High Gear—Luxury Bikes Are Making a Statement
By GEOFF NUDELMAN
Wed, Oct 30, 2024 8:51am
4 min
4 min
At the highest end of the spectrum, bikes are becoming a statement piece. Colourful, vibrant frames stand as pieces of art, made from the most efficient materials and using the latest in innovative technology and engineering.
These bikes, often produced in limited quantities, aren’t just for show. They’re built for long touring days, conquering exceptionally tough climbs, and traversing the nearest rock garden.
It’s also a corner of the market that’s seeing steady growth even as the overall bike market experiences some post-pandemic correction. Technavio estimates that the high-end bike segment will grow by another $5 billion by 2028, fuelled by a pack of affluent riders looking for the latest and greatest they can get on two wheels.
There are also more customization options available than ever before. Bike companies can go over every little detail of the build, from customizing a model in stock to creating a truly bespoke bicycle from scratch. Even the most discerning cyclist can find themselves satisfied by the endless choices in a bike made specifically for them.
Today’s cycling trends cater to two extremes. On one end, there are the racing enthusiasts who want aggressive geometry, the lightest-weight construction, and aerodynamics wherever possible. On the other, there are those who want a more comfortable ride, but still with the best possible components and durability.
These bikes represent some of the best the industry currently has to offer, from off-the-shelf to a weeks-long bespoke process.
1. Trek Top Fuel 9.9 Gen 4, $US10,500
The biggest names in the business are getting in on the high-end game. This option from Trek features the customisation options that mountain bikers need, while also having the support of a national brick-and-mortar network for service and maintenance. The Top Fuel is also an example of the growing trend of in-frame tool storage to keep things out of the way, with the bonus of maintaining the aerodynamic engineering that helps riders go fast and get up steep climbs. This bike also has enduring flexibility, with more room for a larger shock and broader suspension range.
2. Colnago C68 Gravel, $US13,200
The Italians have a rich cycling history, and Colnago is no exception, with roots dating to 1954. Like most other bike brands, Colnago has adapted with the times and begun to build gravel-specific bikes meant to go off-road with ease, but maintain a step below full mountain biking. The C68 Gravel is the rare handbuilt, Italian-made gravel bike and the burliest of the brand’s flagship “C Series.” It is a full carbon fibre setup, with Colnago’s own handlebar layout, with two available colour options for the frame and three wheel choices.
3. Cannondale SuperSix EVO LAB71 Team, $US14,000
Cannondale
If you’ve ever wanted a chance to ride like the pros, this is it. Although several bike brands are offering a version of their Tour de France–competing models, there are few as striking as Cannondale’s offering. This bike is an exact replica of what EF Pro Cycling used throughout the 2024 Tour de France, securing the polka-dot jersey (best mountain climber) for one of its riders. LAB71 is part engineering experiment and part performance development for Cannondale, as the lineup has the brand’s lightest and most aggressive frames. As shown, the team edition features every possible upgrade, including a top-end drivetrain and a fully-integrated cockpit co-developed with MOMODesign.
4. No. 22 Bicycles 2024 Drifter X, Starting from $US14,800
No. 22 Bicycles
Titanium is more of an enthusiast’s choice for bike-frame construction as it offers a different ride quality compared to carbon fibre, but it also offers more options for total customisation. New York–based No. 22 Bicycles launched the Drifter X as a racier version of the Drifter model, with more flexibility to go further and faster on choppier terrain. Tire clearance between 28mm and 40mm puts this bike in a sweet spot for both pavement and gravel, with options to make cable routing semi- or fully integrated. Riders can also take advantage of several paint-finish options, including Cerakote, anodised, or keeping the frame finish “raw” in its purest state.No. 22 Bicycles also has a full bespoke program, where the company can tailor frames to the exact measurements of a specific rider.
This article originally appeared in the Fall Issue of Mansion Global Experience Luxury.
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Rachel Zegler and Gal Gadot star in an awkward live-action attempt to modernize the 1937 animated classic.
Rachel Zegler and Gal Gadot star in an awkward live-action attempt to modernize the 1937 animated classic.
