At the end of 2024, Jaguar sparked a fierce public debate with a new visual identity and the »Copy Nothing« campaign. Shortly thereafter, the Type 00  followed at Miami Art Week. The two-seater study first revealed how Jaguar intended to translate its new design philosophy, »Exuberant Modernism«, and its desired repositioning as a luxury brand into design. With the Type 01, it is now clear that the design language presented back then was indeed more than an exaggerated culmination of a concept car: Jaguar has transferred many essential features into production.

Proportion at the Core

Particularly striking is the long hood. In classic Grand Tourers, such a proportion largely resulted from accommodating large engines. With the electric Type 01, this constructive necessity no longer exists. Nevertheless, Jaguar consciously opts for it, transforming a formerly technical requirement into a design element.

The extent of this decision is evident in the distance between the front axle and the front door edge. Jaguar refers to it as the »Luxury Gap«. In the Type 01, it measures 898 millimeters, accounting for approximately 17 percent of the total vehicle length. According to the manufacturer, this ratio is almost identical to that of the legendary E-Type. The XJS  is also cited by Jaguar as a design reference point. The past thus serves, in a way, as a reference for proportion, while the surfaces and graphic elements point in a new direction.

This silhouette was made possible by the specially developed Jaguar Electric Architecture, or JEA. The construction was specifically tailored to the design requirements. Jaguar took an elaborate path to realize the originally intended form under the conditions of series production.

The extent of this ambition is demonstrated by a body panel internally named the »Impossible Panel«. This large aluminum sheet in the rear side area combines five different surfaces whose lines converge at one point. For its production, Jaguar developed a six-stage pressing process that operates with 2,500 tons of pressing force at the Halewood plant. According to the company, more than 1,500 hours were required to fine-tune this pressing process.

Intensive work was also done on the transitions between glass and bodywork. The frameless doors close directly against the body. A special folding technique allows seals and additional trim strips to be largely removed from the visible area.

A New Face

The altered design language is also particularly evident at the front and rear. Instead of a traditional grille, the horizontal »trikethrough« graphic defines the appearance. Four narrow lights form a new light signature. With a height of only 84 millimeters, the main headlights are the flattest ever on a Jaguar. »The front of Type 01  is all about presence,» explains Alexey Andreev, Exterior Design Lead at JLR. The new vehicle architecture made it possible to position the lights far out and high at the front to emphasize the vehicle’s width.

At the rear, the horizontal division continues. The taillights extend across the entire width and remain hidden when switched off. A special feature is the closed tailgate without a rear window. Together with the pronounced rear shoulders, this creates a large, coherent surface whose effect largely depends on the transitions between the individual body volumes.

The leaping big cat remains a trademark but is used differently. On the exterior of the Jaguar Type 01, the Leaper is exclusively located on a side metal element, the so-called »Fender Ingot.« There, it is laser-engraved into a surface with a brass-like finish, and in the Design Vision version, into an anodized metal finish.

Aerodynamics were also adapted to the largely closed surfaces. Active air control elements at the front and a three-stage retractable rear spoiler remain hidden when not in use. After more than 7,000 wind tunnel tests, the Type 01  achieves a drag coefficient of 0.23, according to Jaguar. The aerodynamic requirements were thus met without abandoning the fundamental silhouette.

Four Seats Along an Axis

In the interior, the pronounced longitudinal orientation of the exterior is continued. A central structure runs through the entire cabin, dividing it into four individual seating areas. Elements of anodized aluminum with a brass-like finish accompany this central axis and continue along the upper door areas. »Our holistic design philosophy translates the vehicle’s exterior presence into a distinctive interior architecture,« explains Thomas Holden, Chief Interior Designer at Jaguar. The continuous central structure is an essential architectural element that emphasizes the length of the vehicle and assigns each occupant their own area.

The material design is inspired by the layered hues of travertine. For the seat covers, a wool blend fabric from Kvadrat, leather, or NeoGrain from Ultrafabrics are available. The seats are also designed with few visible seams, thus reflecting the reduction of the body surfaces. Individual strong color accents initially remain hidden and only become visible when storage compartments are opened. The digital elements are also intended to interrupt the spatial design as little as possible. A 24-inch OLED display is located in front of the driver, while an additional seven-inch touchscreen handles frequently used functions. Further controls and ventilation openings remain hidden until needed.

From Vision to Production

The Type 01  thus also shows how closely Jaguar’s new design language is linked to technical development. The extraordinary proportions demanded a dedicated vehicle architecture, and the large body surfaces required elaborate manufacturing processes. Even details such as the transitions between glass and metal were specially developed to implement the original design as unchanged as possible.

This also gives the debate surrounding the Type 00  a different meaning in retrospect. When Jaguar presented the study in 2024, it was hardly possible to assess how much of the reorientation would flow into future vehicles. The Type 01  now answers this question with a design that actually retains many of the seemingly radical features of the concept. And many will likely attest: the provocation of 2024 has indeed arrived in series development. [CPS]

Chapter Talks – Design | Episode 39 | Host Timo Schmitt | Production Miri Marijanovic, Nina Schaefer, Clemens Paul Steinmüller | Music XTMPLX – »Mind Control«

The starting point of the collaboration was surprisingly unassuming. Originally, Singer asked Louis Vuitton to develop a dashboard clock for a Porsche 911. However, this evolved into a significantly more extensive project. In addition to the mechanical timepiece, which is inspired by the Tambour collection and can be removed from the vehicle, the entire cockpit was redesigned over the course of more than a year. Even the instruments, displays, and controls incorporate design elements from the watchmaking collection.

The first vehicle, the Porsche 911 Reimagined by Singer — Classic, is presented in saffron, cobalt blue, and yellow. The color combination references historical design elements from the Louis Vuitton archives. The appearance is complemented by a bespoke roof rack that offers space for luggage, skis, or a surfboard, placing the brand’s philosophy of travel at the center.

Inside the cabin, there are numerous references to the Maison’s savoir-faire. Leather inspired by Louis Vuitton’s characteristic VVN leather, Monogram flowers on the seats and headrests, and the Malletage pattern known from trunk-making run throughout the entire vehicle. Many components that are usually made of plastic in modern automobiles have been replaced by handcrafted components made of metal and high-quality natural materials.

Following the completion of the Coupé, the collaboration was expanded to include a second 911. The Classic Turbo Cabriolet bears the signature of Nicolas Ghesquière, Artistic Director of Women’s Collections at Louis Vuitton. Painted in Calcaire-Lutétien white and refined with gold accents and numerous wood elements, the vehicle’s design is oriented toward classic motorboats. Wood details are found not only in the interior but also in the luggage and bodywork elements.

Both vehicles are also accompanied by specially developed capsule collections. For the Classic, this includes a leather racing jacket, driving gloves, a helmet, sneakers, and bespoke luggage pieces. The Cabriolet is accompanied by a separate collection featuring a Tambour Automatic, a custom-made silk suit, and various bags and accessories. Many of the luggage pieces were developed specifically for the respective trunks.

The connection between Louis Vuitton and the automobile goes back a long way. As early as the end of the 19th century, the Maison developed special travel trunks for vehicles. In 1909, the Vuitton grandsons Pierre and Jean Vuitton even designed their own automobile based on a Stabilia sports chassis. The cooperation with Singer thus connects to a long, now largely forgotten automotive history of the brand.

Technically, both one-off pieces are based on Porsche 911 generation 964 models, which Singer has extensively restored and rebuilt. The bodies are made of carbon fiber. The Classic features a naturally aspirated 4.0-liter six-cylinder boxer engine with a six-speed manual transmission, while the Classic Turbo uses a 3.8-liter twin-turbo boxer engine, also with a six-speed manual transmission. Both vehicles are fully drivable unique pieces and not mere design studies.

With these two Porsche 911 models, Louis Vuitton and Singer merge their respective competencies and push individualization far beyond classic restomod logic. This is precisely where the appeal of the cooperation lies—and the reason for the frequently perceived criticism. Where some see extraordinary craftsmanship and aesthetics, the staging appears overloaded to others and too strongly dominated by Louis Vuitton’s brand world. In the end, it remains a question of taste, but an interesting one: How much additional identity can a design like the Porsche 911 handle before its own fades too far into the background?

That McLaren should look so explicitly to its own history at this particular moment is significant. Yet the McL 6GT  is by no means simply a retro exercise. It draws on the M6GT  through low proportions, clean volumes and a strong emphasis on direct driver interaction, while reinterpreting those ideas in a contemporary context. In that sense, the concept reveals less about what future McLarens might look like than about the principles behind Curić’s approach to design: reduction, clarity and a close connection between driver and machine.

McLaren has, after all, been unusually quiet in recent months. Since its acquisition by CYVN Holdings and subsequent combination with British electric-vehicle company Forseven, the company has been undergoing a major reorganization. Among the changes announced is an expanded model range, although little has yet been revealed about what that portfolio will actually look like. Design, too, is entering an entirely new phase. Since this spring, Kemal Curić has led the design team as Chief Design Officer, overseeing the creative direction of McLaren’s future portfolio. After senior design roles at Lincoln and Ford Performance, he joined McLaren at the request of CEO Nick Collins, with whom he had already worked some 20 years ago.

At Monterey Car Week  2026, some of the ideas behind Curić’s approach to McLaren design are becoming clearer for the first time. The McL 6GT Concept  presented here is a clear statement of intent. What is particularly striking is how deliberately McLaren embraces an analogue driving experience: a V8, manual transmission and hydraulic steering deliberately return to an analogue form of driving that has become rare among contemporary supercars. From this, however, McLaren has developed a remarkably distinctive and compelling design: exceptionally low, with clean, almost uninterrupted volumes, a cabin set deep into the body and a rear that picks up the Kammback form of the original M6GT  without slipping into retro design. Its analogue mechanics do not feel like nostalgic additions either; they are closely integrated with the car’s proportions, ergonomics and controls. McLaren itself describes the McL 6GT Concept  as a signal of a future-facing approach.

Chapter met Kemal Curić at the world premiere of the McL 6GT. While the initial idea for the car predates his arrival at McLaren, Curić subsequently worked with the existing design team on its proportions, execution, interior and numerous details. In our conversation, he explains why knowing when to stop is often the hardest part of designing a car, why clay models remain indispensable despite VR and augmented reality, and what watchmaking has to do with the design of a McLaren interior.

Chapter: You joined McLaren in the spring of this year. How much of the McL 6GT Concept was already settled when you arrived, and where was there still room to move?

Kemal Curić: I was involved in the design of the whole car. But there’s an excellent design team at McLaren, and they already had an idea of what they wanted to do. Then I came in with editing, curating, proportion, execution and the interior. I had a lot of influence on the interior—everything around the driver, the tactile side, the mechanicals, the patterns, even the headlamps. I also worked very closely with the engineers to keep the nose very low. Extremely low, in fact. The height sits at the legal limit. But as I said, the idea started before I arrived, and then we executed it together as a team.

Chapter: Every car has one design detail a team keeps returning to, long after the rest has been decided. Where was it on this one, and what was the discussion about?

Kemal Curić: Actually, the whole car. But the hardest part is knowing when to stop. A good design team always wants to add more ideas, because there is never a lack of them. So I have to work out: does it add any functionality? Can we keep it pure, keep it close to the original idea? I would say that’s always the hardest part.

Chapter: Is there a design detail you expect almost no one to notice, but that matters particularly to you?

Kemal Curić: The analogue shifter—it’s a work of art. We went through so many iterations of it. Not just how it looks, but how it feels in your hand, and the craftsmanship behind it. In general, we were obsessed with the interior. Around the steering wheel, everything at your fingertips. We spent a great deal of time on things like that, so the car doesn’t just look great from the outside, but feels great on the inside as well. So that as a driver, you really feel engaged. And then there’s the use of VR and AR. Very, very useful, because you can try out a lot of iterations that way. How the air vents feel. How the digital connects with the analogue. In what order. Can I operate it directly when I’m driving at 150 mph? Things like that are very, very important.

Chapter: And yet there is still clay in your studio. What does clay show you that a VR headset cannot?

Kemal Curić: The touch and feel. It always starts with VR, then AR. You see the car in front of your eyes; you can walk around three or four versions of it. We have five or six headsets, and we all walk through the studio with no car there at all. Then we see it in augmented reality. That’s another level again. And then we decide: this is the car that goes into clay. Of course, you then find that it looks slightly different. It feels different. Especially with cars this emotional—and this is a very emotional car. It has to feel superb. In clay, you can see the tension in the surfaces. You can debate the rear haunch: five millimetres here, twenty millimetres there. Is there more muscle? Is the surface over-tensioned? Is that too much? We spend a lot of time on that in clay modelling, especially when you’re doing something this emotional.

Chapter: We’re standing here at the House of McLaren in Pebble Beach, in the middle of a Car Week that trades heavily in nostalgia and provenance. While most established sports car manufacturers now reinterpret their history through explicit retro or heritage models, McLaren has largely stayed out of it. What does a week like this mean for a brand that rarely quotes its own past?

Kemal Curić: Well, it’s great—for me, it’s always emotional to understand which cars still speak to people 50 or 60 years later. Usually, those are the simplest, boldest—I would say the purest—forms, the ones we admire. The goal for McLaren is to create something very timeless and pure. The cars you’re describing, the ones you can draw with two or three lines, the ones you and I and probably all of us admire: when you reduce them to their essentials, they are actually quite simple and pure. And I think that is the boldness. That’s where I see McLaren: being really bold, having fewer elements, but then executing them to perfection. We’re hoping that a car of this type becomes one of the cultural icons of its period 30 or 40 years from now.

Chapter: So, 30 or 40 years from now, at an event like this one, what would tell someone that a car came from the “Curić era” at McLaren? What would be the markers?

Kemal Curić: The marker for me would be clarity. The emotional aspect coming through. A purity of design that is very clear, intentional and has a timelessness to it. Not so much the graphics, because graphics can be repeated—I’m not talking about the headlamps and taillamps as such—those things are repeatable. It’s more about the ethos behind it. Everything is functional, everything is purposeful, everything has a reason. There are no empty calories, that’s the idea behind it. So I would say: the most emotional and most engaging vehicles. That would be my goal for McLaren.

Chapter: I read that you collect watches and that watchmaking interests you. What can a car designer take from a discipline that has to resolve mechanics and proportion within a few millimetres? And where do automotive design and watch design actually meet?

Kemal Curić: For me, watches are an inspiration for the interior. Really, all the gauges, the whole tactile feel. For me, it is always about showcasing the engineering, the beauty. It’s not just about telling the time; it’s about showing the beauty of it, which again comes down to how you execute it. Some beautiful watches expose the mechanics, beautifully faceted. There’s something really fascinating about watches for me. I’m not going to mention which ones in particular, but there are some I obviously admire. How they remain relevant over time—that for me is really inspirational. I’m obsessed with watchmaking, with the details, with the way light travels through some of these watches. Look at the watch you are wearing right now: when you turn it into the light, you can tell somebody thought about it. How is it going to feel at night, in daylight? It also says a lot about you, which watch you wear, and I think that has something to do with the car as well.

Chapter: You grew up in Sarajevo. Is there something from there—buildings, cars, everyday objects—that still influences the way you look at design?

Kemal Curić: Absolutely. The brutalist architecture I grew up with in the eighties, mixed with what the Ottoman Empire left behind. It’s a wonderful mix in that city, and it’s all right out in the open—something I haven’t found in Germany or in the US. There are so many facets to it. You turn around and see something very modern, and something that has stood for hundreds of years. It’s unbelievable, it’s a very vibrant city. I get goosebumps talking about it. I haven’t been there in a long time, I’m sorry to say. It marked me, and that imprint is still there. Even now. You always see the modern and the old. They coexist. That’s a very beautiful thing. [CPS]

When Lamborghini presented the Miura  in 1966, the company was only three years old. The young manufacturer faced the challenge of establishing itself as an independent, strong brand. Performance alone was not enough – high speeds were already a given in the supercar segment. Therefore, design became particularly crucial. And so, the Miura  marked that important moment when Lamborghini began to develop its own design identity—independent of the great competitor from Maranello.

The bodywork, designed by Marcello Gandini at Bertone, played a central role. With its flat silhouette and the transversely mounted twelve-cylinder engine behind the seats, it permanently changed the idea of what a supercar could look like. In retrospect, Gandini explained the success of the Miura  by stating that the design was “incredibly innovative” without completely breaking with the design conventions of its time. It was precisely this combination of innovation and formal compatibility that made the Miura  the starting point for an independent Lamborghini design history.

60 years later, Lamborghini now commemorates this significant chapter in the company’s history with the Revuelto Miura 60° Homage. The special edition, limited to just 99 units, was created as part of the Ad Personam  customization program in collaboration with the Lamborghini Centro Stile  and will celebrate its world premiere in mid-August at Monterey Car Week 2026.

Instead of reinterpreting the Miura, the Revuelto Miura 60° Homage  adopts selected design elements from the original. Nine historical exterior colors, including Rosso Arancio, Verde Scandal, or Blu Tahiti, echo classic Miura  paint finishes. Additionally, there are two exclusive two-tone configurations with contrasting lower body sections—a feature of numerous historical Miura  models. Gold or titanium-colored wheels and a specially developed »Miura 60« emblem complete the look.

Inside, Lamborghini also incorporates design references. The seats, with their characteristic »Cannelloni« pattern, echo the Miura’s  upholstery, while leather extends over the center console and door panels. Between the seats, a “Miura 60” embroidery refers to the special edition, while a carbon plaque identifies each vehicle as one of 99 units. Owners of a historical Miura  can also, in collaboration with Ad Personam, have the original color configuration of their own vehicle faithfully recreated.

»With the Revuelto Miura 60° Homage, we wanted to create a special series capable of celebrating a milestone in our history through an exclusive interpretation of our V12 HPEV super sports car,« explains Stephan Winkelmann, Chairman and CEO of Automobili Lamborghini. »The combination of heritage-inspired liveries, exclusive Ad Personam  details and production limited to just 99 examples expresses the connection between our heritage and the virtually limitless personalization capabilities that define Lamborghini.«

A homage that shows that good automotive design can have an impact far beyond its creation. 60 years after its premiere, the Miura  continues to serve as an influential design reference point for the brand and for the design history that Lamborghini continues to write to this day. [Red.]

Originally, automobiles were primarily technical artifacts where form followed function. Over time, however, the formal level increasingly moved into the foreground, and design became the central instrument through which brands make their identity visible. This changed not only the meaning and field of activity for automotive designers but also the influence that design philosophies exert on the strategic direction of major manufacturers. But what role does history play when it comes to further developing the identity of major brands? When must established frameworks and forms be broken? And how thin is the line between icon and dogma really? Many questions meet one irrefutable fact: It is still the front of a vehicle that tells the most about a brand’s identity. In short: the brand face.

What would a Porsche 911 be without its typical front? An intervention that the loyal community of the Stuttgart-based sports car manufacturer would almost certainly perceive as an absolute affront? A loss of face in both senses of the word? »Nothing is untouchable,« Porsche design chief Michael Mauer said a few months ago in a conversation with Chapter. But if everything is vulnerable, can a brand like Porsche — during major evolutionary leaps — still remain tangible in the same way? What is certain is that the design of a vehicle, especially the exterior design, contributes significantly to brand identity — presumably even making up the largest part of the DNA. Because even when performance or technical innovation are in the foreground, the associated factors will always be reflected in the design language. This means: When an automotive designer like Michael Mauer puts pen to paper, the result will most likely always be something that establishes identity. But what if the headlights he sketches with quick, practiced hand movements were suddenly no longer round but square? Even if the roofline still featured the sloping appearance typical of the Porsche 911, it could happen that the vehicle would no longer be immediately recognizable as exactly that when glancing in the rearview mirror. But that is precisely what it is about when a strong brand identity is to be created through certain design features.

The round headlights are one of the defining design features that contribute to the unmistakable identity of the
Porsche 911 — as seen here on the Porsche 911 GT3 Touring.

Chief Creative Officer Massimo Frascella is opening a completely new chapter at Audi. His design philosophy is based on the aspects of »clarity, technology, emotion, and intelligence.« The Audi Concept C was the first tangible manifestation of his concept.

The front of a vehicle plays the most elementary role, as design professor Sam Livingstone is also convinced. Brands like Porsche or BMW have understood that the front is the best place to position trademarks that are as simple as they are strong, says Livingstone, who, in addition to his work as a Visiting Professor at the Royal College of Art, also co-founded the agency »Car Design Research,« which operates at the interface between design, product, and brand. »The front fascia of the car — the shape of the grille and the headlamp or the combination thereof — is in many respects the face of the car. It is what you typically see most and think of most when you think of a vehicle,« he attests in an interview with Chapter.

ICON OR DOGMA?

When it comes to the front as an immediate recognition feature of a brand, the double kidney grille typical of BMW must also be mentioned. For over 90 years, almost every vehicle from the Bavarian manufacturer — whether a concept car or a production model — has been equipped with the two-part, rounded radiator grille. However, the BMW kidney grille did not always look the same but went through various evolutionary and developmental stages. For example, the narrow kidneys of the BMW 1500 heralded a turning point. For the first time, they were connected, slightly narrower than on all previous models, and placed between two horizontal grilles. With its arrangement of primary and secondary air grilles, this ensemble formed the blueprint for the front design of BMW core models until the 1980s.

With the front design of the all-electric BMW i3, which came onto the market in 2013, the original technical function of the BMW kidneys receded completely behind their aesthetic one. The decision was made to equip the flat, relatively wide double kidney with closed surfaces and blue accents to identify the vehicle not only as a BMW but also as an innovative electric car. With the two vehicles presented in 2019, the BMW X7 and the BMW 7 Series, the kidneys became significantly larger, more striking, and more present. The electric BMW i7, first introduced in 2022, is in no way inferior to those two models in terms of presence and conspicuousness, yet the double kidney had largely lost its original function as an open cooling air intake and now served primarily as a signature design element. On the i7, the shape of the kidney can even be further emphasized by an illuminated contour.

For over 90 years, almost every BMW — whether a concept car or a production model — has been recognizable by the brand-typical kidney grille. Those of the Neue Klasse model BMW 1500 (1961) were connected for the first time, even narrower than on all previous BMW models, and placed between two horizontal grilles.

With the Neue Klasse introduced in 2025, the most important design feature of the German manufacturer — alongside the Hofmeister kink — is now undergoing a reassessment. Previous vision vehicles already showed that the front will look slightly different in the future: more restrained, clearer, and — as the vertically aligned kidneys of the first Neue Klasse production model BMW iX3 presented in September of this year make clear — clearly referencing the brand’s history.
This corresponds to the German manufacturer’s fundamental stance of appearing somewhat more unobtrusive in design in the future. And in doing so, exposing the brand core in an even clearer way, as design chief Adrian van Hooydonk emphasizes. However, sticking to the form at a time when the function of the double kidney as a cooling opening has long since become obsolete also meets with criticism. As automotive designer and visionary creator Daniel Simon explains in an interview with Chapter, maintaining this form is an implicit prevention of radical new beginnings — an abstraction of the origin to the point of absurdity. »References are important. But it troubles me how much history we have to live with. The design library and the amount of unspoken requirements are already enormous,« says Simon. Mass manufacturers are inevitably committed to the past, and only a few manufacturers, such as the supercar manufacturer Koenigsegg, are exempt from this obligation, he adds. The design of major brands therefore always carries the baggage of the past with it.

So does it happen that dogmas are transfigured into iconic features and design elements that seem essential for the brand turn out to be baggage accumulated over the course of history? Is the front of the Porsche 911 not a well-rounded thing in both senses of the word, but a dogma disguised as an icon? Sam Livingstone waves it off and puts things into perspective: »Clearly, for any brand to lose everything that it stood for is essentially nonsensical, whilst to keep everything exactly the same is also nonsensical.« He shares the view that nothing should be untouchable with Michael Mauer. The question is to what extent changes take place. »The fundamental process of creating something new is to disturb something which is old,« says Livingstone, who has already worked with numerous brands when it came to finding out which design path they would like to take in the future.

