Once again, the New York International Auto Show brought a slew of carmaker-hosted events, which crowded the days before the expo at the Jacob K. Javits Convention Center opened to the public today. Like affairs held in previous years, the promotional gatherings this week saw efforts from mass and elite brands at venues spread across the city.
This year, while Bentley hosted an off-site event to introduce a small group of guests to its concept SUV, Land Rover celebrated 25 years in North America with a two-part initiative intended to marry its rich heritage of rugged, off-road capability with a modern, luxury aesthetic. The company staged a five-day urban-terrain driving experience for invited guests—a first for the brand in Manhattan—that turned a parking facility in Chelsea into a muddy, dust-filled enthusiast’s retreat. Set 360 Events owner and creative director Jed Burkhardt, whose company has been the exclusive event producer for Land Rover North America for more than a dozen years, worked with Land Rover events manager Bob Burns to create the post-apocalyptic course.
“It was important to keep the corporate culture [of the brand] without stepping over the line,” said Burkhardt. Months of planning aside, the 24-hour build (the teardown took half that time) included nearly 50 full-size semis full of dirt, wiring along the lot’s entire perimeter, strategic placement of props and vintage Land Rovers, and even calling on the fire department to hose down the entire track to ensure a cakey and solid form. “We built side tracks not only for the Evoque [model], but also to keep the flow of traffic going smoothly for unsure drivers,” said Burkhardt, who estimated some 180 to 200 guests participated each day. With a prominent location adjacent to the High Line, the decision was made to keep the course more gritty and opt out of transporting in scenic foliage and greens.
In addition to building the course, Burkhardt’s team of about 25 (four from the Los Angeles office and the rest from a local New York-based firm) produced a V.I.P. party at The Park Tuesday evening. The event, which was held the last day the off-road promotion was open, incorporated vintage Land Rover ads.
Also demonstrating the importance of the U.S. market was Porsche; North America accounts for the carmaker’s biggest sales. In lieu of hosting a press conference at the Javits Center, the automotive brand rented out the Altman Building for a cocktail reception and an in-depth look at its latest models. The Tuesday-night event was also significant for the venue, as it was the first event where all production was handled in-house. The Altman’s director of creative services, Rohit Kapoor, installed a series of holographic projections throughout the space that, while designed to fit with Porsche's style, didn’t distract from the vehicles. As each model was introduced with the lights dimmed, vintage Porsche headlights strategically placed behind black screens flicked on and off, accompanied by specific prerecorded engine soundtracks borrowed directly from Porsche’s own library. Pinch Food Design provided catering for the evening affair.
In a nod to a more local, homegrown icon, Tuesday also saw Mayor Michael R. Bloomberg join Nissan chairman and C.E.O. Carlos Ghosn to formally unveil the NV200 “Taxi of Tomorrow” that will replace the current lineup of Ford Crown Victorias. The George P Johnson Experience Marketing Agency produced the event, which used a yellow color scheme, naturally, with black undertones. From the nighttime cityscape on the walls and the yellow orchid florals, to the venue bathed in yellow light and hors d’oeuvres in matching hues, the visuals all recalled the signature look of the New York City taxi.
In a pronounced effort to bring its dusty reputation in line with its German and Japanese counterparts, Lincoln chose a more artistic route for its gathering on Monday. EWI Worldwide’s Studio Creative division, Lincoln’s exclusive event producer, employed a live orchestra and a sand artist. To keep in tune with the IAC Building’s stark, all-white aesthetic, EWI kept everything—the stage, the seating, even the flowers—in a similarly monochromatic tone.