By Kyle Smith
Thu, Mar 20, 2025 3 min
3 minEven in Hollywood, pre-eminent in the field of chutzpah, greatness can be intimidating. Rarely does one hear producers discuss their plans to remake “Casablanca” or “Lawrence of Arabia.” It took Disney many years of creating live-action remakes of its classic animated features before it worked up the nerve to take another whack at its first, and perhaps most venerated, work, “Snow White and the Seven Dwarfs,” which in 1937 set the template for richly evocative animation that could appeal to all ages. It is still, in inflation-adjusted dollars, the 10th-highest-grossing movie ever released in North America.
Disney’s first “Snow White” isn’t perfect—the prince is badly underwritten and doesn’t even get a name—but it is, by turns, enchanting, scary and moving. Version 2.0, starring Rachel Zegler in the title role and Gal Gadot as her nefarious stepmother, has been in the works since 2016 and already feels like it’s from a bygone era. After fans seemed grumpy about the rumored storyline and the casting of Ms. Zegler, Disney became bashful about releasing it last March and ordered reshoots to make everyone happy. Unfortunately, the story is so dopey it made me sleepy.
Directed by Marc Webb (“The Amazing Spider-Man” with Andrew Garfield ), the remake is neither a clever reimagining (like “The Jungle Book” and “Pete’s Dragon,” both from 2016) nor a faithful retelling (like 2017’s “Beauty and the Beast”), but rather an ungainly attempt at modernization. The songs “I’m Wishing” and “Someday My Prince Will Come” have been cut; the big what-she-wants number near the outset is called “Waiting on a Wish.” Instead of longing for true love (=fairy tale), Snow White hopes to sharpen her leadership skills (=M.B.A. program). And she keeps talking about a more equitable distribution of wealth in the kingdom she is destined to rule after her mother, the queen, dies and her father, having made a questionable choice for his second spouse, goes missing.
Ms. Gadot, giving it her all, is serviceable as the wicked stepmother. But she doesn’t bring a lot of wit to the role, and the script, by Erin Cressida Wilson , does very little to help. Her hello-I’m-evil number, “All Is Fair,” is meant to be the film’s comic showstopper but it’s barely a showslower, a wan imitation of “Gaston” from “Beauty and the Beast” or “Poor Unfortunate Souls” from “The Little Mermaid.” The original songs, from the songwriting team of Benj Pasek and Justin Paul (“La La Land”), also stack up poorly against the three tunes carried over from the original “Snow White,” each of which has been changed from a sweet bonbon into high-energy, low-impact cruise-ship entertainment. So unimaginative is the staging of the numbers that it suggests such straight-to-Disney+ features as 2019’s “Lady and the Tramp.”
After escaping a plot to kill her, Snow White becomes friends with a digital panoply of woodland animals and with the Seven Dwarfs, who instead of being played by actors are also digital creations. The warmth of the original animation is totally absent here; the tiny miners look like slightly creepy garden gnomes, except for Dopey, who looks like Alfred E. Neuman . As for the prince, there isn’t one; the love interest, Jonathan (a forgettable Andrew Burnap ), is a direct lift of the rogue-thief Flynn Rider , from 2010’s “Tangled,” plus some Robin Hood stylings. His sour, sarcastic tribute to the heroine, “Princess Problems,” is the worst Snow White number since the one with Rob Lowe at the 1989 Oscars.
Ms. Zegler isn’t the chief problem with the movie, but as in her debut role, Maria in Steven Spielberg’s remake of “West Side Story,” she has a tendency to seem bland and blank, leaving the emotional depths of her character unexplored even as she nearly dies twice. Gloss prevails over heart in nearly every scene, and plot beats feel contrived. She and Jonathan seem to have no interest in one another until, suddenly, they do; and when he and his band of thieves escape from a dungeon, they do so simply by yanking their iron chains out of the walls. Everything comes too easily and nothing generates much feeling. When interrogated by the evil queen, who wants to know what happened to her stepdaughter, Jonathan replies, “Snow who?” Which would be an understandable reaction to the movie. “Snow White” is the fairest of them all, in the sense that fair can mean mediocre.