For Sam Livingstone, the following insight is often missing in the discussion about automotive design: »That the semantic delivery of meaning through design is a massively important factor. But I think there’s another one which many people in the field fail to recognize, which is that it also performs a role to signify the brand.«
The automotive design strategist is convinced that design has the role of a signifier — that is, the design expression of a deeper meaning. Therefore, in the opinion of the expert and consultant, it would also be nonsensical to tinker with it too much. However, this does not mean that trademarks must be unchangeable and rigid — as if they were made of a material that cannot be deformed under any circumstances. Movement must be possible as long as the underlying level of meaning is not distorted, blurred, or shifted. Applied to BMW, this means: The two-part division of the radiator grille, deeply anchored in history, remains. Within this framework, which can be both expanded and reduced, Adrian van Hooydonk and his team have numerous creative possibilities to explore it sufficiently — without breaking it and risking the loss of the brand face.

BRITISH DESIGN ICONS

Marek Reichman, Chief Creative Officer at the British sports car manufacturer Aston Martin, has a similar perspective. In a conversation with Chapter, he emphasizes: »The design elements that are part of Aston Martin’s identity give my team a strong foundation on which to envision an exciting future. It informs our creative process but does not define it. We have tremendous freedom in what we do.« He identifies the elegant radiator grille as one of the most brand-defining design elements, which, as he points out, still fulfills the same function as at the beginning of the brand’s history — »to provide exceptional cooling performance.« However, the size and shape of the element, which is anything but aggressive, change slightly with each generation, Reichman notes. »The most significant change occurred in the post-Second World War era when company engineers intelligently combined three radiators into one connected system.«

For Marek Reichman, Chief Creative Officer at the British sports car manufacturer Aston Martin, the Side Strake is considered one of the brand’s identity-establishing features. The element is particularly iconic on the legendary DB5: »That sports car is an exemplar of Aston Martin design beauty and simplicity. The Side Strake never fails to catch the eye on such an impressively fluid and clean form.«

As a second identity-establishing feature, the British-born designer mentions the Side Strake, which was designed in the early 1950s as a reinforcement strut made of lightweight aluminum in which an opening could be made large enough to meet the cooling requirements of the vehicles. Since then, there have been a number of brands that have tried to copy the Side Strake as a pure design element, the designer says. The element is particularly iconic on the legendary DB5, Reichman adds. »That sports car is an exemplar of Aston Martin design beauty and simplicity. The Side Strake never fails to catch the eye on such an impressively fluid and clean form.« For all design elements developed or further developed at Aston Martin, however, it is always about improving performance. In this context, the automotive designer mentions the two supercars Valkyrie and Valhalla. He does not find any of the brand-defining elements limiting. »I see the design elements carefully developed throughout the rich history of Aston Martin as the most tantalising ingredients imaginable, to include in the design ›recipes‹ of the new sports and luxury cars we create. They provide a framework of opportunities — far from being limitations. Together, they create recognition and my job is to evolve them. The historic DB5 and the all-new Valhalla are light years apart both literally and philosophically, yet the blend of fundamental Aston Martin design elements applied in the right way makes their lineage undeniable.« It is also undeniable that vehicles from the English luxury car manufacturer Rolls-Royce are recognizable at first glance as belonging to the brand. The most important identity component of all models manufactured in Goodwood is the Pantheon Grille, which with its vertical slats is reminiscent of the architecture of Greek temples. »Among the elements we consider unchangeable are also the Spirit of Ecstasy, which adorns every hood, and the Badge of Honour with the double ›R‹,« explains Domagoj Dukec, Director of Design at Rolls-Royce since 2024. Every vehicle is also defined by its proportions, he adds — the 2:1 ratio between wheel and body height has shaped the brand’s silhouette since the first Silver Ghost introduced in 1907. He also mentions the three most important lines — the waft line, the waistline, and the silhouette.

Indispensable identity components of the English luxury car manufacturer Rolls-Royce: The iconic »Spirit of Ecstasy,« which adorns every hood, and the Pantheon Grille, which with its vertical slats is reminiscent of the architecture of Greek temples.

Black Badge is the subversive alter ego of Rolls-Royce introduced in 2016. »Black Badge stands for the bolder expression of our design philosophy. A contemporary reinterpretation that has not only become part of our identity but has also attracted a new, younger audience,« says Domagoj Dukec, Director of Design at Rolls-Royce since 2024.

While at Aston Martin much revolves around performance, at Rolls-Royce elegance and timelessness are at the center. »These are vehicles that stay in families for generations. That’s why it’s essential for us that they are still recognized as cars from Rolls-Royce decades later,« Domagoj Dukec notes in a conversation with Chapter. However, this does not mean that there is no room for reinterpretations. Dukec alludes to Black Badge — the brand’s subversive alter ego introduced in 2016. The central elements remain the same, but the dominant black color contributes to a different, somewhat bolder appearance. »It was an unexpected but convincing statement, and exactly this creative tension makes Black Badge so effective. Today, Black Badge stands for the bolder expression of our design philosophy. A contemporary reinterpretation that has not only become part of our identity but has also attracted a new, younger audience,« Dukec sums it up.

RADICAL NEW BEGINNING

The Ingolstadt-based car manufacturer Audi is currently opening a completely new chapter in terms of design. This also includes a new design philosophy which, according to Chief Creative Officer Massimo Frascella, is based on four aspects. »We have established four key principles, which are: clarity, technology, emotion, and intelligence. These elements must be present in every development step we take in design.« However, the brand credo »Vorsprung durch Technik,« known far beyond the borders of Germany, is not being discarded but integrated into the new design philosophy that Audi wants to span not only over the coming models but over the entire brand. »The Radical Next« was the claim with which Frascella introduced the new direction and the Audi Concept C, the first tangible manifestation of his philosophy. The concept vehicle is »a confident reinterpretation of the brand identity. The study shows a clear, sculptural presence, as if the vehicle were made from a single piece of metal — free from distractions, determined by tension and pure form.«

»I guess the radical next has a time frame on it. You can only be the radical next thing for a short while,« Sam Livingstone judges. He attaches significantly more importance to the four pillars that Massimo Frascella recently presented than to the short credo. Overall, it can also be observed that design philosophies are currently much more elaborate and profound than in the past decade, says Livingstone. If you rewind to the very beginning, cars were technical artifacts, he adds. The importance of form initially played hardly any role. »And then progressively the role of design was both made evident and recognized. And to some degree the importance of it has just continued,« the Briton sums it up and adds: »I think that J Mays, the Chief Creative Officer of Ford, was one of the first people with that title in the business.«
Mays left Ford in 2013. Since then, much has changed, not only at the American brand, when it comes to recognizing and using design philosophies as central brand-building blocks. »At the moment design philosophies are maturing beyond just some slightly pretty words to describe a sense of form language to ones which seem to connect to a wider purpose and also a bit more to the brand.«

It also fits that Chief Creative Officers, such as Massimo Frascella at Audi or Marek Reichman at Aston Martin, are responsible for much more than just the design of production vehicles or concept cars. They are not exclusively automotive designers but brand creators. This means that their field of activity is many times larger and more differentiated than was previously the case. Sam Livingstone sees a great opportunity in this: »For Massimo and for other Chief Creative Officers to be able to not just affect the styling and the appearance of the interior, but the entire behavior of the vehicle and the wider ways in which the brand is disseminated, is a really strong and important thing.« Porsche design chief Michael Mauer also appreciates the additional creative freedom. In an interview with Chapter, he notes: »Sometimes I wish for the old days back because we could concentrate much more on our core competencies then. On the other hand, I find it incredibly exciting that we designers are increasingly involved in the design of the entire brand image. As a result, the importance of design as a whole has also changed a lot. In leadership positions, you are suddenly part of the entire corporate direction.«

Of course, the round headlights of the Porsche 911, the double kidney at BMW, the Side Strake from Aston Martin, and the Pantheon Grille from Goodwood are not the only design features that have co-shaped the brand identity in such a decisive way. Many more could be listed, for example, the wedge shape of Lamborghini sports cars, which is spectacularly expressed in the Countach originally designed by Studio Bertone. »There are works of art that always remain contemporary, and the shape of the Countach is one of them. From the stylistic viewpoint, it is a perfect inspiration because even if we modify the rest, it takes form as an element of visual continuity between past and present. It is the summa of the DNA of all of Lamborghini’s design, the tradition of the stylistic language from the origins up until the present day,« says Lamborghini design chief Mitja Borkert about the iconic vehicle.

Incidentally, Sam Livingstone only uses the word »iconic« in exceptional cases. It is »heavily overused,« according to him. »I do wince slightly when I hear design directors or brands talk about something being iconic, when clearly iconic really is a judgement made over time by an audience, by the consumer, by the user, the customer and the market. You cannot legitimately tell people that something you have made is iconic. You might talk about the iconic kidney grilles of BMW or about the iconic grille of a Rolls-Royce. And maybe you talk about the iconic lights of a Porsche, but let’s be frank — the lights on the Porsche were exactly the same as the lights on every other car. It’s just that Porsche was unusual in not changing them very much.«

FIRST PUBLISHED IN CHAPTER №XIII »IDENTITY« — WINTER 2025/26

Identity is a productive force. In crowded markets, every product has its competitors, and the battle for the attention of potential customers is fundamental. The first goal is always perception; the second is a positive perception of the brand and its products. The tools for this are well known, and the most prominent among them is design. A proven method — yet rarely the most popular one. For senior managers, the relationship with design is often deeply ambivalent, because the results of this cauldron, operating according to its own rules, can neither be reliably evaluated nor calculated in advance. For a CEO with an engineering background — shaped by a world of precisely measurable values — it can certainly trigger traumatic states to be so fatefully dependent on the work of more or less eccentric designers when making billion-dollar decisions.

Lucky are those who can rely on other, ideally exclusive, instruments to achieve distinctiveness and visibility for their products. Tesla, the world’s most valuable car manufacturer by market capitalization, is one of these exceptions. The identity of products with the stylized »T« on the hood rests on at least several pillars. Design is one of them, but probably not the most important. The design of Teslas does not polarize; it is fine — good craftsmanship, nothing more, nothing less. The exception, of course, is the Cybertruck. It seems to exist to defend the honor of Tesla’s design department, proving that it can design disruptively, right up to the pain threshold if necessary — a matter of honor for designers. However, Tesla’s identity is based more on the narrative of the American Dream, the saga of the intrepid adventurer and resourceful entrepreneur. In the recent pioneering period of electric mobility, the products carried the aura of innovation and forward thinking. The spirit of Silicon Valley  to take home. Because once you are in it, you are part of it. Future technology, innovation, entrepreneurial success, non-conformity, and the guarantee of being on the right side when it comes to climate protection — a booster for one’s own identity and well worth the money. And as a bonus, owning a Tesla relieved its users of the suspicion of having fallen victim to a clever marketing campaign, because design is often perceived as an accomplice to manipulative marketing. Admittedly — not entirely unjustified.

Introduced as a concept car in 1971, the Lamborghini Countach went into production in 1974, writing a new chapter in automotive history: the pioneering supercar broke with all visual habits and deliberately polarized.

The Tesla phenomenon is interesting because recent events have produced an effect that reveals the motivations of its users with the clarity of a laboratory experiment. Through clumsy interference in US and global politics, CEO Elon Musk has created unpredictable dynamics in the perception of the brand, and some formerly convinced Tesla disciples now find themselves, through no fault of their own, on the wrong side, or at least in an unfavorable light — without having moved at all. The boundaries simply shifted beneath them. And so one now sees the apologetic confession on the rear of some Teslas: »I bought this before Elon went crazy.« At least for these customers, it can be considered proven which part of the brand’s original identity was an important, or even decisive, impulse for the purchase decision. This kind of revealing statement from users of an automotive product is rare — but to rise above it would be cheap. Let he who is without vanity cast the first stone!

The design of the Tesla Cybertruck was inspired by the DeLorean DMC-12 — known from the film trilogy »Back to the Future.« The 5.68-meter long and 3.1-ton pickup seems to show that the Tesla design department can also design radically disruptively if necessary.

Identity through cult status: The Yugo’s high level of recognition to this day is remarkable. Produced from 1981 to 2008 by the former Yugoslavian, and later Serbian, car manufacturer Zastava, the model gained its ultimate breakthrough in America after being voted the »worst car in the USA« — Americans, after all, love underdog stories.

It is in the nature of things that, in a costly purchase decision such as that of an automobile, not only the product itself — in its technical design and properties — represents a compromise; the reasons that ultimately lead to the purchase are also the result of a weighing process. It is difficult to say which argument prevails in each case, because the attributes to be considered form a long list, from A for everyday usability to Z for reliability. D for design is always present, but its effect is usually difficult to quantify. Only in the exotic world of so-called supercars is comparison sometimes easier, since they are freed from many constraints — above all, that of having to be practical in the conventional sense. Even the criterion of value for money, which ranks high for family vehicles, is secondary or even irrelevant in this elite sphere. These adult toys therefore offer a useful example of the effect and creation of identities.

Traditional protagonists of this market segment are Ferrari and Lamborghini — two brands that seem fatefully linked. If the stories are to be believed, the successful tractor manufacturer Ferruccio Lamborghini once felt taken advantage of, and even disrespected, by the manufacturer of his own Ferrari 250 GTO. So, in 1963, he decided to produce his own sports cars from then on — and to do it better. The history of the young company was thus marked from the beginning by a very particular challenge: the permanent comparison with the industry leader based in Maranello, only 35 kilometers away. This is especially interesting because, for this type of automobile, there are essentially two identity-forming disciplines: design and performance. Lamborghini was already doing quite well in both, but creating an identity of its own for the young brand — beyond the claim of being an anti-Ferrari — proved existential.

The Miura was Lamborghini’s first major emancipatory step in its constant comparison with market leader Ferrari. With its innovative technology and aesthetics, it would profoundly shape not only Lamborghini’s own history, but also the supercar segment as a whole.

The Countach is considered the most influential model in Lamborghini’s history. Like the Miura, the vehicle was designed by legendary Italian designer Marcello Gandini, then chief designer at Studio Bertone.

But today — in times of rapidly developing electric drives — completely different rules apply: the power of an electric drivetrain is, de facto, almost arbitrarily scalable. For example, the battery and car manufacturer BYD has already exceeded the 3,000 hp mark with its Yangwang U9 Xtreme model and shows no signs of stopping there. Even four-door sedans can now boast electrically generated outputs of more than 1,500 hp and accelerate to 100 km/h in less than two seconds. These new horsepower acrobats now reliably deliver the racetrack records and lap times necessary for image building. Those who continue to run their engines on gasoline can no longer win in this discipline due to technical limitations.

To what extent the cyberpunks in their innovative electric rockets are poaching customers from traditional manufacturers in Italy and England cannot be analyzed in detail. However, there should be no reason for pessimism: the number of people who qualify as potential buyers solely by virtue of their wealth is constantly growing — currently, around five new billionaires are emerging worldwide each week. So the pie is getting bigger, and the fight for shares is more worthwhile than ever.

The Lamborghini Design Study Manifesto was presented on the occasion of the 20th anniversary of Lamborghini Centro Stile and has the makings of a »Countach effect«: independent, simple, timeless. Transformed into an actual product, this design has the potential to become the new benchmark for Lamborghini’s future identity.

While the market continues to grow, the classic strengths of traditional brands are losing traction. The toolbox of established competitors is visibly emptying, and the focus is increasingly shifting to aesthetics — and not only formal ones. For many customers, the electric motor cannot yet replace the emotional and sensory quality of an internal combustion engine. If mechanical complexity becomes technical sophistication and noise emissions become sound, then the eight- to twelve-cylinder engine relates to the electric motor like a mechanical luxury chronograph to a digital watch. Aesthetics decide success and failure — at Lamborghini, this responsibility has rested with chief designer Mitja Borkert since 2016.

On the occasion of the twentieth anniversary of the design studio in Sant’Agata Bolognese, Borkert presented a design intended to define Lamborghini’s design language for the future. The study, named Manifesto, is not a concept car, not even a visual model of a car, referred to in the industry as a mock-up. Manifesto is a form study, high-gloss painted and predominantly made of hard foam. One could dismiss it as a hastily created treat for the festive celebration of the aforementioned anniversary. However, one could also view the design as a decision about the fate of the brand at a time when the profits of traditional sports car manufacturers can collapse almost overnight and the cards are being completely reshuffled in this elite part of the industry as well. Borkert is always faced with the task of reaching the level of his mostly red-painted competition and all other old and new competitors, without getting too close to them thematically — not easy when all must enclose a technical package that is almost identical in its dimensions and proportions. Often, the designs from Sant’Agata Bolognese have stood out through distinctiveness, excessive angularity, even deconstruction. Manifesto, however, has the makings of a »Countach effect«: independent, simple, timeless. Transformed into an actual product, this design has the potential to become the new benchmark for Lamborghini’s future identity.

In these currently turbulent times, Stephan Winkelmann — Lamborghini’s eloquent president — will also have to jump into the deep end. Borkert has at least shown him a spot where it is deep enough.

FIRST PUBLISHED IN CHAPTER №XIII »IDENTITY« — WINTER 2025/26

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Alfa Romeo Spider

The Alfa Romeo Spider  was built from 1966 to 1994 across four generations and embodies Italian »Dolce Vita« like few other cars. While there were also fifth and sixth generations, these are better viewed as independent new developments. The first Alfa Romeo Spider  was also the last vehicle co-designed by Battista »Pinin« Farina, founder of the legendary Italian design house. The open two-seater became famous primarily for its aerodynamically shaped rear, which earned it the nickname »Osso di Seppia«—referring to the cuttlebone of a cuttlefish. Legend has it that workers in the Grugliasco factory halls gave the sleek roadster this name. The front is kept flat, the grille features the typical heart shape, and is framed on both sides by the split bumpers in the form of the characteristic »baffi«—little mustaches.

The rounded rear is shaped almost identically to the front and polarized opinion: while some appreciated the symmetry, others found the rear too playful. In 1967, the vehicle became famous worldwide when Dustin Hoffman drove it in the film »The Graduate.« »Graduate,« derived from the English original title of the iconic film, also became the name of a trim version. Incidentally, the last model, which came to market in 1990 and was more closely oriented to the original form, was also designed by Pininfarina.

Honda S2000

In 1999, Honda brought the S2000  to market to celebrate the brand’s 50th anniversary. But the roadster’s story begins several years earlier: at the 1995 Tokyo Motor Show, Honda presented a radical concept vehicle called the Sports Study Model. It was designed in collaboration with Pininfarina and served as the design basis for the two-seater later refined by Honda designer Daisuke Sawai. The purist design is partly due to high aerodynamic demands, but also emphasizes the roadster’s sportiness and driver focus.

While other sports cars from the same era featured six-cylinder engines, Honda engineers opted for a compact yet powerful four-cylinder engine in their agile two-seater. The heart of the S2000  was a 2-liter four-cylinder VTEC engine that could reach up to 9,000 revolutions per minute. The engine was awarded »International Engine of the Year« five times. After ten years of driving pleasure, the last S2000  rolled off the line in 2009.

Audi TT

With the vision »A car for enthusiasts,« Audi presented the sports car concept of the Audi TT  Coupé at the International Motor Show in Frankfurt in fall 1995. Shortly thereafter, the decision was made to put the Audi TT  Coupé into series production. In 1998, the first generation of the series was brought to market and won numerous design awards. The body appeared as if crafted from a single piece. The front without classic bumper overhangs emphasized its clean form. Inspired by Bauhaus design, every line on the Audi TT  had a purpose, every form a function. With its rounded, sculpted design language and the symmetry between front and rear, the two-seater also featured some design references to the historic Auto Union racing cars. The third generation was sold from 2014 to 2023.

For Massimo Frascella, Chief Creative Officer at Audi, the TT  is a very special vehicle: »When the first Audi TT  arrived at the dealer in Turin in 1998, I took a day off just to look at it in peace. I stayed there for hours, viewing the vehicle from every angle and feeling every surface. The staff most likely thought I was crazy. But for me, the TT  was already more than a car back then. It was a message: You don’t have to be loud to be heard. You don’t need exaggeration to make an impression. You need clarity—and, more importantly, the courage to follow it.« The first-generation TT, according to Frascella, is a car that is as rational as few others, yet its impact unfolds on an incredibly emotional level. »That’s also an important part of what defines Audi: A form of rationality that strikes directly at the heart.«

Porsche Boxster

The sports car manufacturer responded to the deep sales crisis Porsche faced in the early 1990s with a clever move. Not only was something new needed, but given the roadster trend emerging at the time, it absolutely had to be a sporty two-seater. Thus the Boxster  was born, built from 1996 to 2004. The name is a portmanteau combining the words Boxer and Roadster. With this, the Zuffenhausen manufacturer not only provided a clear indication of the vehicle category but also of the engine. True to tradition, the new addition to the portfolio was also equipped with a six-cylinder boxer engine that delivered up to 266 hp. Additionally, the Boxster  could hide its top in just twelve seconds, which some buyers ceremoniously demonstrated at traffic lights.

The concept for the production vehicle, which drew on the 550 Spyder and 718 RS 60 from the 1950s, was designed by Grant Larson. »Originally, we had planned to present our concept in Geneva in spring 1993. But we decided on Detroit in January because we didn’t want to waste time. Moreover, with the roadster, our focus was on the US market, where Porsche was weak at the time and Mazda with the MX-5 (Miata) and BMW with the Z1 were already present in the roadster segment,« says Larson.

Grant Larson also recounts that shortly after the Detroit presentation, they were instructed to immediately stop the production design development for the Boxster. »›Please build the concept exactly as is,‹ was the directive instead.«

The message of the evening was clear: For AMG, the new high-performance electric motor technology does not represent a break with its own performance history; rather, it is its next evolution. And the new Mercedes-AMG GT 4-Door Coupé  aims to prove exactly this: with extreme power, highly precise driving dynamics, an AMG-typical, intense driving experience, and an exceptional design approach.

Dynamics in form

While the proportions fundamentally adhere to the Gran Turismo concept, they appear flatter and more focused on aerodynamic efficiency. The long, deeply drawn front hood, the steeply raked windshield, and the dynamic fastback define the silhouette. The AMG-specific radiator grille with vertical struts appears for the first time optionally illuminated and in a concave shape. Additionally, there’s an illuminated Mercedes star, headlights with star-design daytime running lights, and six striking, circular turbine-design taillights.

In the interior, the demand for performance meets the attributes of a four-door Gran Turismo. The low seating position, the driver-oriented cockpit, and three haptic driving dynamics rotary controls in the center console align the space for control and immediate operability. At the same time, the claim to long-distance suitability remains visible: in the rear, in the large panoramic glass roof, and in an AMG-specific light staging that understands the vehicle as a customizable experience space.

Performance Driven Design

From a design perspective, this premiere was also interesting because the new Mercedes-AMG GT 4-Door Coupé  originates from the design approach that Bastian Baudy shaped at AMG before he took overall responsibility for Mercedes-Benz design on February 1, 2026. The model can therefore certainly be read as an indication of how Baudy integrates performance, proportion, and brand identity, and how he will shape the brand’s design in his new role as Chief Designer. In his work for AMG, he certainly learned a great deal about what »performance driven design« can look like, Bastian Baudy explains in an interview with Chapter. It has always been important to him to extract the essence of a car’s character and give it a clear form of expression—and he now wants to carry this into his responsibility as Chief Designer of Mercedes-Benz.

The design of the Mercedes-AMG GT 4-Door Coupé, in turn, is intended to catapult AMG’s DNA into a new dimension. For Baudy, it is a vehicle »that stands for high-tech and innovation, makes performance tangible, and will set new standards with its radical design approach,« he explains at the world premiere in L.A.

