When you first arrive in Frankfurt, you usually don’t like it. Partly because of the reputation it’s carried since the post-war period (and the nickname Mainhattan, due to its skyscrapers, doesn’t help), and partly because it really does have modern, boxy buildings, but without Berlin’s atmosphere. Yet this year it is the World Design Capital: Mazda, the event’s mobility partner, has given us the chance to see it through different eyes, showing us some design gems, from furniture to communication.

Creativity behind rationality
Frankfurt perhaps embodies the stereotype of German rationality more than any other city. But, like Milan, behind this apparent rationality lies a vibrant creativity. The e15 studio, which produces high-quality furniture, is a case in point: it is housed in old industrial warehouses and was founded just over thirty years ago by Philipp Mainzer, who brought what he had learnt in London to Frankfurt, creating a continuum between formal research and the tradition of furniture-making.

e15’s trademark, they explain, is its ability to engage with the imperfections of natural wood. Cracks, fissures and variations in colour are not flaws to be concealed, but become the brand’s signature and a stylistic element.
The studio’s first table came about in this way: Mainzer observed the remaining beams in a modest house and saw not waste, but the potential of a design element, in contrast to the trend of the time. In the 1990s, design favoured cold minimalism and smooth materials; e15 chose the opposite path, showcasing wood in its most authentic state. This is evident in all their products, particularly in the Backenzahn, the chair that has become an icon, shown to us in a new metal version unveiled during the 3Days of Design in Copenhagen.

Colours in the background
The same desire to explore and revolutionise can be found in Es ist Freitag, an example of communication design. The agency is right in the city centre, not far from the revitalised Römerberg, and was set up to help those who live here discover the city. “When we opened” – they explain – “we did so because Frankfurt never celebrates itself: its residents see it as a place where you simply go to work. We needed a platform to showcase all the interesting things happening in the city every day”.

Es ist Freitag has opted for vibrant colours and furnishings, so much so that from the outside it doesn’t look like an office at all. It organises events and DJ sets and, as well as looking after clients, produces a magazine and publications that link projects together, shaping a new identity for Frankfurt. From festival graphics to communications for museums and institutions, from design publishing to hospitality, the team of around ten people works across the entire creative chain, from the conceptual phase right through to social media posts.

The Temple of the Golden Pavilion is Yukio Mishima’s masterpiece and one of the cornerstones of Japanese culture. Among its themes, the almost spiritual quest for the perfect form stands out, beauty seen not as something static but as something alive, in constant motion, reacting to light. I mention this because it was constantly on my mind during my visit to the Mazda R&D Centre in Oberursel, near Frankfurt, the brand’s European design hub. It wasn’t my first visit, but it was one of the most memorable: the pursuit of movement in a stationary object is part of Mazda’s philosophy. Jo Stenuit, Design Director at Mazda Motor Europe, explains this. “Our aim is for a car to give the impression of moving even when stationary”.

©Photos by Nathalie Zimmerman

Mazda is one of the very few manufacturers not to have abandoned modelling (it had done so, but has reintroduced it), and above all to continue experimenting. Upon entering the centre, you are immediately met by sculptures that represent tension and movement. “We are independent, free from the constraints of large conglomerates and often ahead of the curve. That’s why my team of 21 people has the time and freedom to experiment”. The designers work on blocks of various materials, sketching out shapes that evoke the car’s key features.

This approach is embodied by Kodo (“soul of motion”), the philosophy that has guided the brand for 16 years. Previously, Mazdas had more taut and angular lines, inspired by the cheetah’s sprint; Kodo has given way to sensual, flowing surfaces, allowing “reflections to dance” as the car moves.

Stenuit himself came to the car industry as a digital modeller, yet the department has brought manual work back to the fore: milling, clay modelling, painting and four modellers working by hand. Making them by hand, he reflects, gives them a personal touch and offers something that digital methods cannot provide. Technology remains invaluable, but it is the human hand that sets the standard which the machine then refines.

