{"id":2040224,"date":"2026-05-02T16:34:12","date_gmt":"2026-05-02T14:34:12","guid":{"rendered":"https:\/\/www.luxsure.fr\/2026\/05\/02\/anantara-concorso-roma-the-car-as-mobile-heritage-in-rome\/"},"modified":"2026-05-02T16:37:05","modified_gmt":"2026-05-02T14:37:05","slug":"anantara-concorso-roma-the-car-as-mobile-heritage-in-rome","status":"publish","type":"post","link":"https:\/\/www.luxsure.fr\/en\/2026\/05\/02\/anantara-concorso-roma-the-car-as-mobile-heritage-in-rome\/","title":{"rendered":"Anantara Concorso Roma: the car as mobile heritage in Rome"},"content":{"rendered":"\n
In Rome, the automobile isn’t just exhibited – it’s reinscribed in its context. With the first edition of Anantara Concorso Roma, the city becomes a device: a space where mechanics meets history, and where the object finds its cultural environment. <\/p>\n\n
The principle of the concorso d’eleganza<\/em> is not new. But here, it changes scale. <\/p>\n\n
The city as scenography<\/strong><\/h2>\n\n
Rather than a closed park, the event unfolds across several venues: Anantara Palazzo Naiadi Rome Hotel for the hospitality, Villa Borghese for the exhibition, and Casina Valadier as the focal point. This dispersal is not logistical – it’s narrative. <\/p>\n\n
Each move becomes a transition between eras.<\/p>\n\n
Over seventy Italian cars, from the 1920s to the present day, are divided into sixteen categories. This division does not simply follow a chronological order: it also relates typologies – bodies, uses, coachbuilders’ signatures. <\/p>\n\n
The car ceases to be an isolated part. It becomes a fragment of industrial history. <\/p>\n\n
The return as an event<\/strong><\/h2>\n\n
The designation of the 1932 Maserati V4 Sport Zagato as “Best of Show” goes beyond the logic of price. This model, powered by a sixteen-cylinder, four-liter engine, holds a speed record set in 1929. Above all, its presence in Rome marks a comeback – a first in almost ninety years. <\/p>\n\n
This type of movement transforms the object into an event.<\/p>\n\n
In the automotive field, scarcity is measured not only in terms of production, but also in terms of visibility. An invisible car remains theoretical. Exposed, it becomes active again. <\/p>\n\n
Italian bodywork and identity<\/strong><\/h2>\n\n
The brands present – Ferrari, Lamborghini, Maserati, Alfa Romeo – are not called upon for their fame, but for what they represent: a tradition in which mechanics dialogue with bodywork.<\/p>\n\n
The term “coachbuilt cars” is central here. It refers to a time when the technical structure and the aesthetic envelope were dissociated. The chassis was produced by a manufacturer, the bodywork entrusted to a workshop – Zagato, Touring, Pininfarina. <\/p>\n\n
This division of labor places the automobile within a craftsman’s logic.<\/p>\n\n
The competition as a cultural format<\/strong><\/h2>\n\n
The first event of its kind in Rome for sixty years, the Anantara Concorso Roma is more than just a competition. It articulates several registers: aesthetic judgment, hospitality, gastronomy and tourism. <\/p>\n\n
This mix is not incidental. It corresponds to an evolution in contemporary luxury, where the object is no longer enough. It must be integrated into an experience. <\/p>\n\n
The role of Anantara Hotels & Resorts is structuring here. The hotel becomes a cultural platform, capable of orchestrating content – automotive, culinary, territorial – into a single narrative. <\/p>\n\n
Soft power and territory<\/strong><\/h2>\n\n
The event also acts as a projection tool for the city. By mobilizing local institutions and international partners, Rome reinforces a specific image: that of a capital capable of hosting events with high heritage value. <\/p>\n\n
The automobile thus becomes a vector of soft power.<\/p>\n\n
In this context, the “Dolce Vita delle Automobili” is not a formula. It’s a way of linking technical objects to a broader culture – that of Italian style, the art of living, and the circulation between past and present. <\/p>\n\n
The Anantara Concorso Roma doesn’t reinvent the concours d’\u00e9l\u00e9gance. It’s moving it. <\/p>\n\n
By taking the car out of the museum and placing it in the city, he transforms a static object into a narrative element. Mechanics become movement again – even when stationary. <\/p>\n\n
Rome, after all, is not the setting.<\/p>\n\n
It acts as a revealer.<\/p>\n\n\n<\/figure>\n\n\n\n<\/figure>\n\n\n\n<\/figure>\n\n\n\n<\/figure>\n\n\n\n<\/figure>\n\n\n\n<\/figure>\n\n\n\n<\/figure>\n\n\n\n<\/figure>\n\n\n\n<\/figure>\n\n\n\n<\/figure>\n\n\n\n<\/figure>\n\n\n\n<\/figure>\n\n\n\n<\/figure>\n\n\n\n<\/figure>\n\n\n\n<\/figure>\n\n\n\n<\/figure>\n<\/figure>\n","protected":false},"excerpt":{"rendered":"
In Rome, the automobile isn’t just exhibited – it’s reinscribed in its context. With the first edition of Anantara Concorso Roma, the city becomes a device: a space where mechanics…<\/p>\n","protected":false},"author":2,"featured_media":2025684,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_lmt_disableupdate":"","_lmt_disable":"","footnotes":""},"categories":[30763],"tags":[73216,73221,73217,73223,73219],"class_list":["post-2040224","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-travel","tag-anantara-concorso-roma","tag-classic-cars-italy","tag-concours-elegance-rome","tag-luxury-automotive-event","tag-maserati-v4-zagato-1932"],"yoast_head":"\n
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