High-Performance Machine

The technical performance spectrum of the new Mercedes-AMG GT 4-Door Coupé  is also a new dimension: The drive concept is based on three axial-flux motors, two on the rear axle, one at the front. Together, these enable a system output of up to 860 kW (1,169 hp) and acceleration from 0 to 100 km/h in 2.1 seconds and from 0 to 200 km/h in just 6.4 seconds. This is complemented by a high-performance battery concept—with directly cooled round cells and up to 600 kW DC charging power. In ten minutes, over 460 kilometers of WLTP range can be recharged.

»The new Mercedes‑AMG GT 4-Door Coupé ushers in a completely new era. It is an absolute high-performance machine, packed with pioneering innovations that enable previously unimaginable driving performance in this segment. It creates a driving experience that is unparalleled: thrilling, intense, irresistible—typical AMG,« describes Michael Schiebe, Member of the Board of Management of Mercedes-Benz Group AG and Chairman of the Management Board of Mercedes-AMG GmbH, the significance of the vehicle.

The event on the 6th Street Bridge  was certainly unparalleled, where Brad Pitt and Formula 1 driver George Russell later emerged from the newly presented vehicle. A world premiere as a deliberately confident statement on how AMG wants electric performance to be understood: as a spectacle, but with substance. Between a giant blue LED wall, a temporary autobahn, and the Downtown skyline, it became clear that this car is not meant to quietly drive into the future in any sense. [CPS]

The history of Alpina began in 1965 in Buchloe, a small town in Bavaria at the foot of the Alps. Burkard Bovensiepen, a young automotive enthusiast, initially began refining BMW vehicles for road and racing use. In 1983, Alpina Burkard Bovensiepen GmbH & Co. KG was officially recognized as an automobile manufacturer. For decades, Alpina remained closely connected to BMW while developing its own vision of sporty exclusivity. Since January 1, 2026, BMW ALPINA has been managed as an independent exclusive brand under the BMW Group umbrella. One fundamental principle has remained throughout this evolution: performance and comfort were never considered separately at Alpina. Even at high speeds, the vehicles stood for confident stability and high travel comfort.

»Alpina has always stood for a very special philosophy of performance and refinement—a concept in which dynamics and comfort are not opposites, but complementary aspirations. As the new owners of this special brand, it is our responsibility to preserve its unmistakable character while developing it in a contemporary way,« said Adrian van Hooydonk, Head of BMW Group Design, on the occasion of the world premiere of the Vision BMW ALPINA. The groundbreaking design concept was presented to the public for the first time at the annual Concorso d’Eleganza Villa d’Este.

With this concept, the Bavarian manufacturer aims to pay respect to the brand’s history while simultaneously developing it further. The vehicle is 5.2 meters long and radiates an almost sculptural presence through its wide, flat appearance. The long, flowing coupé roofline that extends forward signals dynamism while offering generous travel comfort for four people. This line is one of those elements that illustrates the essential interplay of comfort and speed. »Only a relaxed driver is a faster driver« was also one of Burkard Bovensiepen’s credos.

Automotive designer Maximilian Missoni, who moved from Polestar to BMW in 2024, played a leading role in designing the concept. »With the Vision BMW ALPINA, we distill the essence of the brand and reinterpret it in a highly modern yet sophisticated way,« says Missoni, who holds a leadership position responsible for the design of the upper mid-range, upper class, and BMW ALPINA. »Every detail embodies substance—in engineering, in materials, and in the story it tells. The statements are deliberately subtle and often reveal themselves only upon closer inspection. It is the interplay of clarity and depth that will define the design language of BMW ALPINA.«

A central element of this design language is the so-called »Shark Nose,« which reinterprets the BMW kidney grille as a sculptural, three-dimensional element. Starting from the front, the exterior develops along a clear axis, the so-called speed feature line. With its six-degree incline, it rises from the lower corners of the front and guides the side line all the way to the rear. The fact that some details only reveal themselves upon closer inspection is also part of ALPINA’s subtly exclusive brand identity. Remaining recognizable without being obtrusive—that could be the credo behind elements like the well-known decorative lines, which have been modernized and reduced to the essentials for the Vision BMW ALPINA.

The previously mentioned speed feature line  continues into the interior, separating the darker upper area from the lighter lower section. The stitching also incorporates the characteristic decorative lines. Overall, the interior appears spacious, calm, and deliberately restrained—the materials are exclusive and high-quality without pushing themselves to the forefront. The Alpina idea remains recognizable: the interior is designed for travel comfort but never loses its connection to driving. A concept that certainly creates anticipation for the future of ALPINA under the BMW Group umbrella. Especially because it keeps the brand core that has grown over decades recognizable while transforming it into a contemporary form. [Ed.]

Mazda MX-5

By the late 1980s, small, affordable roadsters were scarce—especially in Europe. That changed overnight when the first Mazda MX-5  was unveiled on February 10, 1989 at the Chicago Auto Show, breathing new life into a long-neglected segment. The idea for the iconic roadster emerged during an interview the American automotive journalist Bob Hall conducted in 1979 with Mazda’s then head of development, Kenichi Yamamoto. Just before the end of the interview, Yamamoto asked Hall whether there was a vehicle he felt was missing from Mazda’s lineup. The journalist replied that he wanted an affordable roadster in the tradition of British sports cars. No one could have foreseen at the time that it would become the most successful roadster of all time.

Mazda MX-5 — first generation

Ever since, the MX-5—now in its fourth generation—has stood above all for driving fun. In fact, the roadster doesn’t just follow Mazda’s established ideal of »Jinba Ittai«—the harmonious unity between horse and rider—it takes it to the extreme. Driving a Mazda MX-5  feels like putting the car on. Nothing disrupts the connection between driver and car, and the signature soundtrack is the »click, click, click« of the more-than-direct gearshift that’s typical of the lightweight roadster. As for the question of convertible or coupé—heaven forbid.

Mazda MX-5, current model generation, 2025

Mercedes-Benz SLK

In April 1996, the Mercedes-Benz SLK was presented to the public for the first time at the Turin Motor Show. Two years earlier, designers Bruno Sacco and Peter Pfeiffer had already caused a stir with their SLK concept. Like the Mazda MX-5, the two-seater from Stuttgart stands for freedom and driving fun. What’s more, the compact vehicle was also a technical pioneer: with its folding steel roof as an alternative to the classic fabric top, Mercedes-Benz managed to combine coupé and convertible in one car.

Mercedes-Benz SLK 200, R 170 series, in »yellowstone«

With this new technology and the surprisingly spacious cabin, the manufacturer also found a way to cleverly combine sportiness and comfort. The roadster got its name during the development phase, when engineers—referencing the much larger Mercedes-Benz SL—called it »SL kurz« (short SL). In January 2004, the second generation of the SLK  was introduced. Like its predecessor, it embodied the blend of compactness and sporty driving fun, but featured a new front design reminiscent of the super sports car SLR McLaren. In 2016, the compact roadster was renamed SLC and integrated into the C-Class  family. In 2019, the era of the zippy roadster finally came to an end.

Design detail: Mercedes-Benz SLC 300 »Final Edition«

BMW Z3

With the Z3, BMW entered the race for the best roadster of all time in fall 1995—and had prominent support: in the James Bond classic »GoldenEye«, the two-seater served as 007’s company car. The design of the Z3  was based on three different proposals, with the concept featuring an especially long hood and a strikingly short rear end ultimately prevailing. With its side gills, the sporty roadster also referenced the legendary, highly limited BMW 507. In addition, the Z3—the last one rolled off the line in 2002—featured a flowing, low beltline with strongly emphasized wheel arches. With its sport-tuned suspension, low center of gravity, and direct steering, the roadster also proved a guarantee of limitless driving fun. In 1998, the coupé was introduced, recalling the BMW 328 Sportcoupé  from the 1930s. In 1999, the Z3  received a facelift, with slight changes to the rear and front.

BMW Z3, production period 1995–2002

The Z3  wasn’t the only model in the series to appear in a James Bond film, by the way. The equally iconic Z8, built from 1999 to 2003, also had an approximately 15-minute appearance as the vehicle of the famous British secret agent. The Z8  was designed by Henrik Fisker, who likewise took inspiration from the roadster legend 507.

BMW Z8 Roadster, 2000

Toyota MR2

The first Toyota MR2  from 1984 was the result of a design project from 1976 and an attempt to build a car that was fuel-efficient and, at the same time, a real bundle of fun. Among other inspirations, it drew on the Toyota Sports 800, first introduced in 1962. With its compact, practical body, nimble and athletic handling, strong engine, and optional T-bar roof, the MR2 also presented itself as a car where the joy of driving took center stage.

Toyota MR 2, W10 series

The MR2  was also the first mass-produced Japanese car with a mid-engine layout. Five years later, the second generation rolled off the line, with the Japanese manufacturer moving away from the angular, somewhat more expressive shape of its predecessor. Toyota did, however, decide to keep the original’s mid-engine configuration, continued to focus on driving fun overall, but brought a bit more comfort into the mix. The third generation was introduced in 1999 and built until 2007. For around two years now, there have been rumors about reintroducing the mid-engine car. With the concept vehicle FT-Se presented at the Japan Mobility Show  2023, speculation about a possible return became more concrete. In addition, at the end of 2025 Toyota had the MR  label protected under trademark law in several countries. [SW]

New Era, Neue Klasse

»The Neue Klasse is so modern that it almost looks like we’ve skipped an entire generation«, Adrian van Hooydonk, Head of BMW Group Design, has emphasized repeatedly in recent months. And with the newly unveiled i3  in particular, the design closeness to the progressive Vision Neue Klasse  concept—presented in 2023 as the first preview of the brand’s new chapter—is indeed remarkable. The production model adopts many key design principles such as reduced surfaces, clear proportions, and a newly organized front end that brings light and geometry together. As the second model of the Neue Klasse—after the iX3—unveiled in September 2025, the i3 thus embodies a clear technological and design leap, while still remaining firmly rooted in the 3 Series  logic.

The 3 Series, reimagined

On the exterior, the basic architecture of the 3 Series remains clearly recognizable at first glance. The new BMW i3  continues to follow the familiar proportions with a long wheelbase, short overhangs, and a cabin set further back. What’s new above all is the weighting of the surfaces. The body looks more closed, and transitions between individual elements fade into the background.

The front end picks up key brand elements, but rearranges them. The kidney grille and twin headlights are no longer designed as separate units, but form a cohesive structure. The four-eye-motif remains, but is defined by a continuous light signature that stretches across almost the entire width of the vehicle.

At the rear, this approach continues. The lights are laid out horizontally and integrated far into the body, which further emphasizes the vehicle’s width. Pronounced wheel arches and a clearly structured rear surface stabilize the stance. Inside, the design language (already familiar from the new BMW iX3 ) shifts toward digital layers: displays are projected, physical instruments reduced. The new Panoramic iDrive  organizes information and controls along the driver’s line of sight, fundamentally changing the interaction.

In addition, BMW highlights the technical key figures of the new i3, especially the impressive range of up to 900 kilometers as well as significantly shorter charging times, which are intended to clearly position the model as a long-distance vehicle.

Five decades of the 3 Series—looking back

Back in 1975, the first 3 Series rolled off the production line and proved that driving pleasure doesn’t have to be a privilege of the upper class. The successor to the legendary 02 Series immediately impressed with a blend of compactness, driver focus, agility, dynamism, and smart technology—a formula for success that remains valid to this day.

The first 3 Series took on the sporty DNA of the legendary 02  and served it with a slightly larger portion of comfort. Chief designer Paul Bracq opted for clean lines: twin kidney grille, round twin headlights on the more powerful versions or as an option, a coupé-like window line with the Hofmeister kink, and a subtle muscle on the hood. In 1981, the first generation broke the one-million mark, and by 1983 nearly 400,000 more vehicles had been sold.

With the second generation, which followed in 1982, the 3 Series  model line continued to gain momentum. The cars featured tightened lines, a matte-black B-pillar, standard twin headlights, and a track widened by 35 mm. Both the front and rear axles were revised, ensuring the brand-typical mix of driving pleasure and composure. In 1986, a convertible with an elegant silhouette and a low shoulder line was added. With the Touring, BMW brought even more sportiness to the wagon segment in 1987.

The third generation, available from 1990, scored among other things with more interior space. At the same time, short overhangs and a strikingly low silhouette emphasized the vehicle’s dynamic lines. With the fourth generation introduced in 1998, interior space grew further. On the outside, the model looked sporty and modern, thanks in part to the flowing side line and gently arched roofline.

The fifth generation made its debut in 2005 at the Geneva Motor Show:  initially as a four-door sedan—the touring followed shortly after, and in 2006 the coupé as well. Otherwise, the focus remained on the proven blend of sportiness and comfort. In the new convertible, the retractable hardtop provided more calm at high speeds. From 2007, the M3  variants of the coupé, convertible, and sedan were also added—for the first time with a V8 engine.

The sixth generation (2012) was longer and wider than the generation before it, while also shedding around 40 kilograms. There was also a new addition to the family: the 3 Series Gran Turismo  combined elegant proportions with a higher seating position, a coupé-like roofline, and frameless doors. In October 2018, the curtain finally rose on the seventh-generation BMW 3 Series. From 2019, the slightly longer and wider sedan could then be seen on the road. A long hood, short overhangs, and a flowing roofline continued to convey dynamism and driving fun.

The future meets heritage

The story of the 3 Series  is one of continuous evolution. Over the decades, proportions, driving behavior, and design have been repeatedly refined—without ever leaving the model series’ fundamental logic. With the transition into the Neue Klasse, the framework within which this model series evolves is now shifting for the first time. This was preceded by a design process spanning several years, in which BMW used a series of design studies—from Vision Circular  and Vision Dee  to Vision Neue Klasse—to formulate a consistent picture of its future direction. With the new BMW i3, this new design and technology chapter is now also taking effect within the 3 Series. As the second production model of the Neue Klasse, the new architecture thus reaches the model series that has formed the core of the BMW brand for decades. [SW]

Few automobiles feel as intuitively attuned to their drivers as McLaren’s hypercars. Within McLaren Automotive’s bespoke division, this guiding principle is not merely sustained but brought to its most exacting expression. A visit to MSO—McLaren Special Operations—where customization is not a promise, but standard practice.

Anyone who has ever sat in a McLaren knows that these vehicles are far more than mere machines. They react precisely and directly, every movement finds its echo—cars that sometimes feel like an extension of one’s own body, a unity of human and technology. This feeling is not accidental: it is the result of the uncompromising tuning that McLaren has elevated to its own discipline—from the exact feedback of the steering and the precise response of the brakes to the balance of the chassis.

During the customization process, customers can draw on the concentrated craftsmanship and expertise of the McLaren MSO team. The possibilities for giving the interior (pictured in the W1) a personal touch are also diverse.

The department at McLaren responsible for customization and restoration takes things several steps further when it comes to the car as a reflection of one’s own personality. From subtle adjustments to complete one-offs, almost anything is possible at MSO, McLaren’s Special Operations Unit, to design a McLaren that not only matches one’s taste but also becomes a moving expression of one’s identity. Moreover, all those who embark on this path of personalization also write themselves into the brand’s history. Jonathan Simms, who previously headed the Bespoke department at Rolls-Royce, among other roles, serves as »Director of MSO McLaren Special Operations«. In Goodwood, he learned what it means when bespoke is part of the brand’s core, meaning customers know exactly the wide range of possible customization options. And, of course, they are happy to make use of them. That’s exactly what he now wants to achieve at McLaren, Simms explains.

Jonathan Simms heads McLaren Special Operations—with the goal of making the three letters
MSO synonymous with desirability.

We are in the premises above the legendary Silverstone Circuit. Here, customization options are explored and paint finishes inspected in a specially designed area. Fingers glide over fabric samples, leather, and Alcantara. Below us, McLarens whiz through Copse, Maggotts, Becketts and Chapel — from the new Artura  to the Senna GTR and the Solus GT, almost the entire model range is on display as part of the »Pure McLaren Trackdays« at Silverstone. The latter vehicle, in particular, is impossible to overlook or ignore. However, the most photographed hypercar that day is certainly the brand new W1. The car, equipped with 1,275 hp and incorporating numerous technical achievements and experiences from Formula 1, was limited to 399 units and is a hypercar  par excellence. Its name alone reveals that the W1 was developed to join the lineage consisting of the two legends F1 and P1. Unlike other McLaren models, each individual W1  undergoes a tuning and customization process whose extent varies from vehicle to vehicle.
Jonathan Simms explains that the largely untapped potential played a significant role in his move to McLaren. »The level of expertise and craftsmanship at McLaren, for example when it comes to paintwork or airbrushing, is immensely high. I am confident that with this large pool of possibilities, we will succeed in further increasing MSO’s appeal. For the future, I hope that these three letters immediately evoke desire.«

ONE PLUS ONE EQUALS ONE

When it comes to the customization process, the first step is usually the most difficult, Simms adds. »I constantly meet people who have long considered designing a McLaren to their specifications but don’t know how or where to start. Therefore, it’s also important for me to educate much more about the possibilities we have at McLaren for customization. Once this first step is taken, the probability is high that a second car will follow. But of course, only if we have done our job well.«

»The level of expertise and craftsmanship, for example when it comes to paintwork or airbrushing, is immensely high at
McLaren,« confirms Jonathan Simms, Head of McLaren MSO.

Jonathan Simms laughs. And he has good reason to, as he knows about the concentrated craftsmanship and expertise he can draw upon as Head of MSO. As the most important agent of his special unit, Simms also knows that »personal« and »private« are not synonymous, but he is also aware that private experiences often play a decisive role in designing a vehicle tailored to one’s own personality. »I find it exciting to observe that at the beginning of the collaboration, the vehicles usually exhibit all the brand’s typical characteristics. They are distinctly sporty, and hardly any vehicle comes without Papaya. The longer the journey together lasts, the more elements are added that reflect the customer’s personality.«
Ultimately, the main goal is always to reconcile two identities, Jonathan Simms summarizes. However, it is by no means his job to dictate a certain taste, he adds. »Of course, in the end, there are cars I like, as well as those that don’t quite match my taste. I really like it when personal details are incorporated. Just recently, we airbrushed a cartoon from a customer’s childhood onto a door—very small at the bottom. We also always encourage our customers to bring a memento or inspiration to the first session.«
The first session is usually followed by two more. Although Jonathan Simms is the person at the well-oiled lever between vision and implementation, there are still some technical limitations. »We certainly don’t want to stand in the way of our customers’ imagination. They should view the vehicle as a blank canvas. However, for example, with the W1, there’s a part in the rear area that we cannot modify because it gets extremely hot and therefore must be made of a specific material,« he notes.

Named after Ayrton Senna, the McLaren Senna GTR is a tribute to McLaren’s close connection with motorsport.

The tuning process often goes more smoothly and fluidly when things that the future owners don’t like are also discussed, Simms remarks, adding: »If you don’t like something, it usually brings out a pretty strong emotion—you can articulate the reasons for it better and pinpoint them in detail than with things you do like. This process helps us a lot in figuring out what the car should look like in the end.«
Before Jonathan Simms has to return to the lever between vision and implementation, one last question arises: Which part of the entire tuning and customization process does he enjoy the most? Simms laughs and immediately has an answer ready: »I love the moment when extremely successful business people suddenly develop a childlike curiosity and fascination again. It’s always a very special moment when they dare to share their designs with us and are truly proud of what they have created.«

»WE WANT THE CARS TO BE DRIVEN«

MSO originally emerged as an exclusive customer service for the legendary McLaren F1, produced between 1993 and 1997. Today, the scope of work for Jonathan Simms and his team is much broader. In addition to customization, they also handle the restoration and preservation of value for all historical models from the British manufacturer. The fact that the McLaren Special Operations department team includes people who were involved in the development of the F1  is invaluable. The iconic vehicles are restored with original parts and based on design drawings, shining in new splendor. If desired, they are also reinterpreted with modern accents. In this way, the British sports car manufacturer ensures that McLaren’s legacy remains tangible and experienceable for future generations.

McLaren W1 & McLaren 750S Le Mans – a special edition of the 750S Coupé for the 30th anniversary of
McLaren’s victory at the 24 Hours of Le Mans in 1995.

One could take a cue from the fashion industry in this regard, as Jonathan Simms notes during our conversation. »I hope that we, too, will have these moments at regular intervals that all McLaren fans eagerly await because they finally want to know which historical model we have restored. Or which special custom build we will release next.«
Crucially, driving pleasure must not be neglected. Or rather: it can and should, of course, take place on racetracks, but it also unfolds on road trips or daily commutes. Because you don’t own a McLaren just to look at it. Even the W1, which has everything it takes to push a little further to the limit during a track day, is suitable as a vehicle for a weekend getaway. Even a coffee cup can be comfortably placed in the center console. »We want the cars to be driven,« says Heather Fitch, W1 Product Manager, summing up one of the British manufacturer’s most important principles. A good cue to check one last time how well the Silverstone Circuit  actually lends itself to getting a little closer to the aforementioned unity of man and machine. Because one thing is certain: the core of the McLaren experience lies in driving.

In Collaboration with McLaren Automotive | FIRST PUBLISHED IN CHAPTER №XIII »IDENTITY«—WINTER 2025/26

Although the name S-Class  was not officially introduced until the W116  series presented in 1972, the lineage of the large luxury sedan from Mercedes-Benz goes back much further—to 1903, when the Mercedes-Simplex 60 hp  ushered in a new era of mobility. Another early milestone on the road to today’s luxury sedan was the Type 220 (series W 187) first introduced in 1951. The upper-class model, equipped with a state-of-the-art six-cylinder engine, was attested to have the »temperament of a sports car.« The subsequent series (W 180) was built from 1954 to 1959 and scored points with a self-supporting body and increased comfort in the interior.

Mercedes-Benz 220 »Ponton« Sedan (W 180)

With the W 111/ W 112  series introduced from 1959, Mercedes-Benz launched the first production vehicles with a safety body on the market. Mercedes-Benz also seemed to have struck a chord visually, as the series plays a crucial role in the James Bond classic »On Her Majesty’s Secret Service,« released in 1969: The opponents of the famous British secret agent are traveling in a 220 S.

In 1965, the W 108/W 109  series debuted at the IAA in Frankfurt. Although the name did not yet exist, the models produced until 1972 are considered direct predecessors of today’s S-Class. Visually, the signs pointed to elegant functionality: The design of the luxury vehicles is a clear departure from the tailfin, but at the same time, the design language shaped by Paul Bracq is not a break, but a consistent further development of an already established and popular approach. The clear lines and simple functionality demonstrate a clear commitment to a purist design language. The series was also very popular with connoisseurs and celebrities. For example, the Formula 1 racing driver Emerson Fittipaldi drove a vehicle of this generation.

Mercedes-Benz 108 series, cutaway drawing from 1965.

From 1972, the 116  series takes over the succession of the Mercedes-Benz W 108/W 109  and officially bears the name S-Class for the first time. The most important technical innovations included the double wishbone front suspension tested on the C 111  research vehicle. A major leap in innovation also took place in terms of safety. Although the Hundertsechzehner  designed by Friedrich Geiger looks more modern than its predecessor, they were not yet ready to forgo the lavish use of chrome. After all, the rather conservative clientele should not be disappointed.

Mercedes-Benz 450 SEL 6.9 of the 116 series

The S-Class  of the 126  series, which was produced for over 12 years, is still the most successful Mercedes-Benz sedan in the luxury segment with 818,036 cars produced. In the exterior, there was, among other things, the following innovation: Unlike its predecessors, the 126  series did not have chrome bumpers anymore, but deformable plastic bumpers. In the series presented in 1979, a pyrotechnic airbag was also offered in a production model for the first time from 1981.

Mercedes-Benz S-Class Sedan of the 126 series (1979 to 1992)

The following series also scored points with innovative development leaps in terms of safety. For example, Mercedes-Benz was the first manufacturer to install the electronic stability program ESP in the 140  series from 1995. Comfort and luxury on long journeys were also clearly in the foreground with this generation. At the market launch, however, there was also criticism—the car was too big and bulky, for example, it did not fit on the car train to Sylt.

