where they should gather with others.
The palette grew out of that emotional map, refined on site with large samples and fabrics at different hours of the day so that each hue produced the exact feeling the family wanted.
The home’s bold moments never spill into chaos because strict principles anchor the palette.
“Each room was given one strong chromatic gesture – never two,” the designers say, ensuring character without competition.
A restrained architectural backdrop and a tight family of colours allowed tones to reappear through the house in different intensities, creating continuity.
The result is a home that feels expressive and dynamic, yet the flow is seamless.
19th Century Revival
In Turin, colour becomes a bridge between eras. A 19th-century apartment restored by BRH+ Studio has been reimagined as a dialogue between heritage architecture and a vivid contemporary art collection.
Nowhere is that tension more captivating than in the entryway, where deep octanium walls and a site-specific fresco ignite a striking conversation between past and present.
Victoria Stoian’s fresco transforms the vaulted ceiling into an imagined sky, drawing the eye upward the moment visitors enter the apartment and signalling that this is a home shaped as much by art and narrative as by architecture.
BRH+ Studio treat colour not as decoration but as architecture, using it to connect the original terrazzo floors with new interventions and give the apartment a cohesive rhythm.
BRH+ on Colour and Heritage
For architects Barbara Brondi and Marco Rainò, founders of BRH+Q, the entrance to the Turin apartment was conceived as more than a hallway.
“The entrance to an apartment can be understood not only as the threshold to private living spaces, but also as a symbolically charged environment where the personality of the inhabitant can be expressed,” they explain.
In this case, the space was designed to reveal the owners’ passion for contemporary art while connecting that sensibility with the building’s nineteenth-century architecture.
The large tempera fresco by Moldovan artist Victoria Stoian transforms the vaulted ceiling into an imaginary landscape suspended between past and present. At the same time, the deep chromatic treatment of the walls connects visually with the apartment’s terrazzo flooring, creating a dialogue between decorative surfaces.
For Brondi and Rainò, the key to working within historic buildings is restraint. Every project begins with a close study of the context so that new interventions complement rather than overwhelm the architecture.
Pasadena: A Cocoon of Blue
In Pasadena, a second-floor bedroom suite became the perfect test case for how far colour can transform a small space when used with conviction.
The room sits apart from the home’s communal areas, giving interior designer Jennifer Vaquero of September Workshop the freedom to create a space centred entirely around her client’s favourite hue.
“While we loved the idea of creating a relaxing and serene space, it was equally important that the rooms also feel energetic and joyful,” she says.
Warm accents, reflective textures and subtle sheen in the window sheers ensure the deep blue palette never feels flat.
“When that light bounces off the golden and purple hues in the marble or the warm woods, the whole suite seems to come alive.”
Where Colour Is Heading
Across continents, a consistent story emerges. Colour is returning not as trend but as therapy, craftsmanship and identity.
Homes no longer want to whisper. They want to reflect the lives within them, joyful, complex, grounded and expressive.
Design is shifting from minimalism to meaning. From quiet to considered. From safe to soulful.
The new colour confidence isn’t loud or chaotic. It’s intentional, emotional and human, and one of the most powerful tools in luxury design.
This article appeared in the Autumn 26 issue of Kanebridge Quarterly, which you can buy here.
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