The manufacturer reacted immediately: The 220  series, built from 1998 to 2005, was significantly lighter than the one before. »Overall, the new S-Class draws its desirability from the classic virtues of a Mercedes-Benz—from the combination of reason and emotion. It guarantees serenity through the familiar strength in comfort and safety, and it embodies enjoyment with its elegant design and balanced driving characteristics,« said Dieter Zetsche, then the Board Member of Daimler-Benz AG responsible for sales, at the presentation of the new generation. In 2002, the top model S 600  broke the magical power limit of 368 kW (500 hp) for the first time. In addition, the S 55 AMG was the first AMG model to be officially on the price list of the S-Class.

Mercedes-Benz S-Class of the 220 series (1998)

Innovation leaps in the areas of safety and technology, clarity in design and modern luxury in the interior also characterized the following generations. The following can also be observed across all series: Both within the Group and beyond, the S-Class  has always had a pioneering status. Each new generation of production vehicles brought with it innovative technologies and groundbreaking safety systems, which were then also installed in other model series. The aim of developing a car that stands for innovation, comfort, modern luxury, safety and elegance also remained constant—a timeless flagship.

The new 2026 Mercedes-Benz S-Class

With the presentation of the new Mercedes-Benz S-Class  on January 29, 2026, the current series (223) was officially replaced. To celebrate the 140th anniversary of the invention of the automobile by Carl Benz in 1886, the S-Class  underwent a comprehensive model update. In the exterior, the redesigned front with a newly designed light signature is particularly striking. The illuminated radiator grille has been enlarged by 20 percent and is intended to underline the status and presence of the large sedan.

For the first time in a production model, the Mercedes hood star of the S-Class  optionally lights up itself and thus becomes part of the light signature. The double star headlight design contributes to an iconic appearance on the one hand, but at the same time improves the visibility and thus the safety of the driver. At the rear, newly designed taillights with three chrome signature stars emphasize the identity of the S-Class. In addition, there are new rim designs and additional paint finishes.

There have also been some changes in the interior: In the future, the Superscreen will be installed as standard, the infotainment system will henceforth work on a new platform and combine several AI models with each other. The brain of the vehicle is the supercomputer — the specially developed Mercedes-Benz Operating System (MB.OS). The rear scores with generous space and larger screens. Innovations such as the heated seat belt provide additional comfort at the front. Thin heating fibers allow the belt to reach more than 40 degrees—enough to make you feel warm about the new S-Class. [SW]

Avatr Vision Xpectra

»The Rise of Emotive Luxury« was the slogan with which the young Chinese brand Avatr presented its current concept car. »With the Avatr Vision Xpectra, we are making the invisible visible—the emotional connection between people and vehicles. Emotive Luxury becomes reality: not status, but resonance. Not possession, but feeling«, explained Nader Faghihzadeh, Chief Design Officer and Executive Vice President of Avatr, during the presentation of the almost six-meter-long vehicle at the IAA Mobility 2025. Faghihzadeh is no newcomer to the automotive scene—he has worked as an exterior designer at BMW, among others, and has around twenty years of experience in automotive design.

The sculptural exterior of the all-electric Avatr Vision Xpectra  radiates presence and clarity, while in the interior, every surface and every detail is designed to create an emotional bond between the vehicle and the driver. At the heart of the interior is an AI-powered Vortex: a perceptive, learning, and interactive companion made of light and movement. It is also striking that both the exterior and the interior are characterized by transparent elements: The upper part of the body consists of a prismatic glass cabin, and the center console and headrests are also made of transparent materials.

Opel Corsa GSE Vision Gran Turismo

The German manufacturer’s current study not only provides an insightful outlook on future GSE models, but also illustrates the great innovation potential that lies in small car platforms. As far as the layout is concerned, the futuristic-looking concept car has similarities to the series Corsa, but the design study has been equipped with much sharper and more precise contours and is also somewhat lower and wider than the series vehicle. In addition, it looks more muscular and sculptural.

The color scheme clearly shows that the Opel Corsa GSE Vision Gran Turismo  is a vehicle that was primarily developed for the racetrack: The body is finished in pearl white, aero elements such as the hood, spoiler and diffuser shine in a strong yellow and thus stand out clearly from the black roof and the black fender flares at the front. With the Opel Corsa GSE Vision Gran Turismo, Opel also wants to draw attention to the GSE  sub-brand, which since 2022 has stood for Grand Sport Electric   and thus for particularly dynamic and emotional models. In addition, the concept vehicle is linked to the company’s origins in motorsport: Since autumn 2025, the all-electric small car has been part of the popular racing simulator »Gran Turismo 7«, blurring the lines between the virtual and real worlds.

Škoda Vision O

With the Škoda Vision O  design study, the brand, known above all for its station wagon models, is preparing for the electrified future. The study builds on the continued success of the Octavia Combi  and the Superb Combi, but at the same time shows the direction in which Škoda could be heading in the future. In terms of design, this means that typical design features of the popular Škoda station wagon models—such as the strongly inclined windshield and the gently sloping roofline—have been retained, but the design language has been further developed and refined, especially in terms of aerodynamics.

In addition, the station wagon scores with a striking lighting concept, in which the T-shaped taillights immediately catch the eye. In the interior, sustainability and simplicity meet intuitive functionality, as Škoda design chief Oliver Stefani explains. »The interior concept of the Vision O underlines our commitment to combining simplicity and sustainability with increased comfort. The combination of clear lines and intuitive functionality reflects our aspiration to create a harmonious and functional interior. It is characterized by materials and design elements that not only represent an aesthetic development of our ›Modern Solid‹ design language, but also emphasize our responsibility towards the environment«, says Stefani.

Mercedes Concept AMG GT XX

The Concept AMG GT XX is based on the vehicles of the legendary C 111  series from the sixties and seventies, which were built for testing then-novel Wankel and turbodiesel engines as well as as test vehicles for plastic bodies. Today, the much-discussed vehicles and prototypes of the time are considered true design icons. The Mercedes-Benz Vision One-Eleven  design study presented in 2023 is also likely to have played a key role in the development of the Concept AMG GT XX. For Gorden Wagener, Chief Design Officer of Mercedes-Benz until January 31, 2026, the concept vehicle embodies the »Hot« aspect of the design philosophy of »Sensual Purity« he developed.

The low-slung front hood, the steeply raked windshield and the dynamic fastback make the Concept AMG GT XX  a sports car as it is written in the book. However, the concept car not only offers an exciting outlook on the future series sports cars from Mercedes-AMG in terms of design, but also in terms of technology. The heart of the vehicle is its revolutionary drive concept, which consists of three axial flux motors and a completely newly developed high-performance battery. An obviously record-breaking system, because in August 2025, the Concept AMG GT XX  covered a distance of 40,075 kilometers in just under eight days on the legendary high-speed test track in Nardò, southern Italy. With this performance, the concept vehicle broke a total of 25 long-distance records. The sports car is actually scheduled to come onto the market in the near future.

Lexus LFA Concept

With the Lexus LFA Concept, the Toyota subsidiary is directly linked to the Lexus LFA—the super sports car with which the brand set new technological standards in the sports car segment in 2010. After more than ten years of development, a strictly limited series of only 500 vehicles was created, which are now traded at high prices. In keeping with this legendary sports car, Lexus has now developed a 4.7-meter-long, all-electric coupé study.

However, this is not entirely new, as the exterior and interior have already been shown as the Lexus Sport Concept  at Monterey Car Week and the Japan Mobility Show  2025. With the new name, however, new information came to light. Such as that the brand with the Lexus LFA Concept wants to achieve three core goals: the lowest possible center of gravity, low weight with high rigidity and maximum aerodynamic efficiency.

The result is a body made entirely of aluminum and a flat and flowing silhouette with classic coupé proportions. The Concept Car also embodies the centuries-old Japanese Shikinen Seng Ritual, according to which the techniques and skills of experienced craftsmen are passed on to the younger generation so that they can develop them further. [SW]

Mercedes-Benz Vision Iconic

Opulent and timeless, the show car presented in October 2025 reinterprets one of the most striking features in automotive history: the iconic Mercedes-Benz chrome grille. The further development of the traditional brand face gives the already anything but restrained vehicle additional presence. »Inspired by the golden age of automotive design of the 1930s, this show car embodies the pure essence of Mercedes-Benz. With its seemingly endless hood, which gives it a majestic presence, sculpturally flowing lines and a touch of Art Deco, it rises to become a true icon of automotive beauty,« says Gorden Wagener, who surprisingly announced his departure as Chief Design Director at Mercedes-Benz in December 2025.

Inside, the Vision Iconic  offers a glimpse into future, luxurious driving experiences: The transformation from the classic driver’s seat to a place of conscious travel and automated driving forms the basis for a new interior concept with a lounge atmosphere. A continuous bench seat made of deep blue velvet replaces the individual seats; the room appears open, calm and—one might say—almost theatrically staged. The center of the interior is the so-called »Zeppelin«—a floating glass construction that combines instruments, displays and handmade details.

BMW Concept Speedtop

There are several influences from the history of the Bavarian automobile manufacturer that come together in this concept vehicle—produced in a strictly limited small series: The striking arrow shape of the sharknose evokes memories of the BMW Z8, which is considered an icon in the roadster segment. The flowing silhouette, in turn, quotes BMW’s traditional touring history. The long hood with two framed air outlets is adorned with a central center bar that extends from the hood over the roof to the rear spoiler and evokes reminiscences of the BMW 503.

All these quotes from the brand’s rich history combine in the case of the BMW Concept Speedtop  to create an elegant shooting brake, which was presented in May at the Concorso d’Eleganza Villa d’Este 2025. It also follows the striking design language of the BMW Skytop. «A real BMW exudes dynamism and elegance even when stationary,» emphasizes Adrian van Hooydonk, Head of BMW Group Design. In addition, this concept vehicle was designed to create a consistent connection between the interior and exterior — through the two-tone color and material concept as well as through the striking roof bar, which is reflected as a light joint in the two-tone, leather-covered headliner.

Audi Concept C

With the Concept C, Audi is ushering in a new design philosophy in which radical simplicity and clarity are central. The all-electric sports car with two seats is the first sign of the new direction, for which Massimo Frascella, Chief Creative Officer at the Ingolstadt-based manufacturer since June 2024, is largely responsible. At the center of the redesigned front is the vertical frame, whose clear, upright shape is inspired by the Auto Union Type C  and the third generation of the Audi A6.

The new brand face gives the concept vehicle presence and identity. In addition, with the Concept C, Audi is introducing a new light signature consisting of four horizontally arranged elements in each headlight and taillight. The roofline underlines the monolithic shape of the vehicle without losing the open character of the concept. The Audi Concept C  is also a concept vehicle with road approval, which allows an even clearer view of future production models.

Bentley EXP 15

In terms of design, the five-meter-long concept vehicle shows some parallels to the three-seater Speed Six, which was first presented in 1930 and was best known under the nickname «Blue Train». The long hood and the slightly rearward-shifted cabin clearly indicate this. The Bentley EXP 15  is the first all-electric model presented by the traditional British brand and is intended to herald a new chapter in Bentley’s design history. The body appears monolithic and sculptural overall, but the aerodynamically optimized rear forms a harmonious contrast. The illuminated radiator grille is also striking, with which the vertical silhouette typical of Bentley receives a new interpretation.

The iconic brand face is quoted, while at the same time a modern, digital light sculpture is created. The logo has also been refined: The iconic Bentley wings have undergone a gentle revision and now present themselves in a more angular and sharper manner.

Hyundai Concept Three

With the Concept Three, Hyundai is offering a glimpse of a future, compact electric vehicle that is considered a harbinger of the Ioniq 3. At the same time, the study serves as a carrier of a new design language: «Art of Steel». This is understood as a creative examination of the material steel—not as a mere surface, but as a structurally and formally formative material. SangYup Lee, Executive Vice President and Head of Hyundai & Genesis Global Design, points out in this context that Hyundai is one of the few automobile manufacturers that produce their own steel. This results in an unusually close connection between design and manufacturing and the design question of how the specific properties of the material can be made visible and tangible instead of merely imitating them.

The approach of designing the vehicle as a hatchback model arose from the desire to stand out from the hatchback models present in Europe. »The silhouette starts low at the front to achieve aerodynamic advantages and then rises to a striking roof profile—with an acceleration point directly behind the rear passengers, giving them maximum headroom. From there, it transitions into a striking ducktail spoiler. And let’s be honest—who doesn’t love ducktail spoilers?« says Loasby. [SW]

The venue for the premiere of the latest Mercedes-Benz Vision Car was very deliberately chosen: Shanghai — a city characterized by architectural contrasts, between Art Deco heritage and a futuristic skyline. A fitting analogy to the Vision Iconic, which combines tradition and future into an exciting form—inspired by Art Deco and the golden age of automotive design in the 1930s. In particular, it draws from the legendary Mercedes-Benz Autobahn-Kurier.

For Chief Designer Gorden Wagener, the Vision Iconic  embodies the pure essence of Mercedes-Benz: »With its seemingly hood giving it a majestic presence, sculptural flowing lines, and a touch of Art Deco, it rises to become a true icon of automotive beauty. Our Vision Iconic  is more than just an automobile—it is a sculpture in motion, a homage to timeless elegance, and a statement for the future. The symbiosis of traditional craftsmanship, state-of-the-art technology, and an unmistakable design language makes it the ultimate expression of value, prestige, and grace: the most beautiful, most prestigious kind of thing«, he explained at the world premiere.

Figure of light

The front of the Vision Iconic  is defined by the reinterpreted Mercedes grille, which will powerfully illuminate the brand identity in the future. The classic chrome frame remains, but its surfaces in the Vision Iconic are permeated by smoked glass, fine light contours and an illuminated star on the hood. According to Mercedes-Benz chief designer Gorden Wagener, it is intended to be a forward-looking homage to the traditional chrome grille that has shaped the face of Mercedes-Benz for over 100 years.

Flowing lines, a deep black high-gloss finish and narrow headlights with the latest lighting technology enhance the elegant appearance, which is particularly defined by the elongated hood. In doing so, Mercedes-Benz takes up a core idea of the brand’s design philosophy of »Sensual Purity«: The Mercedes-typical »sensuality« does not arise from complexity, but from the interplay of clear, flowing lines, sculptural surfaces and a sometimes more, sometimes less strongly dosed opulence.

Hyper-analog Luxury Lounge

Inside, the Vision Iconic offers a glimpse of future, luxurious driving experiences: The transformation from the classic driver’s seat to a place of conscious travel and automated driving forms the basis for a new interior concept with a lounge atmosphere. A continuous bench seat made of deep blue velvet replaces the individual seats; the room appears open, calm and—one might say—almost »theatrically« staged.

The center of the interior is the so-called »Zeppelin«—a floating glass construction that combines instruments, displays and handmade details. When the door is opened, the sculpture displays a choreography inspired by high-end chronographs. Behind it, it becomes even more opulent: Here, a decorative surface unfolds from shimmering mother-of-pearl inlays, which merges into polished brass elements. These motifs, complemented by straw marquetry in the floor, in turn refer to the Art Deco of the 1920s. This can be classified as a deliberately exaggerated quote for a show car—and as an attempt to translate the concept of luxury into the present.

But how do you ensure that this interior opulence supports the brand’s design philosophy of »Sensual Purity« and does not tip over into the decorative—and how does he explore the limits here, we want to know from Gorden Wagener in an interview. »Well, it is of course also a deliberately provocative interior,« he explains, »especially because there are no screens at all—it is completely analog.« For Gorden Wagener, the message behind the hyper-analog of the vehicle is also to be understood as a counter-concept to the ubiquitous, complete digitization—and thus also a statement for long-lasting luxury instead of short-lived digital trends. A philosophy that forms the core of Mercedes-Benz’s brand philosophy.

The tension between hyper-analog reduction and opulence is therefore not intended to soften the philosophy of »Sensual Purity«, but to expand it. The controlled opulence and showcar-typical provocation give the Vision Iconic  that emotional depth that Gorden Wagener has also been describing as a design philosophy for years. Beauty and intelligence should not be understood as opposites, but as mutually stabilizing forces—»Sensual Purity« as a resonance space for technology.

Technology as a design element

And in this sense, the sculptural tranquility of the Vision Iconic  conceals precisely that innovative technology. Neuromorphic computing, i.e. a processor architecture based on the model of the human brain, is intended to improve the energy efficiency of autonomous systems by up to 90 percent. The »Steer-by-Wire« steering system replaces the mechanical connection between the steering wheel and the wheels, thereby allowing more freedom in the interior design.

Equally remarkable is the newly developed solar paint, whose photovoltaic-active layer is seamlessly integrated into the body. Under optimal conditions, an area of around eleven square meters could generate energy for up to 12,000 kilometers per year—an indication that form and function are merging here for the first time in the material itself.

Design, fashion and narrative

To accompany the showcar, Mercedes-Benz also presented a Capsule Collection in Shanghai—six outfits that pick up on the color and material world of the »Vision Iconic«: dark blue, silver-gold accents, clear geometric forms. The collection is intended to function as a visual translation of the idea of »Iconic Luxury«. In parallel with the premiere of the Vision Iconic, the book »Iconic Design« will also be published, documenting the new design philosophy of Mercedes-Benz, with interviews, design studies and previously unpublished visual worlds.

A statement in motion

With the Vision Iconic, the design team at Mercedes-Benz shows how iconography can be continued in a fully electric, digital future. The vehicle is not nostalgic, but deliberately ambivalent. And so the circle closes: In Shanghai, where past and future intertwine, it becomes visible that iconicity does not arise from the decision between old and new—but from their balance. [CS]

In this design walkaround Oliver Heilmer — BMW‘s head of design for the »Neue Klasse« — highlights the exterior, defined by reduction to the essentials, precise lines, and a new light signature. He also introduces the interior with its clarity, sustainable materials and driver focus, before concluding with the BMW Panoramic iDrive featuring Panoramic Vision, 3D Head-Up Display and Central Display.

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»When we speak of clarity and reduction, it means, among other things, that all design elements we create must have a right to exist and should also authentically fit into the brand image«, Massimo Frascella told us in October 2024, a few months after he took on the role of Chief Creative Officer at Audi. At the time of our conversation, the native Italian, who began his career at Stile Bertone, was looking for an apartment – in a phase of settling in, also at his new workplace. The fact that Frascella has now settled in very well is also evidenced by the presentation of the Audi Concept C at the IAA 2025, with which the German car manufacturer is ushering in a new design era. Based on the images of the concept vehicle, it becomes clear what the Italian designer was alluding to when he spoke about clarity, reduction, and the right to exist, but was not yet allowed to show any concrete sketches or drawings.

Almost a year later, Frascella puts it this way: »Radical simplicity is at the heart of what we do. We achieve clarity by reducing to the essential.« This applies to both the exterior design of the vehicles and the interior. Therefore, an uncompromising focus on clarity distinguishes the concept vehicle — and will also shape the design of future models.

»Proportions, surfaces, and details are clearly further developed and create a confident reinterpretation of the brand identity. The study shows a clear, sculptural presence, as if the vehicle were crafted from a single piece of metal — free from distractions, defined by tension and pure form. The Audi Concept C is a tangible interpretation of the new design philosophy, a symbol of the conviction that will transform our company and the entire brand«, says Frascella. The design is also a reaction to the complexity of our time, as the CCO further emphasizes.

Despite all reduction, the sports car still exudes precision and power. The focal point of the new front is the »Vertical Frame«, from which the entire vehicle develops. With its clear, upright form, inspired by the Auto Union Type C (1936) and the third generation of the Audi A6 (2004), the vertically aligned frame stands for presence and identity. A strong shoulder line defines the volume of the two-seater sports car; the proportions result from the mid-battery architecture. The roofline extends far back and rests on the body. At the rear, clear surfaces and horizontal seams emphasize the sporty character.

However, the focus on the essential will not only play a central role in design. »How we design our vehicles is how we will also design our company«, states Audi CEO Gernot Döllner. The new design philosophy is therefore a corporate principle for Audi, which should be reflected in the design of the model portfolio and the offering structure, as well as in the organizational setup of the company. »Clarity is a stance and the compass that guides Audi through this time.« [SW]

Like its vision vehicle counterpart Vision Neue Klasse X, the new BMW iX3  marks a deliberate calming in terms of design. The precise lines, relatively large glass surfaces, and a significantly reduced surface design provide modern elegance on the one hand, and a certain lightness on the other – despite stately SAV proportions with a vehicle length of around 4.8 meters and a width of approximately 1.9 meters.

Thanks to flowing transitions to the front and rear, the design appears almost seamless from the side. Thus, the new BMW iX3  takes up the outlook of the studies: monolithic, clear, present. The SAV type remains recognizable, but appears more dynamic in its appearance—also due to the slightly sloping roofline. The door handles are elegantly integrated flush and extend automatically when the BMW Digital Key approaches.

The emphatically upright front lends a powerful presence. Large air intakes emphasize sportiness, chrome recedes into the background, a completely new horizontal light signature shapes the brand identity at the front of the vehicle. The newly designed BMW emblem is embedded above the BMW kidney grille in the so-called »Valley«—a line that extends along the hood from the windshield to the vertically aligned BMW kidney grille.

At the rear, too, the new BMW iX3  continues the clear design language focused on the essentials: In the upper area, generous surfaces framed by a few lines dominate; the lower rear apron is more expressively designed and accented by a black band and a diffuser element. From the rear view, the pronounced shoulder section and the significantly retracted greenhouse, which benefits aerodynamics, are particularly striking. Visually highlighted wheel arches, large, horizontally aligned taillights, and the new light signature emphasize the vehicle’s width and presence from this perspective as well.

This design philosophy continues in the interior. The new BMW iX3  dispenses with visual clutter and focuses on reduction, visual clarity, and driver orientation. Horizontal layers frame the cockpit, material changes are carefully dosed, and the partially textile surfaces create a high-quality haptic experience. The typical BMW driver orientation and high comfort are central. The generous glazing and an optional panoramic glass roof also bring a lot of light into the interior.

That the Neue Klasse  is conceived as a »software-defined car« and that technology is at the forefront of the new model generation – despite all design innovations – becomes visible, among other things, in the new operating concept. The BMW Panoramic iDrive  sees itself as a well-thought-out information architecture: Here, four central elements merge into a new display and operating system. The new BMW Panoramic Vision  projects information across the entire width of the windshield. Optionally, the BMW 3D Head-Up Display  provides integrated displays for navigation and automated driving, which are projected onto the road with spatial depth. Positioned ergonomically next to the multifunction steering wheel is the Central Display, designed in a free-cut style with matrix backlight technology.

BMW thus creates several levels for different functions and situations. How intuitively operable these are and how coherently they actually complement each other will be shown in practical tests. However, BMW promises an operating logic that takes the brand’s maxim seriously: »Eyes on the road, hands on the wheel«.

Finally, material and manufacturing are also important elements of the new iX3. For the Neue Klasse, the circular economy idea is a central theme. Secondary materials, reduced resource consumption, and durable components make the objective clear: design and responsibility are treated as interconnected.

Finally, it’s worth taking a look at the technology and the driving experience promised by BMW. The new iX3  is based on the sixth generation of BMW eDrive Technology. The new drive and driving dynamics control Heart of Joy  will henceforth bundle the systems and is intended to elevate the driving experience to a new level. In addition, a new generation of applications for automated driving is intended to optimize the interaction between driver and vehicle.

As the premiere model of the Neue Klasse, the BMW iX3  certainly keeps the promised leap in technology and design. Aesthetically, this leap may be less revolutionary or radical than expected, but the design is clear, modern, and calmly reduced. Particularly noteworthy: By 2027, the design language and technologies of the Neue Klasse  are to be incorporated into a total of 40 (!) new models and model updates—a project that can ultimately be described as truly »revolutionary« in the automotive industry. [CS]

While Pebble Beach  cultivates the aura of history, The Quail The Quail is increasingly becoming a place for new launches, studies and unique coachbuilt vehicles. This is where brands deliberately choose the stage to place their design strategies, beyond classic car shows. Chapter presents five particularly exciting models that give an outlook on how form, materiality and technical approaches will shift in the coming years.

Statement for the future:
Lexus Sport Concept

Lexus made a surprising and therefore particularly impressive appearance at The Quail  this year with the unveiling of a sports car concept. The progressively designed coupé stood out with its wide, flat shape, clear aerodynamic lines and sharp cuts as well as exciting design details such as huge ventilation openings at the rear.

The manufacturer was conspicuously reticent to provide further information, but the study was intended to »show the way for Lexus design«. In any case, it is a design that looks more like a production car than a concept car.

Double innovation:
Chevrolet Corvette CX / CX.R Vision Gran Turismo

The Corvette made two appearances as a concept car at The Quail: with the electric CX and the quite radically designed CX.R Vision Gran Turismo.

The CX reinterprets classic Corvette features such as the long silhouette, striking »chine«-line and double tail lights—all in an uncompromisingly futuristic form. Instead of doors, a fighter jet-style cockpit hood opens up, while an all-wheel electric drive with four motors and over 2000 hp ensures concept-level performance.

The CX.R Vision Gran Turismo, on the other hand, is a tribute to Corvette’s racing history and is also intended to provide a glimpse of the brand’s high-performance future. With its aggressive aerodynamic design, reduced mass and traditional yellow and black color scheme, it is a fitting celebration of the brand’s racing DNA.

»While the shape of a Corvette has always been expressive and forward-looking, each crease and line has its roots in the generations that came before it. It is aspirational, it is cultural, it is the reason people want to come and work at Chevrolet,« explains Phil Zak, Design Director at Chevrolet. »The CX and CX.R Vision Gran Turismo  demonstrate our design teams stepping away from the constraints of production vehicles and unleashing their creativity. Through this exercise, we’ve added to Corvette and defined the design direction for Corvette moving forward.«

Luxury Grand Tourer:
Bentley EXP 15

EXP 15  the latest design vision from Bentley Motors, made its public debut at the Pebble Beach Concours d’Elegance. Although not intended for series production, the imposing and luxurious Grand Tourer, both inside and out, is intended to give a foretaste of the design of future Bentleys, including the brand’s eagerly awaited first all-electric model.

Parallel to the presentation of the EXP 15 , five design principles were defined, all of which will characterize Bentley’s future production vehicles: »Upright Elegance« defines the profile of the front fender; »Iconic Grille« reinterprets the famous Bentley radiator grille for the electric age. »Endless Bonnet Line« is intended to reflect the brand’s design heritage. »Resting Beast« conveys the visual language of dynamism and power—and »Prestigious Shield« defines the rear trim that frames the redesigned Winged B emblem.

Robin Page, Director of Design, comments: »The visitors at Monterey Car Week  include some of the most discerning collectors, enthusiasts and aficionados in the world, many of whom already own Bentleys. EXP 15 is a strong statement of intent, and it was outstanding to see the concept resplendent in the California sunshine. Feedback received from the audience at Pebble Beach will be used to inform the brand’s design evolution, as we continue the journey to design and develop the next generation of electrified Bentley grand tourers.«

High-performance luxury crossover:
Cadillac Elevated Velocity

With the Elevated Velocity study presented here, Cadillac is shifting its V-Series towards the EV crossover concept  and shows a possible design language for future models: gullwing entry, increased ground clearance including oversized illuminated wheels, an emphatically long hood and aerodynamic lines. »We started the concept with the dramatic proportions of Opulent Velocity, which gave it its characteristic prestigious presence. But evolved them over a high stance and cascaded a fast roofline over the entire vehicle creating an impactful silhouette,« Tom Grech, exterior designer at Cadillac Advanced Design, explains the design concept.

The show car’s striking red interior offers comfort on an almost wellness level: While you make yourself comfortable on the futuristically designed seats, body temperature measurement, air purification and light therapy ensure well-being and regeneration. A concept car with no intention of production that combines the brand’s performance tradition with the future of the electric ultra-luxury class.

Artful homage:
Bugatti Brouillard (Solitaire program)

Bugatti did not present a concept in the classic sense at the Monterey Car Week 2025, but a unique coachbuilt vehicle: the first order from Bugatti’s new customization program Solitaire—an exclusive offer for the creation of unique vehicles. In the case of the Brouillard, this is a tribute to Ettore Bugatti’s horse named Brouillard, whose beauty and elegance embodied everything that the car designer admired and then wanted to translate into automotive design languages.

In this sense, the Brouillard  combines the elegant Bugatti design language as well as the technology that has been continuously perfected over the last 20 years in a bold design concept including a sophisticated color scheme. According to the responsible design team, the harmonious proportions of the Brouillard  are also intended to reflect the principles of classical art.

Taking the volume distribution into account, the lower third of the vehicle is kept in dark tones that visually create a connection to the car’s shadow. While the upper two-thirds help to create a lighter, more dynamic silhouette that appears both lower and longer, making the wheels appear proportionally larger.

Incidentally, the client of the Brouillard  is said to be a passionate Bugatti enthusiast who is not only closely associated with the car brand, but also collects the furniture of Carlo Bugatti and the bronze sculptures of Rembrandt Bugatti. With this in mind, the new owner wanted to unite the entire artisanal and artistic legacy of the Bugatti family in one masterpiece. [CS]

The term designer is too narrow to do justice to Daniel Simon. As a visionary multi-talent, he not only inspires the shapes of exclusive boutique sports cars, but also Hollywood’s wildest cinematic fantasies. The German moves like a somnambulist between the realms of realism and fiction. He narrates, invents, doubts and dreams. With this free spirit, we talk about the obvious – such as formal language. About the unavoidable—like artificial intelligence. And the surprising—such as time, distinction and longevity.

Daniel Simon is primarily attracted by contrasts. He tracks them down. Not always on purpose, but with absolute accuracy. Then he devotes all his attention to them. And unites what is often mutually exclusive. Past and future, for example. Or function and form. The clever moderation of this dialectic, which creates friction, makes stories exciting and things come alive, is perhaps his greatest talent—alongside his obvious talent for outlining the contours of an entire galaxy with just a few pencil strokes.
He achieved his international breakthrough in 2007 with the overwhelmingly detailed illustrated book Cosmic Motors, after studying transportation design in Pforzheim and designing concept cars for Volkswagen and Bugatti for several years. However, the automotive industry was and is just one of the 47-year-old’s playing fields, and he is passionate about questioning everything. This is how he became Hollywood’s favorite utopian overnight in 2013. Blockbusters such as »Tron: Legacy«, »Oblivion« or »Top Gun: Maverick« visibly benefit from his creativity, which creates more than cinematic superficiality.

Tron: Legacy Hero Light Cycle, 2010

Cosmic Motors already makes this clear. Daniel retreated to Brazil for two years in the mid-2000s to create this utopian work in the spirit of his role model Syd Mead. »Syd or Harley Earl had a big influence on me«, he still says today. The fictional world of Cosmic Motors revolves around vehicles from a fantastic galaxy that are a mixture of de-militarized fighter jets and racing and luxury cars inspired by the breath of the past. But it is not only the content of the book that is remarkable, but also its form. As a reader, you can really feel how the ideas came to paper, from the first draft to the final artwork to the digital rendering. »The play with timelines, i.e. the blending of past, present and future, is totally fascinating for me. What-if mind games are like a drug for me. This creates spaces without rules and alternative worlds that don’t even seem that impossible given the infinity of the cosmos.«

Time, it quickly becomes clear, is a major theme in Daniel’s oeuvre. His second book, The Timeless Racer even has the theme in its title and is dedicated to a time-traveling racing driver who commutes between the years 1916 and 2615. »I am fascinated by the thought of what will become of racing teams or traditional brands in the distant future when they look back not just a few decades, but entire centuries. What would a Porsche collection look like in the year 2600?«

For Daniel, these are not questions driven by materialism. He only asks them because for him they always involve people. He goes to great lengths to create elaborate backstories that inevitably raise the question of how much we as subjects cling to the past. Legacies, according to Daniel, can also be a burden. »References are important. But it does bother me how much history we have to live with. The design library and the amount of unspoken guidelines is enormous. Only a few car manufacturers are exempt from this, Koenigsegg for example.« Mass manufacturers are inevitably more committed to the past. The convinced enthusiast, who sees mobility as an uplifting form of existence, is aware of these constraints, but nevertheless questions every convention: »At a motor show in the 1920s, there was no reference to the past. The question of looking back did not even arise.« Today, the design of major brands always carries the baggage of the past with it, especially in terms of design.

The Timeless Racer Masucci X-7A

The mass market has thus been robbed of a large part of its revolutionary power. As an example, Daniel cites BMW‘s kidney grille, whose actual function as a radiator opening has been obsolete for decades, but is indispensable for the brand’s recognition value. An implicit prevention of radical new beginnings—and an abstraction of the origin, to the point of absurdity. It is clear that creative courage seems rare for designers who think far beyond normal boundaries. »Renault had a progressive design in the early 2000s that I really liked—with Vel Satis or Avantime. Economically, however, it was a disaster; the masses found these cars rather challenging.« You begin to understand why Daniel is not head of design at Volkswagen today, but instead works for Singer, for example, where small series of Porsche cars modified down to the last detail are produced for absolute enthusiasts. But he points out: »Even with such expensive prestige brands, sentimental buyers are the majority. It’s mostly about looking back and longing.« As a result, there is no need to reinvent everything when it comes to restomods. Daniel has therefore found his own personal niche, where he experiences creative freedom in various projects. »Many industrial designers establish themselves in a genre and are constantly looking for new forms of expression. The automotive industry is very receptive to this. I do it the other way around and have found my own individual design language. I then apply this to different genres.«

1990 Porsche 911 restored and modified by Singer Vehicle Design

His recognizable signature is an advantage in our noisy world. But it also comes with the risk of falling victim to an inner coziness or a dangerous, misunderstood sovereignty. »Routine can quickly lead you down a slippery slope.« But Daniel seems far removed from this. He designed a very real, autonomous racing car for Roborace back in 2015. »You can’t download a template. You don’t have a visual library for this product class, you can’t look anywhere to see how others do it. Such projects are the cream of the crop in vehicle design.« His Robocar was a blessing, but also a challenge. Radical design is rarely perfect straight away. »We had to massage the shape for a long time. There are unwritten rules, like a beat. You have to learn them, because the laws of aesthetics cannot simply be overridden.«

Robocar, Roborace

Anyone who creates real racing cars, Formula 1 designs or luxury sports cars, advises Elon Musk’s SpaceX, designs motorcycles for Lotus or airplanes for the movie »Top Gun« needs their own design language. For Daniel, this means: industrial elegance without too much provocation, plus genuine futurism despite tangible timelessness. »This is helpful for my work on the film, because the current zeitgeist has no place in a sci-fi movie like »Oblivion«. You want to create as much distance from the real world as possible.« As a creative craftsman, he always starts from the three-dimensional object and merges simple basic volumes into a complex whole whose original geometric forms remain legible. This creates sovereignty. »I find many other designs too loud, too tinkered with, and therefore tiring after prolonged viewing.« Paradoxically, this makes them uninteresting in the long term, says Daniel. As is so often the case, the great art lies in omission. »With simple designs, everything has to be right: Balance, surface quality, proportion. Nothing should be hidden behind anything else.«

Top Gun: Maverick Darkstar Jet, 2022

The vehicles in Cosmic Motors or The Timeless Racer are up to the task. And they look amazingly functional—just like his movie vehicles. »There’s a reason for that«, says Daniel. A future in which everything is wireless and completely digital would not be visually entertaining. »When it comes to certain fantasy machines, I’m a fan of real switches, screws and rivets.« He gives an example: »The Bubbleship in »Oblivion« stands for a very special feeling in the movie—it has to convey that. If an actor has to flee from a dicey situation and has nothing to do, there’s no drama. That’s why we gave the spaceship classic toggle switches for a key scene—and not a touch screen, which would be closer. That’s a creative decision.«
Director Joseph Kosinski has relied on Daniel’s talents for many years. The current »Top Gun« remake with Tom Cruise at the wheel of the Darkstar Jets was once again an absolute dream job for Daniel. Even if the discourse with a fictional world means hard work and a lot of research in the industry. »It’s the best part of my job, reading into new industries and opening new doors.« Given the many meta-levels in art, it’s surprising how analytical he is, tracing the mechanics of our world. »I love airplanes and their design, but I immediately asked myself: How do we approach this now? The design has to be worthy of a blockbuster, but also impress professionals—and not confuse the average moviegoer. A balancing act.«

Hollywood’s Oblivion Bubbleship, 2013

In the case of »Top Gun: Maverick«, Daniel worked closely with Lockheed’s research department. He took the SR-71 Blackbird as his model—still the fastest airplane in the world today—and then embarked on his typical mental journey through time. What, he asked himself, would the Lockheed engineers from the 1960s be doing today? It’s a role play, very similar to method acting. It is precisely this approach that makes Daniel’s work so authentic, detailed and coherent.

What’s more, even as a boy he scribbled cars on the back of technical drawings. They were the documents of his father, who worked as an engineer. The family lived on the Baltic Sea in the GDR in the 1980s. The icons of those years were Ferrari Testarossa or Lamborghini Countach. But Daniel didn’t paint any specific brands, just »visions of tin cans making noise and thundering off somewhere«. He would certainly have become a brilliant engineer. Today, Daniel lives in Florida with his wife and daughter and designs for international clients, quite a few of whom remain a secret. The fact that he found his dream job is down to chance: As a 15-year-old, he read about the profession of vehicle designer in a car magazine while getting bread rolls. Until then, this world had been completely hidden from him. He still owns the newspaper today, which underlines his romantic inclination, which also flows into his work. He is a sentimental futurist, without a doubt. And he is aware of the privilege of engaging in an activity so well aligned with his talents. Perhaps the involuntary reinvention of his person—largely decoupled from his German origins and his supposed predestination as a car designer—has also helped him to maintain a very special freedom of spirit. Life in the USA is certainly conducive to this. Unlike in Europe, Daniel is not confronted with his past on a daily basis. Instead, he is shaped by unstoppable progress. He grew up without the internet, had his first home computer as a teenager, was studying when Photoshop was released and was working his first jobs while Google Images and YouTube were taking off. He sees this radical change as great, but accidental luck: »As a student, it took me a whole year to find out which pen certain designers were working with. Today, there are 16-year-olds who are super-talented in illustration techniques. The internet and tutorials are changing the way creative minds develop. The discovery process has shrunk from years to minutes. That has consequences.« Daniel leaves it open which ones.

Daniel Simon — a visionary all-rounder

His opinion on the disruptive power of digital technologies and artificial intelligence in particular changes on a weekly basis, he confirms. »Basically, I do have extreme reservations.« He by no means rules out the positive impact of technological progress on our collective society. »However, we are already insidiously yet inexorably dependent on algorithms and are constantly connected to networked devices. The matrix is real!« Nevertheless, Daniel works intensively with AI design software. »Midjourney and Vizcom are unbelievable, they seemed to come out of nowhere. But these are just harmless creative examples. Nobody can imagine where we will be in ten years’ time. Especially as we have great difficulties with exponential growth. People tend to be linear.« He is deeply surprised at how easily people are taken in and distracted by the playful element of artificial intelligence.
Because the extent of the threat is unforeseeable. And already real today. Artists rightly feel threatened by AI. »We believe we can create things that no one has ever seen before. That’s arrogant! Because all forms have actually already been invented. So we are more likely to mix what already exists. Only the possible combinations are infinite. So designers are curators, DJs so to speak. How we design the mixing process is what makes us unique.« Daniel is convinced that the only thing that sets us apart from AI and its brute force design is our inability to achieve astronomical computing power—in other words, a deficit.

DSX Mistral Concept Helicopter

»A computer makes art? How laughable! A computer writes a screenplay? What the hell! What is art?«, he asks. His answer: In art, much cannot be quantified—or judged without bias. In design, it can. That is where the difference lies. »Therefore, it is conceivable that in the future we will prefer to rely on the work of human curators—if we can afford to. However, AI will then flood the market of the lower consumer classes. Which will further separate the elite. This theory can also be applied to car design.«
A world with even more demarcation and even more tensions does not seem to be in his interest. Daniel relies on humanity where he can afford it. It is his commandment of creative existentialism. For him, the creative process has a high quality in its lengthiness, its complexity and the inherent risk of failure. Nevertheless, he knows that AI will revolutionize vehicle design, which is extremely resource-intensive. Car manufacturers would certainly not miss out on this savings potential. The believer in the future sees too much temptation in the sweet fruit of artificial intelligence.
He recently read a comment by author Laura Preston, who described how an AI bot was meant to make her work easier—but instead tempted her to start thinking like a bot herself. The bot started to train her. Daniel sees a familiar and recurring pattern in this feedback loop, which fatally sidelines the human element: »Our efforts to maximize likes mean that virtually all content looks the same. The machine has decided what is cool. And the algorithm lulls us into believing that we are creative. That sums up my concerns about AI very well.«

Sketch Robocar, Roborace

As a true utopian, Daniel therefore takes a decidedly critical view of innovations. In his opinion, many trends are not subjected to sufficient scrutiny. In addition, capitalism has discovered design as a sales tool and is squeezing every last drop out of it. A strong opinion from someone whose business thrives on progress. But someone like Daniel can afford to criticize the system from within. He makes his point: »We don’t really need the amount of new vehicles and extremely short model cycles. That drives me crazy. This inherent obsolescence is ethically indefensible. My work is directed against this wastefulness every second.« But he also knows that our world is complex and his voice is very quiet. As a designer, he nevertheless pleads for more longevity. His simple and smart shapes have a deeper message. »I have long since withdrawn from the vortex of more and more. It’s a hamster wheel that can be very tiring for a creative mind.«

Robocar, Roborace

The examination of Daniel’s design thus reveals a subliminal agenda. It is personal expression, bold speculation and imaginative dreaming. But it is also a reflection on social responsibility. He clearly distances himself from a political interpretation, but admits: »Economy, science and our coexistence do play a role.« The man for whom utopias are part of everyday life is shocked, for example, »by how much dystopias fascinate the masses. The previews at the movies are almost all carnage—with shallow heroes who save the world«. So his job in entertainment is definitely fraught with conflict—philosophically and very practically.
Nevertheless, he has no doubts about his work. He simply sees himself as having a great responsibility. »I do wonder what I will look back on one day. What will people remember about me and my work? A question that AI certainly doesn’t reflect on.«

PUBLISHED FOR THE FIRST TIME IN CHAPTER №IX »WORK In PROGRESS« — WINTER 2023/24

BMW: Between Immersion and Innovation

The BMW Group presented itself under the title »Vibrant Transitions« in the historic Palazzo Borromeo d’Adda and attempted to create a flowing transition between architecture and design, between space and interface. The multimedia installation with light, sound and digital projection showed themed worlds of BMW and MINI and was intended to illustrate the variety of individual design possibilities on the one hand and to stage the general radiance of the company’s own design in this phase, which is so important for the brand, on the other.

The focus was on the BMW Panoramic iDrive display and operating concept of the Neue Klasse  presented at this year’s CES (Chapter reported), the BMW X3 Designer’s Choice  specially curated for the Salone del Mobile  and the BMW CE 02 by MINI Design, whose color concept was developed by the MINI design studio for the appearance in Milan.

»Our mobility design is becoming ever more comprehensive«, emphasized Adrian van Hooydonk, Head of BMW Group Design. »Colors, materials, light, sound, geometry and digital experiences are brought together in the course of each project to create exciting and emotional customer experiences. With our ‘Vibrant Transitions’ installation, we are providing inspiring insights into this at the Salone del Mobile.«

Cupra: From automobile to aesthetic system

As a car brand with an affinity for design, it goes without saying that it is particularly important for CUPRA to make a statement at the Milan Design Week. However, this was not achieved through a loud staging, but through the claim to emphasize design as the identity-forming, cross-genre center of the brand. All of this was presented as part of the CUPRA Design House—a platform for a wide range of design disciplines, from fashion to product design.

The exhibits in Milan included 3D-printed sneakers in cooperation with Zellerfeld, parametric furniture prototypes and luggage made from recycled materials, which were developed together with the Harper Collective label. CUPRA once again underlines the fact that the brand’s design ambitions extend far beyond the automobile and that the boundaries are constantly being expanded.

Under the same name CUPRA Design House, a separate department will also be active in the future, transferring the brand’s style into new areas through creative collaborations and the exploration of innovative manufacturing technologies and materials. The CUPRA Design House  is based on the four pillars of CUPRA Collection (development of lifestyle products and accessories), CUPRA Collabs (promotion of brand and creative partnerships), CUPRA Beyond (ongoing expansion of the brand philosophy into new design disciplines) and CUPRA Accessories (detailed design solutions from interior to exterior). »CUPRA Design House  is the ultimate manifestation of our impulse to experiment, reinvent and create a legacy that is as bold as it is beautiful«, summarizes Ignasi Prieto, Chief Brand Officer of CUPRA.

Audi: Individualization as a design principle

Audi is presenting itself for the twelfth time at the Milan Design Week in 2025. This year’s focus was on Audi exclusive—the department that has stood for individualization and personalization of premium vehicles for 30 years. This anniversary was celebrated with a refined special edition of the A6 Avant, whose sports seats are finished in a classy leather combination in Baikal blue-neodymium gold with Baikal blue contrasting stitching and vanadium-look applications.

To accompany this, the so-called Material Bar  was staged to bring the diverse range of Audi exclusive  products to life—from the feel and color effect of different leather qualities to seam patterns and application variants. Thematically curated seat islands also allowed visitors to get an idea of the wide range of customization options.

Exhibitions and art installations dedicated to the topics of aerodynamics and light rounded off this year’s Audi brand presentation. Particular emphasis was placed on the second generation of digital OLED rear lights, which have not only been functionally optimized, but also set new design accents—they combine lighting design and innovative technology in an exciting way. [ED]

City and SALONE—AN interlinked system

This year’s program in the city begins even before the official opening of the fair. The Vernissage  exhibition in Via Dante, for example, brings photographs by Bill Durgin into the public space. They show bodies in relation to designed objects—as a reference to this year’s main theme »Thought for Humans«.

This visual narrative is complemented by the Design Kiosk  in Piazza della Scala, where daily discussions with designers take place. Both formats are less spectacular events and more an invitation to engage with design in everyday life.

Installations between staging and reflection

Two central installations outside the exhibition grounds are more differentiated in terms of content and atmosphere than in previous years. Robert Wilson’s work Mother in the Museo della Pietà Rondanini is intended to stand for a harmonious interplay of light, music and space—an examination of Michelangelo’s unfinished sculpture, accompanied by Arvo Pärt’s Stabat Mater. The installation deliberately dispenses with narrative gestures and works with reduction, lighting and sound as creative means.

With Library of Light, the renowned British artist Es Devlin has created an installation in the Cortile d’Onore of the Pinacoteca di Brera that clearly stands out from the purely visual gestures of many Milanese installations. The conceptual core lies not in the representation of light as an atmospheric means, but in its role as a carrier of information and meaning. The installation is physically conceived as a walk-in structure, filled with over 2,000 books—curated and donated by the Fondazione Feltrinelli—, which transform the space into a kind of performative library.

The artist operates here with the contrast between ephemerality (light) and memory (text, book). The result is a temporary space that moves between sculpture, archive and stage. Visitors are invited to move quietly into the structure, linger between the shelves or take part in curated talks at the evening events. This programmatic addition clearly shifts the installation in the direction of a cultural format with a claim to active mediation.

Es Devlin herself commented: »I have always experienced libraries as silently intensely vibrant places where minds and imaginations soar, while clutched like kites by their seated bodies. This kinetic sculpture reflects the synaptic connections being forged, the resonances and associations at play within the minds of a temporary community of readers. As Jorge Luis Borges said: I am not sure that I exist, actually. I am all the writers that I have read, all the people that I have met, all that I have loved; all the cities I have visited.«

Two installations also set design accents at the trade fair itself: Villa Héritage by Pierre-Yves Rochon reinterprets classic interior design with references to historical hotels and a detailed choice of materials. In direct contrast to this is La dolce attesa, a joint project by director Paolo Sorrentino and set designer Margherita Palli. The production thematizes the moment of waiting—as an intermediate state, translated into a visual and acoustic spatial design.

Focus on light—Euroluce 2025

With the return of the light biennial Euroluce questions of technology, modularity and material once again take center stage. Numerous designs show new solutions in the field of wireless systems, adaptive lighting control and sculptural design. Material combinations of glass, recycled plastic and metal are in the foreground—mostly for functional reasons, less often as a design statement. In addition, the Euroluce International Lighting Forum will take place for the first time, with contributions from architecture, science and lighting design. Here, too, there is a tendency to open up disciplinary boundaries.

Milan as the design capital

With over 2,100 exhibitors from 37 countries, including 168 brands represented for the first time, and a total area of more than 169,000 square meters of sold-out exhibition space, the Salone del Mobile.Milano remains the most important international platform for the furniture and design industry in its 63rd edition. The trade fair is complemented by the SaloneSatellite  area for young designers, which this year brings together 700 young designers and 20 international design universities. In addition, over 100 showrooms in the city have been activated as part of the official program, as well as 49 digital LED walls in the city, 320 billboards in subway stations and a dense programme of talks and cultural events at a total of eight central locations. Despite all the conceptual expansions, the Salone thus remains an event that makes an impact above all through its density, scale and institutional reach. [Red.]

With the XC40 Recharge, the first all-electric vehicle from Volvo, the Swedish manufacturer has quickly made a name for itself in the field of electromobility. Now, Volvo has renamed its driving force in the field of electric mobility—The XC40 Recharge is now called the EX40. Fortunately, however, the new successful formula—E + X + 40— does not conceal a new form. The exterior and interior design features established long before the renaming remain the same. This means that visual clarity and a focus on the essentials continue to characterize the appearance of the vehicle.

The electric identity of the compact SUV is recognizable at first glance, but does not impose itself. It can be seen at the front end, which features a clad radiator grille. The grille insert and the surround are in the same color as the car. The cover not only creates a visually striking recognition feature, it also helps to improve drive efficiency and increase the range. The EX40 has a range of up to 573 kilometers. Sharp lines run across the hood from the headlights to the A-pillar. The »Thors Hammer« light motif of the LED daytime running lights integrated in the headlight units, which is probably one of the most striking features of the current brand design language, also ensures that the EX40 is immediately recognizable as a Volvo.

The side view is also characterized by unagitated elegance and straightforwardness—a connection that also distinguishes the Scandinavian brand beyond the individual models. The clear wedge shape emphasizes the dynamic orientation of the vehicle, while the wide C-pillar gives the car stability. The rear end makes the vehicle appear wider and emphasizes the sporty and powerful side of the EX40.
The combination of clarity, sportiness, approachability and elegance is also continued in the interior. When selecting the materials used, the vehicle manufacturer focuses on quality and sustainability. For example, only high-quality leather alternatives are used in the interior. The floor covering in the footwell contains recycled plastics and the upholstery is also partly made from recycled materials. As in all other current models from the Scandinavian car brand, the large, portrait-format touchscreen—with its not always perfectly user-friendly menu navigation—in the center of the center console forms the focal point of the interior in the Volvo EX40. Everyday functionality meets comfort meets sustainability meets attention to detail—This is how the interior of the EX40 could be summarized.

In 2023, Volvo brought back rear-wheel drive for the XC40 Recharge, in addition to the all-wheel drive system. »In doing so, we are interpreting a cherished Volvo tradition in a modern way«, said Herrik van der Gaag, Managing Director of Volvo Car Germany GmbH, at the launch of the new drive concept. One thing is certain: straightforward design and driving pleasure on winding roads are not mutually exclusive. Not at all, as the Volvo EX40 shows. [SW]

VIELEN DANK AN VOLVO FÜR DAS ZURVERFÜGUNGSTELLEN DES TESTFAHRZEUGS.

The chief designers of BMW, Mercedes, Porsche and Audi agree that strong brands can afford to make big leaps. With new design concepts, a great deal of courage and a clear commitment to reduction and clarity, they want to successfully defend the pioneering role of German automotive design in the future. And they intend to do so offensively rather than defensively. We spoke to Adrian van Hooydonk, Gorden Wagener*, Michael Mauer* and Massimo Frascella about the future of German automotive design.

*This article was originally published in Autumn 2025. Gorden Wagener and Michael Mauer are no longer the Chief Designers of Mercedes-Benz and Porsche, respectively. The titles used in the article reflect their roles at the time of the original publication.

When does evolution become a revolution? And how do you succeed in jumping far, but only taking off literally and not metaphorically? Or: How do you stay closely connected to the community that has formed around a brand, but at the same time create a new, unusual tension in the strong bond between product and fan community? Adrian van Hooydonk, Massimo Frascella, Michael Mauer and Gorden Wagener have different answers to these questions. However, there are also a number of common threads—including the knowledge that big leaps in automotive design are perhaps more important than ever before. But also that they must not lose sight of their respective brand histories in the process. And: they are all convinced that German automotive design is still successfully defending its pioneering role.
As in soccer, however, a more offensive style of play is often the more effective strategy for staying in the lead in automotive design. Massimo Frascella, Chief Creative Officer at Audi since the beginning of June this year and an avowed Juventus fan, puts it this way in our interview: »There are many things that link soccer and automotive design. First of all, both areas are about teamwork—you can’t be sure of success in either design or soccer if you only send eleven superstars onto the pitch. But if you have eleven people with the same goal and the same vision, you are more likely to win. I also believe that it is necessary to take risks and differentiate yourself from the others with a clear message. Playing the game the way everyone else plays it? That wouldn’t be Audi.«

Among other things, the following can be deduced from this: The leap, which has already been mentioned here several times, can be a long and risky one, but it should never lead to you ending up in the so-called »Sea of Sameness«—and drowning in it. Gorden Wagener, Chief Design Officer of Mercedes-Benz Group AG since 2016, is certain that this can only happen to brands that do not have a strong brand identity. When it comes to not losing the aforementioned pioneering role, this plays a key role.

Gorden Wagener has been leading the global design division of Mercedes-Benz and its affiliated brands Mercedes-Maybach and Mercedes-AMG since 2008. For him, beauty is an intuitive feeling—an ideal one strives to approach, he explains in an interview with Chapter.

The Mercedes-Benz design philosophy of »Sensual Purity« fuses emotion and intelligence and is continuously developed further by Gorden Wagener’s design team—without, however, going beyond its defined scope. (In the picture: Mercedes-Benz EQS 580 4MATIC)

Porsche Head of Design Michael Mauer shares this view. He states: »One issue that distinguishes German automotive design from new competitors is the brands that have grown over the years. Porsche in particular has built up a very strong, unique and internationally established brand identity with its design over more than 75 years. We have perfected the balance between ›typical Porsche‹ and innovative, new design elements over a very long period of time. However, the new designs, which mainly come from Asia, are getting better and better. What years ago was still reminiscent of modified designs from German manufacturers is increasingly establishing itself as independent solutions. I find it exciting to observe the development of these brands.« Mauer is convinced that without a strong brand identity, there can be no identification with the brand—and this is what is needed to remain desirable in the long term.

Born in Rotenburg an der Fulda, Michael Mauer has been shaping the design of Porsche sports cars for 20 years. When he started in 2004 in Stuttgart-Zuffenhausen, Porsche only had three model series—the 911, the Boxter and the Cayenne. If you ask him about the last big leap at Porsche, he answers: »That was clearly the introduction of the first all-electric Porsche sports car. Long before we got to grips with the actual product design, we looked at the purely strategic question of how we wanted to position the car from a design perspective. At the heart of this consideration was the decision as to how far we wanted to visually differentiate the new drive type from the classic combustion engine. We made a conscious decision to give the Taycan a clear Porsche identity. From our point of view, it was important to clearly emphasize the affiliation to the Porsche brand visually. In concrete terms, this begins long before the pure styling process with the packaging: The arrangement of the components was crucial for the proportions and therefore a very significant issue at the beginning of the development cycle.«
For a traditional sports car brand in the luxury segment in particular, switching to a different type of drive is a big gamble. But if Michael Mauer has his way: »Nothing is sacrosanct. I’ve been in this profession for almost 40 years and from this experience I would say that you can definitely go further today than you could 20 years ago. And even must. But the things you rethink and change must also be done well. Just doing it differently is not enough.«

For 20 years, Michael Mauer, born in Rotenburg an der Fulda, has shaped the design of Porsche sports cars. For him, continuity and consistency are two of the most important aspects of a strong brand identity.

When designing the first all-electric Porsche, the Taycan, it was also important to Michael Mauer to ensure a clear Porsche identity despite the new type of drive. (In the picture: Taycan Turbo Cross Turismo, 2024)

Adrian van Hooydonk, Head of BMW Group Design, is convinced that major advances in technology require equally major advances in design. The Bavarian manufacturer is responding to this with a development that is definitely on the borderline between evolution and revolution: From end of 2025, the first Neue Klasse models will come onto the market—a new, greatly enhanced design approach that will gradually permeate the entire model range. In addition, the design team has been partially reorganized—Maximilian Missoni, a new but very experienced designer, has joined the management team.
»The Neue Klasse is so modern that it’s almost as if we’ve skipped an entire model generation. At the same time, of course, we are doing it in such a way that our customers also want to take this step. We don’t want to lose anyone along the way«, says Hooydonk. Reduction is the top priority. While at the same time exposing the core of the BMW brand. The Dutch-born designer explains what constitutes this in the following way: »For the BMW brand, it has always been sporty elegance. Dynamism paired with light-footedness. If you look at the designs from the 1970s, this was already the case at that time. In our new edition, we want to do this with even fewer elements—even more unobtrusively. Nevertheless, the essence of BMW will be even more clearly perceptible in these few elements. We are convinced that this will fit extremely well into the next decade.«
In addition, the focus will continue to be on combining design and technology as seamlessly as possible. This means: »If something looks fast, it is fast. We want to harmonize the driving experience with the design and vice versa. This requires an early exchange between technology and design. I believe that this will set us apart from many new competitors in the long term.«
After all, says Hooydonk, although cars are highly complex, technological products, the technologies between the brands are not all that different. »In the end, it’s all about the mixture of ingredients. Like a chef who manages to cook a different tasting dish with the same ingredients.«

For Adrian van Hooydonk, Head of BMW Group Design since 2009, good proportions are the cornerstone of successful car design. »Then comes the surface. Then come the lines and only then the details.«

Since June 2024, Italian-born Massimo Frascella has been responsible for the perfect blend of all design ingredients at Audi. He began his career at Stile Bertone, and other stations in his design career included the Ford Motor Company and Kia. From 2011 to 2024, Frascella held senior positions at Jaguar Land Rover. As Chief Creative Officer at Audi, he wants to promote creativity even more as part of the brand core. This is also reflected in the German car manufacturer’s organization, as the design department has recently been anchored directly under the Chairman of the Board of Management. »In my opinion, creativity is something that should permeate the entire company—not just the design department. For me, this also includes the courage it takes to take risks. But also the belief in the things you initiate. And in your own intuition«, Massimo Frascella states.
At the time of the interview, the designer is not yet allowed to show concrete images of the directions in which he would like to steer the company’s creative potential in the future. But he can already reveal some of the ingredients, he says with a laugh and begins to explain: »We have established four key principles, which are: Clarity, Technology, Emotion and Intelligence. These elements must be present in every development step we take in design. When we talk about clarity and reduction, this means, among other things, that all the design elements we create must have a raison d’être and should also fit authentically into the brand image. When it comes to technology, we naturally refer to our brand credo »Vorsprung durch Technik« (English: Advantage through Technology)—it’s all about precision, progress and sophistication. Emotion means desirability—in the sense of: You don’t have to own an Audi, you absolutely want to own one. For me, this also goes hand in hand with a certain degree of self-confidence and an elegance that should by no means look contrived. The last point—intelligence—refers to major transformations in the industry. This includes how the consumer interacts with the product, but also all aspects relating to the imperative of sustainability.«

Since June 2024, Massimo Frascella has been Chief Creative Officer of Audi AG. His Design philosophy is based on simplicity, elegance and clarity—values that he wants to incorporate into all aspects of the brand.

At Mercedes, Gorden Wagener and his team have it in their hands to continuously develop the established design philosophy of »Sensual Purity«, which fuses emotion and intelligence, into the future—without going beyond its scope. However, this does not stop the Mercedes design team from constantly putting this framework to the test. »That’s why we have ›Advanced Design‹, our global design network. I would like the designers who work there to continuously review ›Sensual Purity‹ and explore the entire spectrum of the philosophy. Although the basic idea remains the same, we have to reinvent ourselves a little every day and challenge ourselves.« The French fashion brand Chanel is a good example of how a brand has constantly evolved without major disruptions, Wagener adds in our interview: »Karl Lagerfeld understood what Coco Chanel once created, but was not afraid to challenge it. However, he never violated the brand’s DNA. Strong brands and styles allow you to play with them.« In addition, the head designer of Mercedes adds that the luxury sector anticipates many developments and the mainstream gradually copies them. »This means that luxury defines taste for an exclusive group and then goes mainstream. For this reason, luxury must always evolve.«
Approaches such as that of Massimo Frascella, who demonstrates how the entire organization can be inspired by the creativity of the design team, show that »design-driven« is more than just an empty buzzword in the automotive industry. This also goes hand in hand with the fact that automotive design is no longer just about developing production cars and show cars, but that it is also part of the design team’s job to help shape the entire brand identity. »Sometimes I wish I was back in the old days, because we were able to concentrate much more on our core competencies. On the other hand, I find it incredibly exciting that we designers are becoming more and more involved in shaping the overall brand image. This has also changed the significance of design as a whole. In management positions, you are suddenly part of the company’s overall direction«, is how Michael Mauer sums it up. After all, to be at the forefront, the combination of brand and product has to be right.

When it comes to what makes a good design—what might even turn it into an icon—there are some parallels to be found across all four brands. Among other things: Proportion is (almost) everything. Gorden Wagener puts it like this: »You have to build the house right. The right proportions make up 80 percent of the rent.« And Adrian van Hooydonk describes the hierarchy of the individual steps in the design process as follows: »If the proportion is bad, you won’t get a good design. Proportion is the cornerstone, then comes the surface. Then come the lines and only then the details. However, our customers see this in the reverse order: they see the details first and may not even be aware of the proportions.«
The second important thing they have in common is their unwavering commitment to reduction and clarity. What does that mean in concrete terms? »If you like it, take one line off. If you still like it, take another line off«, is how Gorden Wagener sums it up. At best, this results in longevity, timelessness and, at best, inclusion in the Olympus of design icons. Massimo Frascella also quickly reveals himself to be a designer who was probably not too keen on decorative lines at school. Clarity, precision and perfect proportions—these are the cornerstones of his design philosophy. The big challenge is therefore to create his own signature with as few clear lines as possible.
If you succeed, are you close to the perfect form? Massimo Frascella laughs and answers: »There is no such thing as perfection. Of course, as designers we still strive for it. For me personally, the first-generation Audi TT  is the car that I would say is very close. I say that because I wouldn’t do anything differently with this car. No, even from today’s perspective, I wouldn’t change anything about it.« The first-generation TT  is a car that is more rational than almost any other, but makes its impact on an incredibly emotional level, continues Frascella. »That is also an important part of what makes Audi what it is: a form of rationality that goes straight to the heart.«

»In my opinion, creativity is something that should permeate the entire company—not just the design department«, emphasizes Massimo Frascella in an interview with Chapter. (In the picture: Design sketch of the Audi A5)

However, the fact that the perfect shape may not even exist does not detract from the perfectionism of Audi’s chief designer. »I am very proud of many of the cars I have worked on. But that doesn’t stop me from thinking about small adjustments or changes when I see them on the road.« His biggest critic is himself, says Frascella. »Maybe I’m even too hard on myself sometimes. On the other hand, that’s something I always encourage my team to do: be critical of your own ideas and don’t be satisfied with the first one you come up with. Check it out, maybe you’ll even come back to it in the end.«
Gorden Wagener also has a lot to say on the subject of perfection. »I am a friend of perfect aesthetics«, he says. For him, beauty is an intuitive feeling—an ideal that we try to approach. »Knowing that we will never achieve the perfection of creation. Nevertheless, we try. In addition to the visual definition, there is also the intellectual level that tells me: this is new and unexpected—the extraordinary. And it is precisely these two sides that constitute the Mercedes design philosophy of ›Sensual Purity‹.«

The design process itself also has these two sides—it is intuition and mental strength in equal measure. This means, among other things, that it is not enough to have good ideas, you also have to sell them successfully. »Design is a mental game, just like soccer. It’s a competition and we play in the Champions League, so to speak«, says Gorden Wagener, who wants to emphasize the close relationship between product and designer. »A car always embodies the philosophy of its designer, which in my case is ›Sensual Purity‹. And that’s why my current favorite car is always the one I’m currently working on.« To a certain extent, Michael Mauer also shares this statement: »Designers identify to a high degree with their work and the projects they are working on. Positive feedback boosts motivation all the more. However, not every design can win a strong competition—even in an internal comparison of different designs. That is why I am firmly convinced that dealing with supposed failure is also an important learning field for young designers.«

And what was that again about intuition? Massimo Frascella answers: »Of course, there is always a foundation based on data. But from this starting point, intuition and gut feeling come into play. Intuition is also what makes the difference in the end, in my opinion. Because if only the facts were important, everyone would come to the same conclusion.« Then the leap into the so-called »Sea of Sameness« wouldn’t be too far. Unlike soccer, where players run around the pitch in the here and now, trying to find the perfect balance between offense and defense, automotive designers live in the future—at least professionally. And are—in the best case—ahead of their time, but without losing touch with the present. »I always say that we live in a different time zone in design, because we are currently working on the cars that will be on the market at the end of the decade. With studies and show cars, we are going even further into the future. So if you ask customers today how they like the car you are currently working on, you will always get an answer from the present. If he or she doesn’t like it today, that’s often a better sign than immediate enthusiasm«, is how Gorden Wagener describes the unusual time zone in which he spends his professional life. Towards the end of the interview, we ask Massimo Frascella whether he sometimes feels anxious about helping to shape the future of mobility in such a decisive way. With his typical openness, he replies: »It’s important to find a balance, because it ensures that you don’t lose respect for the task and still remain creative and curious. In my opinion, these are the most important qualities when it comes to staying relevant and successful. With experience also comes self-confidence and the knowledge that we can anticipate the future well and thus create emotional, even iconic models.«

According to Gorden Wagener, passion also plays a central role: »For me, design is an aristocratic occupation. Every design task is a fulfillment and an opportunity for further development.« And sometimes all these aspects come together perfectly and, on top of that, »happy accidents happen«, as Michael Mauer likes to put it. During the conversation, a concrete example of this comes to mind: »Years ago, we were discussing the design of the rear end of a 911 together as a team on a clay model—I leaned against the model and accidentally broke off a part. The result: the disruptive feeling we had previously discussed was gone—problem solved.« Only a small fraction of the problems that affect the future of mobility will probably be solved in this way. It may well take a revolution or two. What this will look like is in the hands of the four people we spoke to for this article, among others.

FIRST PUBLISHED IN CHAPTER №XI »TASTEMAKERS« — WINTER 2024/25

As one of the most famous mid-century masterpieces in Los Angeles, the Sheats-Goldstein Residence designed by John Lautner is considered an architectural icon and has been the setting for countless film and music video productions. And if Hyundai has its way, its new electric SUV will also be iconic. It was therefore an obvious choice to use this architectural jewel in Benedict Canyon  as a spectacular stage for the world premiere of the IONIQ 9. And as we all know, goals should be set ambitiously.

»Aerosthetic«—is Hyundai’s very elegant neologism for the design concept, which aims to harmonize aerodynamics and aesthetics as much as possible and which the IONIQ 9 now presented is intended to reflect in a very special way. »We did not design a typical large SUV, but an Aerosthetic Lounge, with a seamless blend of remarkable aerodynamic performance and refined design«, emphasizes SangYup Lee, Head of Hyundai and Genesis Global Design. And this approach is particularly evident in the harmoniously curved roofline, which sinks elegantly towards the rear to end in a strikingly sharp drop reminiscent of a classic boat stern. This silhouette not only gives the IONIQ 9  impressive efficiency in terms of aerodynamic drag, but also a remarkable dynamic elegance and distinctiveness that is often lacking in many other vehicles.

»If you look at the car from the side, the roofline is very unique. It’s a fast line  as we call it, very swung back, and the rear of the car is chopped— almost like a 90-degree chop. And when you analyze aerodynamics, this is the ideal shape to get the most range out of a car. But at the same time customers also want a large interior. So achieving this ideal balance was quite a demanding aspect of the design process«, Kevin Kang, Head of Interior Design at Hyundai Design North America, also reports on the challenges involved in shaping the IONIQ 9.

In any case, the clear, horizontal lines along the body, which further emphasize the length of the vehicle (namely over 5 meters), and the strikingly muscular wheel arches, which give the otherwise very tidy, almost minimalist-looking vehicle a powerful appearance, also appear elegant. Organically integrated door handles, which are flush with the body when in driving and resting mode, not only help to improve aerodynamics, but also emphasize the purist aesthetics of the vehicle.

On the other hand, design details at the front and rear are less purist, where the parametric pixel patterns in various designs, which have already been introduced as a trademark on other models in the IONIQ series, dominate. We want to know from Kevin Kang whether this playfulness is not at odds with the otherwise quite reduced and clear design of the IONIQ 9: »Well, the exterior design always has to be a good balance between what one perceives at first glance and what you see at second or third glance. The second and third layers of perception reveal the details—like those pixels. I think, keep everything too clean and simple can make the customers associate the product with blandness. You need some kind of spice. And pixels are where it gets interesting. When you look at it the second time, third time, the details are what keep you excited. Also we wanted to make sure that it’s consistent with cars like the IONIQ 5 or 6  which also have the pixel pattern. So that’s how we create a family look for our lineup.«

The interior with its variable seating arrangement in a total of three rows (either a bench or two individual seats in the middle) is fully in line with Hyundai’s aforementioned »lounge« concept. The generous interior design is complemented by high-quality and often sustainable or recycled materials, while features such as USB ports in each row and a sliding center console are well thought-out comfort extras. The so-called »Relax seats« and the panoramic roof are designed to ensure well-being and comfort. Simon Loasby, Senior Vice President and Head of Hyundai Design Center, describes it this way: »IONIQ 9 offers the ultimate lounge-like environment. Its nature-inspired, lounge-like interior reflects our progressive approach of how we envision the technology, customer-centric design and tranquility, coming together seamlessly in the future of mobility«.

Despite all the progressiveness, Korean tradition should not be neglected, emphasizes interior designer Kevin Kang: »A lot of interior elements actually are inspired by Korean clothing. In Korea, we have this traditional clothing called Hanbok. It’s absolutely beautiful, the texture of it is gorgeous. It’s elegant. It’s timeless. People still wear it in Korea. And we wanted to capture some of these Hanbok elements and applied it to deco garnishes, leather patterns or treatments—but of course in a very subtle way, selecting designs we believed to be iconic enough to withstand the test of time.«

In connection with the term iconic, which was used so often that evening at the Sheats-Goldstein Residence, a name that is still omnipresent in the Hyundai design universe should of course not go unmentioned: Peter Schreyer —, the legendary German automotive designer who not only established a new design language but also a thoroughly revolutionary vision at Hyundai, first for Kia and later also for the products of the large parent company. »A truly legendary guy. I have a lot of respect for him and he is still here to answer questions and we keep in touch«, says Hyundai designer Kevin Kang about Schreyer’s legacy and his current role as Executive Design Advisor. »I recall his strong emphasis on interior ergonomics and the invaluable lessons he shared. One of the things he said was: Interior is not drawings. He insisted on creating full-scale prototypes, encouraging us to sit, reach, and touch the surfaces to truly assess the quality of the design: Touch it and feel it. And if it works, then it works.« [CS]

Can design today still learn from the Bauhaus? For all other areas of product and industrial design, this question seems rhetorical. In the case of automotive design, however, it is not. With a few exceptions, there is no history worth mentioning in which automotive design and Bauhaus appear in the same sentence. Where does this aversion come from and is it time to give it up?

Although the era of modernism has now been part of cultural history for almost half a century, the ideas and work of the Bauhaus protagonists still have an impact on design practice in the broad fields of architecture and everything that is summarized under the terms industrial and product design. More than 100 years ago, the Bauhaus began to devise creative solutions for the enormous tasks that the project of industrialization presented to the world at that time. As long as this industrialization continues in its evolutionary stages, the Bauhaus approaches are at least worth taking up from time to time in order to test their usefulness in specific cases. The Bauhaus was too early to deal with the demands of digitalization, but even in the digital age, people still live in houses and use physical objects. And as long as this does not change fundamentally, approaches in this regard will lose little of their relevance. The Bauhaus still has the potential to be a guide and quality benchmark for design concepts and achievements and––well––to lend them intellectual brilliance. There is a great temptation to see the strong Bauhaus brand as a stylistically reproducible design and to project the designs of artifacts that still seem modern today onto new products.

Thonet, Tubular steel desk S 285, 1935

In today’s era of marketing primacy, a brand as strong as the Bauhaus is simply too much of a lure. The often invoked Bauhaus style does not exist, but the Bauhaus code certainly does. For some, it is indeed too powerful! The New York architecture critic Mark Wigley even calls for the world to be liberated from the ideas of the Bauhaus. He suspects the representatives of the Bauhaus movement of having aimed for a perfect human being (super human) and believes that we are all still victims of the Bauhaus and its encroaching optimization efforts today. He speaks of the Bauhaus virus––a powerful metaphor in post-corona times. It is therefore all the more astonishing that the supposedly viral Bauhaus code was hardly able to develop any influence in a special design field––that of vehicles. Automotive design and Bauhaus behave like immiscible liquids. Although there are occasional efforts to whisk them together, the separating layer always forms by itself.

Walter and Ise Gropius with their mutual friend Lily Hildebrandt: Photographed by Walter Gropius with a self-timer during a car trip with their new, white Adler Standard 8 in Dessau, 1930.

In order to explain this rejection phenomenon, it is probably necessary to investigate various causes. The first is obvious: Vehicles were not one of the original fields of work of the Bauhaus during its active period between the world wars, nor did any of the former Bauhaus members scattered around the world favor this topic in their active years afterwards. However, as with almost every rule, there are exceptions––albeit few. The first was Walter Gropius’ design work for the Frankfurt automobile brand Adler, which was important before the Second World War. Familiar with each other through Gropius’ design work on the brand’s appearance, the collaboration continued with the design of special bodies for the Standard 6 and 8 models––both luxurious models and thus created more in the spirit of a Wilhelm Wagenfeld than a Hannes Meyer. Gropius certainly created something new in terms of aesthetics and detail. A driver’s door that could be hinged either at the front or rear, as in the Standard 8 convertible, would still be an eye-catcher today, and the idea of reclining seats in the Standard 6 saloon has even become a common feature of the automobile. However, the limits of the framework set by the manufacturer did not allow Gropius to question the structure of the automobile with the radicalism he was familiar with from his work as an architect. Disruptive approaches to the automobile of the future were coming from other directions at the time. Gropius himself was obviously satisfied with the results of this cooperation and drove one of the few vehicles produced––an Adler Standard 8 Cabriolet––as his private car until his emigration in 1932. Unfortunately, none of the few examples sold survived the following world war and it remains questionable whether they would otherwise have been part of the physical, but even more so the mental, history of the Bauhaus today and thus would have claimed the theme of automobile design for it. Probably not.

The Junkers G 38 (1929) was the largest land plane of its time and was considered a marvel of engineering. With a wingspan of around 45 meters and a wing area of almost 300 square meters, the aircraft was far larger than the usual proportions of the time and was only comparable in size to the Dornier Do X seaplane.

Its collaboration with the aircraft manufacturer Hugo Junkers, also based in Dessau, is exciting because it is much more interwoven with the activities and habitus of the Bauhaus. Although this did not focus on the field of mobility, it was thematically influenced by its new requirements. The now world-famous claim »Form Follows Function« resulted not least from precisely this type of networked approach to design and technical development that was implemented here. For its pioneering work in the development of passenger aircraft, Junkers needed innovators who were willing and able to act independently of established conventions. In the 1920s, passenger aviation was naturally elitist and reserved for the luxury-conscious upper class. When designing the interiors of the aircraft, the requirements of the aircraft developers for lightweight construction and stability were diametrically opposed to the usual images of a luxurious interior. The radically new aluminum furniture designed and manufactured at the Bauhaus created a new, modern image of high-quality design with its high-tech design. The congenial collaboration between Junkers and Bauhaus not only had an impact on the furniture industry, but also sowed the seeds for a globally effective counter-image to the opulence of traditional luxury, which was able to establish itself at least as an alternative in almost all fields of design––with the exception of the automobile. To this day, two traditional vectors must be observed in order to exert luxury: Performance and massive ostentation in the broader sense. Often in combination.

One of several Junkers structural steel bridges on the Dessau autobahn world record track, which the racing driver Rudolf Caracciola drove through in a Mercedes W 154 on the day of its inauguration in 1939, setting a new record time.

The second reason is the fundamental contrast between the approaches of the Bauhaus and contemporary automotive design in the mid-twenties of the last century. While concepts of social building, housing and living were put into practice in Dessau, on the other side of the Atlantic the still young discipline of automotive design was subject to the laws of marketing as part of the mass motorization of the USA. After GMC boss Alfred P. Sloan’s simple but effective basic idea for utilizing the possibilities of design had relegated the previously unchallenged market-dominating Henry Ford to the back of the pack in just four years, the design of vehicles seemed solely committed to market success. Although the Bauhaus was also open to cooperation with industry and carried out a large number of small and large projects, it saw itself as an equal partner and never as a means of maximizing profits in a world of products. From today’s perspective, the automotive industry in the USA could be said to have been far ahead of its time. It simply skipped the era of modernity and created the postmodern product half a century earlier than the rest of the world. Automobile design thus became a kind of counter-design to modernism. The rapidly growing influence of the US car industry after the Second World War and the associated export of its ways of thinking and working initiated a competition between design philosophies. And the more saturated the markets became and the more cut-throat competition raged on the markets, the greater the number of defectors became. The transition from the era of modernism to postmodernism can also be understood as a reversal of precisely this relationship in favor of the market-oriented orientation of design à la Sloan.

Fiat Panda, 1980-1984

There are indeed automobiles whose design could have invoked the Bauhaus code in all consistency: The Fiat Panda, designed by Giorgio Giugiaro and released in 1980, would even stand up to the strict, socially minded standards of Hannes Meyer. The constraints for the design of this Italian people’s car were extremely tight––even the number of spot welds to be used in the production of the body was specified and strictly limited. The design is stringent, economical, aesthetically mastered, modern and logical, and as a superlative of automotive design it is certainly to be rated higher than numerous spectacular works à la ISO Grifo or Bugatti EB 112 from the same pen. Of course, Giorgio Giugiaro does not need Bauhaus glamour––after all, his name itself stands for one of the strongest brands in the history of automotive design. It is not known to what extent he was impressed or influenced by the Bauhaus. The design of the Panda, with its offensive pragmatism that seems almost vulgar to the apologists of automotive aesthetics, has many a critic in a quandary. A »household appliance on wheels« or an industrial design are common interpretations for resolving the inner conflict. You simply put the Panda in a different drawer and all is right with the world again.

Exporter 2 – portable radio designed by Otl Aicher for BRAUN, 1956.

The rift also runs through the fronts. In 1984, the important German graphic designer Otl Aicher––himself unquestionably a member of the classic-modern Bauhaus tradition of the Ulm School––published a book entitled »Kritik am Auto. Difficult defense of the automobile against its worshippers«. Today, the book reads at times like self-therapy, which is archetypal for the inner conflict of the protagonists of modernism in design, but also for today’s discourse on the subject of the car. As aptly as one formulated the misguided development of the contemporary automobile as a means of transportation on a rational and analytical level, one had succumbed emotionally to the allure of the subject and had to be counted among the »worshippers«. Aicher celebrates the compact Fiat Uno and––himself an enthusiastic sports car driver––reproaches the Porsche 911 for its »styling«––in modernist circles a fighting term for lack of concept and superficiality. However, from today’s perspective, his equally critical assessment »er fährt auch, wenn er steht«, marks nothing less than an almost self-evident minimum requirement of contemporary automobile design.

There is nothing to be said against a commitment to Bauhaus in automotive design––not as a universal formula, but as a pre-formulated demand for functional innovation and aesthetic clarity. The Bauhaus code, which is sometimes overused elsewhere, could be an inspiration of untouched charm for the automobile of the future. It would be worth a try. Mr. Wigley would probably have to take the train to be spared the Bauhaus virus.

ARTICLE PUBLISHED FOR THE FIRST TIME IN CHAPTER №VIII »ELEMENTS« — SOMMEr 2023

CHAPTER TALKS – DESIGN | EPISODE 32 | HOST TIMO SCHMITT | PRODUCTION MIRI MARIJANOVIC, CLEMENS PAUL STEINMUELLER

A car must appeal to all the senses, because it is not just about driving from A to B. Rather, it is an intense sensory experience in which sight, touch and hearing come together and which should evoke strong emotions, says Tobias Sühlmann, Chief Design Officer at McLaren Automotive. The German automotive designer has been responsible for the design language of the renowned British sports car manufacturer since September 2023 and has ambitious goals. In particular, he wants to establish a new visual expression of a characteristic design DNA that builds on the 60-year motorsport heritage with legendary lightweight supercars, but at the same time takes the brand into a new era – with »Performance by Design« at the center. On the occasion of the chapter photo production with the McLaren 750S, the lightest and most powerful production McLaren of all time, we talked to Tobias Sühlmann about a supercar as a design piece, the (design) language of speed and, of course, his personal design philosophy and strategy for McLaren Automotive.

Photography: David Fischer Assistance: Aurel Salzer Ivan Dobrovolkyi Digital Operator Retouch: Sascha Rebrikov Prompting: David Fischer, Sascha Rebrikov Studio: Oatmilk

Chapter You have been McLaren’s Chief Designer since September 2023. How will your personal design philosophy and signature change the design of the brand?

Tobias Sühlmann When a new Chief Designer joins a company, this naturally always means a change for the future design language of the brand. For me, it was important that the McLaren brand and its heritage are at the heart of what we do – at the same time, we are embarking on a new design era, with new vehicles, more product differentiation and with »Performance by Design« at the center.

Chapter To what extent can we expect this new era to bring design even more into the focus of McLaren product development in the future?

Tobias Sühlmann We already work very closely with our engineering department, more so than I have experienced with other manufacturers, and I would like to develop this relationship even further in the future. To develop a high-performance sports car, the individual teams – Engineering, the Aero Dynamic Team and ourselves – have to work hand in hand, and that’s exactly what McLaren has done over the last ten years. It’s a real team effort to bring a super sports car like the 750S to life.

Chapter Let’s stay with the 750S – what design aspects or features of this model would you particularly like to emphasize?

Tobias Sühlmann The 750S is indeed an amazing design piece. The front view is defined by two symmetrical main elements with horizontal alignment and the typical low front. This is a typical feature of the 750S design. The rear view is defined by an open rear – a design feature introduced with the McLaren F1 and found on virtually all modern McLaren supercars. Both brand-typical design elements can be found on the 750S.

Chapter Which other design elements in the vehicle do you consider »typical McLaren« or quotes from racing history and which features can be defined as new, perhaps even progressive and innovative?

Tobias Sühlmann A very typical element is the pronounced shoulders and the short rear overhang. These are design elements that we see in all McLaren cars over time. If we want to look to the future together, we are defining some new features, for example advanced aero targets, which can lead to completely new shapes.

Chapter For this look into the future, McLaren also introduced the new design philosophy »Performance by Design« at the beginning of 2024, based on 5 core principles (Epic – Athletic – Functional – Focussed – Intelligent), which will determine the next generations of McLaren supercars and hypercars. To what extent does the 750S already reflect those brand attributes?

Tobias Sühlmann Epic: The butterfly doors of the 750S Coupé swing dramatically upwards when opened. Athletic: Efficient packaging of the high-performance drivetrain and chassis components. Functional: Innovative approaches to advanced aerodynamics and cooling, as in the double-walled doors of the McLaren 750S. Focused: The new driver-centric, steering column-mounted instrument display, flanked by rocker switches to control Active Dynamic settings, is a McLaren innovation that allows chassis and powertrain modes to be changed with your hands on the steering wheel. Intelligent: The exclusive new McLaren Control Launcher (MCL) function allows the driver to save a preferred combination of aerodynamic, handling, powertrain and transmission settings and recall them at the touch of a button.

Chapter And what makes good design for you personally?

Tobias Sühlmann A clear design that allows you to recognize the brand of a vehicle without having to search for a logo.

Over 2,500 people work for the traditional luxury brand Rolls-Royce in the tranquil town of Goodwood in West Sussex, southern England. In addition to the global headquarters, the Centre of Luxury Manufacturing Excellence  is also located here – the only place in the world where Rolls-Royce automobiles are designed, engineered and painstakingly built by hand. And the latter really must be interpreted very literally and in the strictest sense here. Because anyone walking through the spacious halls with their perfectly synchronized and precisely orchestrated work processes will look in vain for the industrial robots and automation solutions that are otherwise common in automobile production, despite the state-of-the-art technology. The marketing phrase »love of craftsmanship«, so often used by too many brands, is actually practiced and lovingly cultivated here down to the smallest detail: Be it the company’s own »humidor rooms«, in which a wide variety of wood veneers are individually stored for a long time in meticulously controlled temperature and humidity conditions so that the woods can breathe and become supple for interior processing. Or the highly demanding production processes of the Starlight Headliners  effect, for which up to 1,600 individual LED lights are carefully and with the greatest precision worked by hand by experienced craftsmen into the leather of the headliner, which has previously been perforated in the same individual pattern.

However, the impressive production quality that is already a demanding standard for classic Rolls-Royce models is clearly surpassed by the highly exclusive Bespoke creations and Private Collections in terms of depth of detail, craftsmanship and ingenuity: The automotive masterpieces and coveted collector’s items, most of which are limited to a handful of examples, are offered exclusively to super-luxury customers of the traditional British car manufacturer via private offices and are sometimes also developed in close collaboration with those VIP customers. And it goes without saying that the unveiling of a special collection, usually based on years of development work, is an important moment for the brand in many respects, as Chris Brownridge, Chief Executive Rolls-Royce Motor Cars, emphasizes: »The unveiling of a Private Collection  is always a landmark moment. These rare and collectible motor cars illustrate the boundless ingenuity and skill of the creatives and craftspeople at the Home of Rolls-Royce, and stimulate ideas among our clients for their own commissions. They also affirm Rolls-Royce’s status as an authentic luxury house. We do not simply build motor cars – we create rare, complex and exquisitely crafted super-luxury products that are highly prized by collectors today and will be cherished long into the future.«

In this spirit, there could hardly be a more fitting setting for the Phantom Scintilla than the Californian over-the-top luxury car event The Quail, which opens up a parallel world for automobile enthusiasts and high-end car manufacturers every August.
The design of the vehicle, which is limited to just ten examples, pays homage to the Spirit of Ecstasy – that iconic Rolls-Royce bonnet statue for which the term »mascot« almost sounds like an unworthy insult.

Its origins date back to 1910, when the then Rolls-Royce Managing Director Claude Johnson commissioned the sculptor and illustrator Charles Sykes to design a figure that would embody the essence of Rolls-Royce. He suggested the ancient Greek sculpture Nike of Samothrace, which captures the moment of take-off of a winged goddess, as a basis. Charles Sykes, however, ultimately opted for a more delicate, ethereal figure that would better express the grace, calm and subtle power of the brand. In creating the Phantom Scintilla, the Rolls-Royce Bespoke Design team  has now revisited some of Johnson’s original inspirations, incorporating materials and subtle references to the Nike of Samothrace into the design.

The exterior appearance of the Phantom Scintilla already pays homage to this history: The upper body is finished in Andalusian White, the lower body in Thracian Blue, inspired by the colors of the sea around the island of Samothrace in the northern Aegean. A subtle metallic shimmer is intended to imitate the glitter of sunlight on the water. The hand-painted double coachline and the wheel pinstripes in Spirit Blue complete the unique exterior design.

For the figure of the Spirit of Ecstasy, which is of course particularly central to this model, a special ceramic finish was used that very precisely alludes to the texture of the original Parian marble of the Nike of Samothrace. A seemingly small detail, but one that is based on intensive work processes, as Celina Mettang, Bespoke Color and Material Designer at Rolls-Royce, explains: »We were fascinated with the qualities of Parian marble, and this material became the subject of our research for many months. To create a clear and elegant connection to the famed statue, we developed a ceramic finish that captures the translucence and purity of this unique stone, and perfectly embraces the ethereal nature of our icon.«

The interior design is intended to reflect the flowing movement of the Spirit of Ecstasy ‘s robe in a complex embroidery pattern that runs through the entire interior. Brienny Dudley, the artisan entrusted with the realization of this idea, experimented with a variety of stitches and hues before finally settling on tatami stitch, which was applied in six layers that intertwine in varying density and complexity – the entire interior composition comprises an impressive 869,500 stitches. »Translating this design into a three-dimensional form was a wonderful creative challenge, requiring more than two and a half years of close collaboration with our Bespoke design team to achieve the right level of detail, texture and tactility in the embroidery. Having two canvases – leather and fabric – added another level of complexity, as these materials respond to stitching in different ways. 36 individually embroidered panels had to be carefully curated so that they aligned perfectly, creating a seamless, flowing motif through the interior suite,« says Brienny Dudley, Bespoke Craft Specialist at Rolls-Royce Motor Cars.

The embroidered motif on the doors is the most elaborate and complex door design ever seen on a Rolls-Royce: it consists of 633,000 stitches in which yarn in several shades has been combined and complemented by illuminated perforations. At night, the embroidery takes on a fascinating, luminous sparkle and appears to glow from within.

For Katrin Lehmann, Bespoke Color Material Designer at Rolls-Royce Motor Cars, this attention to detail in areas that are otherwise less of a design focus, even at Rolls-Royce, is also a special feature of the Phantom Scintilla: »We wanted to create a single graphic that almost appears as a watercolour artwork-we call it ‘painting with thread’. To create a luminescent effect, we used four different colors, thread thicknesses and stitch orientations. In doing so, we covered areas never explored in a Rolls-Royce before, achieving the most extensive density of embroidery ever seen in a Rolls-Royce motor car.«

Another truly exceptional highlight of the Phantom Scintilla  is certainly the artwork in the Gallery, which, as in other models, extends across the entire width of the dashboard. The artwork, entitled Celestial Pulse, consists of seven bands that have been individually milled from solid aluminum before being decorated with the same fine-grained ceramic surface as the Spirit of Ecstasy figure. The edges are polished to a mirror finish so that they catch the light and convey a sense of movement and fluidity.

»Speed with silence, the absence of vibration, the mysterious harnessing of great energy, and a beautiful living organism of superb grace« is Claude Johnson’s original briefing for the Rolls-Royce statue to be developed. An impressive analogy in many respects to the essence of the British luxury brand. Today more than ever and, of course, especially with regard to the Phantom Scintilla Private Collection automobile work of art now on display. [CS]

]]> https://chapter.digital/en/form-follows-emotion/ Thu, 16 May 2024 10:36:07 +0000 https://chapter.digital/form-follows-emotion/ »Iconic«, »revolutionary« and »amazing«: CUPRA is definitely not stingy with euphoric terms to describe its own brand universe. But what would probably cross the line between healthy self-confidence and overbearing arrogance in other brands is, however, part of a very likeable »loud« communication style at the Spanish automotive brand, a confident attitude full of emotion and pride. We spoke to CUPRA Head of Design Jorge Díez and Francesca Sangalli, Head of Color & Trim Concept & Strategy, about CUPRA as a design driven brand as well as emotion and rebellion in their work as designers.

»CUPRA Design Obsession« was the title of the media event hosted by the still very young car brand from the SEAT and Volkswagen family at the Palacio de Cibeles  in Madrid at the end of April. CUPRA presented itself as an emotionally charged, dynamic and, last but not least, versatile lifestyle brand as part of an elaborately staged visual show, which included avatars walking down a virtual catwalk as models embodying individual brand values and celebrating the (facelift) world premiere of two of the brand’s key models, the new CUPRA Formentor  and Leon. With CUPRA Design, the founding of a new independent design studio was also announced, which from now on will not only be responsible for the (merchandise) products of its own brand, but will also implement cooperations with coherent external brands. Following the event, Chapter  met with CUPRA’s Head of Design, Jorge Díez, and Francesca Sangalli, Head of Color & Trim Concept & Strategy, for an interview and gained exciting insights into the unconventional CUPRA design and brand DNA.

Chapter  With a brand that is still quite young like CUPRA you seem to have the rare freedom to work free from the possible »ballast« of a brand’s heritage and history. But at the same time, it’s now up to you to develop unique design elements and distinct principles so that a CUPRA is immediately recognizable as such. How are you dealing with this challenge, and how would you describe your approach to it?

Jorge Díez I would say that first, it’s all about building a strong character. And I think an important thing is to have some design elements that are transversal to all car models, but on the other hand, not too many elements. Some brands create a new design and then copy-paste it onto all their cars, and in the end, they all kind of look the same. So you somehow lose a bit of the wow effect, like the individual personality. So for us, the target is more like this: all models will be members of our family but have their very own personalities. For example, when you look at the lights, this element will be something more transversal within our product range; you will always recognize that as our new signature, but we will always play with something totally different as well. Every model needs to have its own personality—always very self-expressive and very powerful.

Francesca Sangalli And then, for sure, the whole color concept. I would say that this is something that differentiates CUPRA from other brands. Like copper, which is one of the CUPRA brand identity elements. And also, this rawness of the colors is typically us. When you look at the color palette of CUPRA, it’s really not decided by the marketing strategy. In the automotive industry, there are usually color decisions according to a certain marketing specification, like we sell 30% in red, 20% grey, and so on. We don’t do that, and I think that’s what really makes a difference. When you see a CUPRA passing by, you can recognize it only by its unique colors. And something that is also becoming very, very important to us and all the products that we are creating, is the parametric design as a way to give value to the surface and create a differentiation between surfaces as well. It makes the car very dynamic, also very graphical, and very vibrant—it’s never flat. So I would say all that is definitely very CUPRA.

The new CUPRA Formentor

Chapter  We’ve just experienced the world premiere of two very important models for CUPRA, the new Formentor and Leon. Are there any specific design elements that you would like to point out, and what are your personal design highlights of these two redesigned models?

Jorge Díez  I think with the new CUPRA Leon and CUPRA Formentor we’re trying to express what we love so much: true emotion. In the end, we are coming from Barcelona, a truly emotional city, and we tried to transfer the culture of our city to our cars. The result is a very expressive car that somehow reflects the way we are. Both redesigned models have a stronger front and some new iconic design elements, like the triangular matrix LED lights-our unmistakable new signature. The same triangular lighting design also acts as a framing point for the central CUPRA logo illuminated in the rear, which for us represents the heart of the car. So all in all, I think it’s a very expressive design, very characterful.

Francesca Sangalli  Inside the car, we tried to create three very differentiated interiors. And all of them are following very much—or even reinforcing—the DNA of CUPRA design. We are trying to create a lot of different textures, enhanced with new materials, while also embracing a more sustainable approach. The entire idea of the parametric design, for instance, is applied to the deco part in the front. And the parametric technology is also used for the perforations that add sophistication and refinement to the parts. This makes everything very vibrant in the interior. All in all, we have three interiors, one is made of textile, which gives the sportiness a new look, with a lot of graphical elements that really catch your attention. Also, the leather interior with embossing and metallized particles creates this special color effect. And of course, the colors we used—the whole color palette is very, very CUPRA. I’d say it’s neutral with a twist, with a special focus on the finishing effects, which are making all colors kind of undefinable. It’s actually not so easy to pinpoint which colors these are; that’s why we are creating their own names too, like Century Bronze, Enceladus Grey—all inspiration is drawn from nature. And it’s all a little bit raw, which is really the essence of CUPRA, I would say.

Interior CUPRA Formentor

Chapter  Talking of the essence of CUPRA, what always strikes me is the brand’s strong connection to its origins, its roots in Barcelona. How important is it for you, as a designer, to emphasize this Spanish heritage?

Jorge Díez The city of Barcelona is amazing! You can see and feel this special, vibrant vibe everywhere. And it is sometimes said that CUPRA’s design is inspired by local architecture. I prefer to say that we are inspired more by the people, how they behave, and who they are. Because in the end, people make the brand—the attitude, the passion they have for things. Even sometimes, we are a bit louder as well. And this loudness is probably also reflected in the expressivity of our cars.

Chapter  So, would you say that it’s essential for any new designer joining your team, that he or she has a profound understanding of these mentioned roots and thus of the social and cultural environment that influences the brand?

Francesca Sangalli Well, I think even if they don’t have to obviously be Spanish, they definitely have to understand the character of the brand. And I think everyone, once you come and live here, really feels the vibe. I’m Italian, for instance, but I immediately felt very much at home here. And Barcelona, above all, has a lot to offer in terms of inspiration.

CUPRA Formentor

Chapter  You’ve already mentioned the people of Barcelona and the culture, but also the local architecture that inspires you. Where else do you both draw inspiration for your creative work as designers from?

Jorge Díez For inspiration, we always try to move away from the automotive industry. Because sometimes people who work in car design are observing too much of what their competitors are doing. But we try not to look at others, because if you do, you won’t be able to create something really new. So actually, we draw inspiration from completely different things, such as nature and a lot of other things and areas that have nothing to do with car design.

Francesca Sangalli Yes, absolutely. And actually, that is also the purpose of all the partnerships outside the automotive world we enter into. Because when we talk about CUPRA, it’s not only about the cars that we are making, it’s the entire world, the entire feeling, and the entire lifestyle. And these partnerships, like the one with MAM, the sustainable jewelry brand from Barcelona, we’ve just presented, also play a major role in identifying and reinforcing those values on which our brand is based.

Jorge Díez And the most important thing about our brand partners is that they have the same mindset as we do. And talking of mindset, I think you can see our vision as well in the CUPRA Garages. We want everything that you touch or feel—everything related to the brand—to feel like CUPRA. And we really go down to the smallest detail here, even our offices, of course, our whole communications, our advertising campaigns, literally everything that we do.

The new CUPRA Leon

Chapter  Something I always notice about CUPRA is that the tone of voice is mostly characterized by really strong emotions, with the use of quite strong terms such as rebellious, revolutionary, radical, or even aggressive in relation to the exterior design. While rather common descriptions in automotive design, such as harmonious or elegant, are rarely used with CUPRA…

Jorge Díez Yes, absolutely. I think most car brands, when they talk about design, use terms like harmony or elegance. So this is very, very different at CUPRA. Of course, some people are looking for perfection, but sometimes you also need to break this harmony, so you can also have different details that give you a strong personality. This is why we want to create emotion, and changing some things is part of our philosophy of breaking rules and breaking limits.

Francesca Sangalli What you said about the tone of voice is absolutely true. It’s like a statement, in a way. As a brand and company, we want to communicate something different with regard to the homogeneity that often prevails in the automotive industry. It’s about seeing things from different perspectives, being authentic, and being bold about what we offer. And as Jorge said at the presentation, it’s not for everybody to like us. But it’s good that some really love us.

CUPRA DarkRebel show car

Chapter  And I also assume that it gives you an unusual amount of freedom in your work to have a CEO like Wayne Griffith, who is also very design-savvy.

Francesca Sangalli Yes, I think what you are mentioning is definitely the strength of this company. Honestly, from the perspective of a person who works at CUPRA, the strength is that everybody is going in the same direction, and everybody really believes in that direction. So all the departments are working really well together, and we have a CEO who is always open to something new. All that gives us the confidence to go ahead and constantly try to explore new territory.

Jorge Díez Absolutely, and as mentioned, we always try to find things that you’ve never seen before. And even if they are a bit crazy or over the limit. All that is part of the culture of our company, and also to be able to make mistakes. And with Wayne (Griffith), this is really easy because he always tells us: Jorge, Francesca, provoke me! Go, don’t worry. And you can see this in cars like the Dark Rebel showcar, where we had absolutely no limits in the creative process. So as a designer, it’s a privilege to work for CUPRA. [CS]

Without wanting to overdo the currently omnipresent theme of quiet luxury, the legendary manufacturer of British luxury sports cars Aston Martin—in the broader understanding of the brand a synonym for style, luxury, performance and exclusivity—certainly belongs to this category. It is a symbol with exclusive appeal far beyond the world of the automobile, a lifestyle statement and, last but not least, a statement of outstanding engineering skill.

The degree of exclusivity in the ultra-luxury segment is now not only measured by how large—or rathter small—the pool of buyers is, but increasingly also by the pronounced semiotic aspect. Accordingly, Aston Martin’s brand language is strongly defined by a restrained vehicle design that dispenses with ostentatious design rhetoric, but is by no means less striking for that. Even after the model update in 2024, the DBX707  front section features the classic radiator grille and also makes reference to some features of Aston Martin models of the past, such as the legendary DB5 which Sean Connery alias James Bond 007 drove in 1964 in the legendary spy movie »Goldfinger«. In this context, of course, association as an emotional component should not go unmentioned, because the desirability of a brand like Aston Martin results above all from the brand’s understanding that its range must not be inexhaustible, but irreplaceable.

The most significant changes to the new DBX707 are the extensive modifications to the interior. For example, a lot of attention was paid to the confidence aspect, which makes sense considering of the immense power of 697-hp. Translated, this means, among other things, a driving position that offers more freedom of movement, a clear view of the road and surroundings and of all controls and screens (with a state-of-the-art new infotainment system)—including impressive head- and legroom. The impressive amount of space can be seen from the external dimensions alone—the DBX707 is over five meters long and has a wheelbase of over three meters. The clear, contemporary lines convey a feeling of security by creating a concrete sense of space and thus suggesting control.

Additional customization options such as a more personal cabin design naturally also play an important role: there is a choice of three different interior trims, each with its own characteristic details, including Inspire Comfort with matrix embroidery and quilting, Inspire Sport with vector embroidery and Accelerate with Alcantara for an even more dynamic touch. However, Aston Martin not only pays precise attention to the luxurious basic equipment, the so-called Service Q by Aston Martin also offers a wide range of tailor-made options for comprehensive, individual vehicle design.

And to stay true to its claim, the legendary British luxury sports car manufacturer states that the Aston Martin DBX707 drives like no other luxury SUV thanks to its raw power, breathtaking performance and sumptuous comfort. In technical circles, for example, people talk about the refined, class-leading dynamics of the DBX707 a new calibration of the electronic dampers and air springs and the resulting optimization of the response, precision and driver confidence with which the DBX707 further extends its dynamic superiority in its class as a super sportscar among SUVs.

So if you ask about the most desirable version of luxury, there is no doubt that Aston Martin has excellent prerequisites in its DNA to provide a discreet but convincing answer. [DM]

The great Michelangelo is said to have claimed that a form is already hidden in the stone and is simply waiting to be freed by man, hammer and chisel—all that is needed is to knock away the superfluous. Katharina Sachs, Senior Exterior Designer at Volvo Cars, probably takes a similar view when she says that the work of a designer is similar to that of a sculptor, because one of the special challenges in design is to harmonize form and function and to free their harmonious combination from superfluous details. It also seems fitting that she cites the moss-covered, velvety green-yellow shimmering stones, which are abundant in the Swedish landscape and therefore easy to overlook, as one of the sources of inspiration for the new Volvo EX30 —robust, self-contained, close to nature.

The formal language of nature has always been regarded not only as a natural source of inspiration, but also sets creative processes in motion and promotes innovation in the sense of a solution-oriented design approach. According to Sachs, finding a connection between heart and mind is the top priority in car design. It almost seems to be a matter close to her heart to place particular value on closeness to nature and emotional connection in the design process. With this in mind, the windows of the new EX30, for example, have been opened as far as possible to allow maximum natural light into the vehicle.

The moss, crystal, pine and indigo tones of the exterior and interior colors of the compact SUV were, how could it be otherwise, borrowed from the Swedish landscape. And in order to make the calming effect of Scandinavian nature as tangible as possible, there is also the option of simulating it with the interior sound and lighting in the passenger compartment.

Besides heart, mind is also a fundamental keyword when it comes to the minimalistically designed interior of the EX30, which strives for maximum sustainability. This is of course leather-free, with a focus on bio-based, recycled and renewable natural materials such as denim, flax and wool. The use of Pixel Knit, made with a flat knitting machine and consisting of 100% recycled polyester, and Nordico can also be categorized as innovative. The latter is a progressive and technically advanced material developed by Volvo, consisting of recycled PET bottles and organically grown material (pine oil) from Swedish and Finnish forests.

Under the creative direction of Katharina Sachs, Volvo has shown with the EX30 that nature and art, study and execution, have always complemented each other—some things are carved in stone. [DM]

Chapter   What’s the idea behind the seamlessness that characterizes the exterior of the present Rolls-Royce Ghost, first launched in 2020-aesthetically but also philosophically?

Henry Cloke  For us, it was this intrinsic, natural feeling of quality you get, when you have this seamless appearance. When you think of cars of the past, they had no gaps in it, because they were all handmade—they were like sculptures made from one piece. Today it is a bit different, but we would like to keep that handmade feeling wherever possible. And with Ghost it is not just about the looks, because it actually needs four people to connect the roof to the body. I also think that these cars of the past or other products, we find this seamless quality in, give us this sense of »that has taken time to do it, it is not mass-produced«. The second important aspect is the Bespoke tradition, which is really important for Rolls-Royce. These big, clean surfaces of the Ghost  become like a canvas for us, which allows us to find materials our customers wouldn’t expect or experiment with embroidery or marquetery. So, one part is that quality feeling, and the other is that it gives us that canvas for what we do in Bespoke with our customers.

Rolls-Royce Ghost »Amber Roads« special model, photographed at an exclusive press event in front of the Villa La Coste, Provence.

Chapter The first-generation Ghost was on sale for more than a decade. In view of these relatively long product cycles, it was necessary to think quite far into the future when developing the new Ghost. Is it difficult to free yourself from thinking too much in terms of trends?

Henry Cloke  In reality, we are talking about much longer periods of time because the cars often remain with their owners for 30 or 40 years. When we start, one important aspect is the heritage, which is unbelievable to choose from. That gives us some steering, I would say, but still, it sometimes takes us five years or even a little bit longer from the moment we sit down with a pen and a piece of paper to the point where the customer actually buys the car. So, it’s true-you have to think quite far into the future. What also helps is to focus on big gestures and big, clean surfaces that we find in architecture or yacht design, for instance. In Bespoke, when customers come to us with special patterns, unique graphic wishes, or color ideas, we can be much more reactive. I think if you had to select all those things five years in advance, it may be a trend that has gone. So, we can make these big gestures at the beginning with our inspiration from yachts and architecture, and then these graphics and patterns that are a little bit more fashion or a little bit more personal can be included when we build someone’s commission.

Chapter You talked about sitting down with a pen and paper. Is that how you start the design process?

Henry Cloke I find it a really nice way to get ideas out quickly. Although it’s great you can do all these things on the computer, it’s like one more bridge to cross. Whereas if you’re really there with a pen and paper, you can try out all the ideas in your head, even if it’s just for yourself at first, and then you do it in Photoshop or in a 3D model.

Chapter The famous »waft line« illustrates the close relationship between yacht and automobile design at Rolls-Royce. You mentioned architecture as a second important source of inspiration. Was there a building that particularly inspired you in the development of the Ghost?

Henry Cloke For me, design is much more about being able to say something with just a few lines. I studied in London, and most of the iconic London buildings can be drawn with just two or three lines-the Gherkin, the Shard, or the London Eye, for instance. These are super simple shapes, but they have an amazing presence, and I instantly recognize them. It’s not 100% the aesthetic, but rather the fact that you can make something so recognizable in a simple way, which had a big influence on the Ghost.

Chapter Purity and simplicity lie at the heart of the new Ghost’s  DNA. Still, the car has a very strong presence. What’s important when trying to achieve both a pure and a very present as well as distinct design language?

Henry Cloke If you think about the presence of Rolls-Royce, the Phantom  would probably be the first car that comes to mind. It’s always a big statement. With Ghost, we also wanted that presence that characterizes the brand, but in a more subtle way. So, if someone wants a Black Badge Ghost  with dark chrome and dark wheels, he or she could also have a kind of »in-the-shadows-feeling«. The simplicity of Ghost  lets us do that. And about the presence, how do we do it? If you look at the front of the car, the grille and the lights make one horizontal line all the way across from corner to corner. That makes you realize that the car is nearly two meters wide because it has been underlined all the way across. Or the fact that the bonnet doesn’t roll down to the front but stays nearly straight to the Spirit of Ecstasy. These things give you that feeling of a car with a real presence, but in this case in a more subtle way. And as I said, it means that the customer, depending on how he or she wants to use the car, can adjust it and really personalize it.

Chapter The Ghost is a car that also attracts a younger audience. Has this increased the desire for personalization even more?

Henry Cloke The personalization has always been there. In the very beginning, Rolls-Royce would only make you the chassis and the engine, and you could even choose the body completely. But I think that in the last few years, customers got to know Rolls-Royce better and became more confident and demanding in what they expect. They have also become braver with color choices and materials. When you do something well, the expectations go up. And it is something they really enjoy doing. In addition, we now have completely different options when it comes to personalization. In the past, woods on interiors tended to be brown, and designers would just add some graphic or a personal monogram, but now, the woods can be all colors. I also believe that the personal connection to the brand plays a major role-our customers come to Goodwood, we explain certain processes to them, and they get to know us personally. Sometimes they even know exactly who was involved in the creation of their vehicle. This creates an exceptional buying experience.

Chapter What was the biggest challenge during the design process?

Henry Cloke Previously, the Spirit of Ecstasy has always come through the grille or part of the bumper. If you look at the Ghost, she comes through the bonnet, which sounds like an easy alteration. But if you think about how big a bonnet is on a Rolls-Royce and that this huge panel also goes up and down, it had to be accomplished in a way that the hole fits perfectly around the Spirit of Ecstasy. Every time we look at it, we think that it is exceptionally beautiful, but the way we did it required all the work of the mechanics and the engineers. Magically, they made it happen. For me, that is part of the magic of Ghost—that it looks clean and beautiful, but you don’t always know how it was done.

The iconic Spirit of Ecstasy on the Rolls-Royce Ghost “Forbidden Pink”

Chapter Minimalism conjures up images of cold environments rather than warm ones. How is it possible to create a welcoming feeling despite the clear commitment to simplicity? Especially in the interior of the car?

Henry Cloke Purity is a better word for it, because minimalism, like you said, has this slightly cold connotation. One feature that creates that welcoming feeling is the warm starlight that comes from the roof of the Ghost. Of course, materials play a crucial role as well. In modern cars, the leather is always pulled so tight that it looks like a perfectly ironed surface, but we would rather let it be soft and wavy so that it feels like a sofa you want to sink into and feel warm and cozy.

Chapter In an interview, you called the interior of the Ghost »a thinking space«. Could you explain that a little more in detail?

Henry Cloke If you are successful and in the position to drive a Rolls-Royce, you probably have a very busy life. Our cars are the counterbalance to this. There are cars people drive to feel a bit scared or excited, but a Rolls-Royce should rather give you this effortless and relaxing moment. The fact that all the technological features in our cars are only visible when they are needed is also part of this idea. In addition, temperature displays and other information are also presented as subtly and unobtrusively as possible.

Chapter How do you manage not to see the brand’s great heritage as a burden but to build a bridge between tradition and innovation?

Henry Cloke I think that at Rolls-Royce, we constantly have to remind ourselves of the fact that more than one hundred years ago, the company was started by two disruptors doing something completely new. Charles Rolls was a racing driver and the second Briton to hold a license to fly. Henry Royce was one of the very first people to think about electric motors. Of course, we love the Spirit of Ecstasy and the Pantheon grille, but the ethos of the company is really about innovating and about making things as perfect as possible. As long as you remember that, you can be confident that it will be a Rolls-Royce.

Chapter When did you know that you wanted to become an automotive designer?

Henry Cloke Probably when I realized that it was something you could do for a living. At primary school, I was already drawing cars all the time, and then it was just about finding out that the thing you like to do is actually a real job.

Chapter What does luxury mean to you?

Henry Cloke Working in Bespoke, you can find many slightly different takes on luxury, but for me, it has something to do with rarity. Like this special moment during your holidays when the weather is just perfect and you have the most amazing view. If you don’t have it all the time, it feels luxurious. In addition, it can also be about experiencing something unexpected. At Rolls-Royce, we are in the fortunate position of being able to design our cars without the pressure of having to produce more and more of them, but we always try to have that special moment with our customers-surprise them or bring them something they don’t expect.

Chapter Has there been a general shift in what luxury means for people?

Henry Cloke I think that nowadays, more and more people want to really understand the things they buy. They want to understand that the quality goes all the way through it and be familiar with the story behind the product. If you have something and want to show it to somebody, you also want to be knowledgeable about it and probably also explain why you bought it. They also want to understand the passion behind it. In my opinion, today’s world is much less about buying things simply because you can afford them. People are no longer interested in this kind of superficiality. [SW]

Chapter Talks – Design | Episode 29 | Host Timo Schmitt | Production Miri Marijanovic, Clemens Steinmüller | Music XTMPLX – “Mind Control”

»We at Mazda hope that this cooperation will give the young and therefore future generation a new perspective on the brand«, announced Bahram Partaw, Senior Designer at Mazda Europe, at the launch of the Japanese car manufacturer’s cooperation with the Munich University of Applied Sciences. While 35 students were still looking forward to getting their design project off the ground at the beginning, there were a total of ten, of whom six emerged as favorites in the end. Leon Galuzzi ultimately emerged as the winner with his project »Royal Blood« – and can now continue to demonstrate his skills as an intern at Mazda Europe.

His design concept is also the best example of how new perspectives are often fed by the history of a traditional brand. The idea for his concept came to him directly at the launch event at the Mazda Classic Museum  in Augsburg, he explains. »There was a model of a prototype of the 787b which won the 24 Hours of Le Mans in 1991, setting a historic milestone for Mazda. When I saw this, the idea of reviving the emotion of this car was born.« With Le Mans celebrating its centenary, the timing could not have been better – as the research of the young, motorsport-enthusiastic designer later revealed. Galuzzi ultimately designed a car »that is reminiscent of the 787b in both its grace and its details and at the same time promotes Mazda’s new Kodo design language.« He set himself the goal of developing a trackday car with an uncompromising focus on the driver and the connection to the road. »I also wanted to design a vehicle that could be seen on posters in childrens’ rooms. Something worth dreaming about«, he adds.

»Royal Blood«

The young designer, who is certain that the automobile of the future will be less of a status symbol and more of an expression of individuality, began his project with a precise analysis of the design language of the 787b  and a mood board. »Then I thought on paper, so I simply sketched as much as possible to generate a wide range of geometric ideas«, says Galuzzi, who, as he adds, »likes to start oldschool on paper«. It was also fundamental to his design that, »even though it is a performance car, it still has an aesthetic appeal. Cleanness is retained.« What does that mean in detail? Galuzzi answers: »Large, uninterrupted surfaces and clear volume divisions as well as an atypical feature line are key characteristics of the final design for me.« Overall, simplicity is always his top priority in terms of design. »I enjoy a consistently implemented idea without interference«, he sums it up. His design is the best proof that this does not automatically rule out being a fan of imperfection. »Imperfection makes an object human. The things that might bother you about a design at first or that you get hung up on are often the things you love the design for later.«

»Kaido«

The young designer Niklas Künzer also believes that although sharing and public mobility solutions are becoming increasingly important, there will continue to be a need and fascination for exciting automotive design concepts that will hang as posters in childrens’ rooms of the next generation. As a fan of the Mazda brand and Japanese car culture, it was a great honor for him, as he explains in the interview, to show his own ideas and personal style in a design project. »With my all-electric Mazda KAIDO  concept, I want to create a vision for the brand’s next legendary enthusiast vehicle. This target group in particular is often critical of electric drives and fears that many emotions will be lost. My aim was to generate excitement in a new way with strong recognition value and Kodo’s brand-typical design language«, says Künzer. To explain his design approach in more detail, he adds: »Mazda KAIDO  works with a central color gradient that symbolizes the electric power when the vehicle is started and shows transparency and light effects. The proportions and volume of the concept are also a reinterpretation of the classic sports car shape established by Mazda, among others. This resulted in a combination of clean surfaces and futuristic details.«

When implementing his projects, the young designer is always keen to define a style that runs through every presentation slide, every sketch and, ultimately, every rendering. Hand sketches form the basis of every design project, which he then develops further with digital renderings. »However, the step to a first 3D model is the decisive one for me«, he adds in conclusion. He always kept the brand’s central philosophy of Jinba Ittai, the unity of driver and vehicle, in mind during all these steps. Sustainability is also an important topic for Niklas Künzler, who counts concept artists Scott Robertson, Carlos Pecino and Khyzyl Saleem among his role models. »Design must make ideas for sustainable concepts attractive and desirable«, he says. »My personal goal is always to arouse emotions with my designs. And I think that this emotional design will be of great importance in convincing our society of sustainability.«

»Aibo«

»Mazda has also shown me that traditional principles can also be reinterpreted in the future«, is a key idea that student Austin Reimann has learned from the collaboration with Mazda. And here we are again at the bridge between tradition and new perspectives that the two cooperation partners sought to build with their project. But now back to Austin Reimann, who, as he explains, has been attracted to Japanese automotive design since his childhood. »Iconic vehicles such as the MX and RX series have played important roles in various video games and films. From a design perspective, Mazda has made a special impression with the Vision Coupe, RX and Kai concept cars.«

His own concept is called Mazda Aibo, Japanese for partner or friend, and is a semi-autonomous vehicle concept that combines the Jinba Ittai-design principle in a playful new way. Reimann sums it up as follows: »In this case, the connection between man and machine is created by the occupant sinking into an enclosing material. Formally inspired by the character Baymax from the Disney film of the same name, a calm and friendly design language is important in order to evoke a feeling of friendship and security. With an embracing gesture in the interior, artificial intelligence and the associated interaction, the car can be a daily companion and therefore so much more than just an object.« For him, good automotive design is expressed in a clear design language and a reduction to the essentials, among other things. »However, the vehicle must also evoke emotions in you. And that is something absolutely subjective. When I think about why I like certain cars and design styles, it has a lot to do with my experiences as a child and my environment«, he adds.

With his semi-autonomous concept, the young designer is responding to the changes he is observing in the field of mobility. »There will always be car enthusiasts. Nevertheless, the generation after us is already so far advanced that it can do without autonomous driving altogether. For the automotive industry, this means having to come up with something new.« Specifically, for him and the future of his profession, this means »developing solutions for entertainment and interaction, but also creating places to rest or retreat. The design of this use case in the interior will have an impact on the exterior design, if there is a separation between interior and exterior at all.« [SW]

Chapter Talks – Design | Episode 22 | Host Timo Schmitt | Production Dzenana Mujadzic, Clemens Steinmüller | Music XTMPLX – »Mind Control«