Spectrum
Another hallmark of Mazda is its research into materials. The CMF (Colour, Materials and Finish) team was present at the studio; they investigate visual and tactile sensations and which colours and materials are in vogue or have already passed their prime – which is why they attend events such as Milan Design Week.

When it comes to colours too, the common thread remains the brand’s Japanese roots: indigo, ceramics, washi paper. Mazda is famous for Soul Red Crystal, a colour introduced not without some hesitation (red inevitably invites comparisons with Ferrari) but which is deeply loved. However, research has always continued: following discussions with Japan, a blue shade developed in-house gave rise to the Navy Blue Mica of the latest CX-5, a choice rooted in heritage rather than trends; the CX-6’s Nightfall Violet Mica, on the other hand, shifts from black to violet depending on the light. A colour, they say, must be viewed at an angle and in sunlight, because when viewed flat it conveys something entirely different.

“Alpina has always represented a very specific idea of performance and refinement, where speed and comfort are complementary ambitions. Our role as the new custodians of this brand is to preserve this distinctiveness and shape it in a contemporary context.” Adrian van Hooydonk, Head of Design at the BMW Group, presented the Vision BMW Alpina at Villa d’Este on the evening of 15 May at Villa d’Este, a traditional event for the German group.

“For a designer like me, it’s always great to be in Italy, on Lake Como, and admire amazing cars. They are always a source of inspiration, regardless of the era they belong to. Unique vehicles, sometimes truly unrepeatable. For 10-15 years we have been trying to enrich this panorama, to continue the tradition of the Competition by presenting some unique new cars that perhaps in 50 years will be invited to participate again. Recently, as you know, we were able to make some of these unique concept cars, like the BMW Skytop and the Speedtop, which we were able to produce in limited numbers, which was quite special for me as a designer as well, because BMW produces thousands of cars a day. So convincing the company to produce 50 units was a real challenge, but we did it.”

The Vision Alpina concept indicates the stylistic direction of the brand that the BMW Group has recently acquired to include it in its portfolio between its BMW and Rolls Royce brands. Like all Vision concept cars, it will not become a production model as it is, but communicates how the typical Alpina character will evolve into a contemporary, elegant and sophisticated look. Isn’t there a risk of overlapping with BMW and BMW M?

“Alpinas have always been bought by people who like to drive. So there is already a strong overlap with BMW customers in general. The Alpinas were always going faster than a normal BMW, we are talking about 300 kilometers per hour, but from the outside it was not noticeable. So Alpinas attract people who want a fast car, want a sporty driving experience, but don’t go to the track and don’t want to tell the rest of the world that they’ve bought a fast car. The M product is very different, it attracts those who love to go to the racetrack, it is for a customer who loves to show everyone that he has a very fast car. And recently M products have become more and more expressive, with louder colors, more air intakes, spoilers and various elements. Alpina doesn’t do this, it’s another way of understanding driving pleasure. When you acquire a brand with a 60-year history, the first thing you want is that the traditional customers come with you. So we’ve done a lot of talking and meeting with traditional Alpina customers”.

The shapes of the Vision BMW Alpina are dynamic and elegant. How did you manage to make a 5.2-metre-long car look so compact?
“The secret lies above all in the play of light and shadow on the sides. With a few lines we sculpted the volumes, while the design of the front and rear visually reduces the perception of length. The large 22 and 23-inch wheels also help to make the car appear more compact. In practice, on paper it is long, yet in person it does not seem so. But don’t tell the other designers…», van Hooydonk jokes.

The design story of the Vision BMW Alpina will be published in Auto&Design n° 279, July/August 2026.

His studies and work have taken him around the world. Middle East (he was born in Lebanon), Europe, the United States, Asia: a mix of cultures and experiences that have forged his character and stylistic personality. Karim Habib, born 1970, after overseeing design for the BMW Group and Infiniti, has been Senior Vice President and Head of Kia Design Centre since 2019, and is the author of the “Opposites United” philosophy that guides the forms of the Korean brand’s new models.

Do you have any objects or places of reference from which you draw inspiration?

“Yes, I have several that belong to various categories. From cars that everyone loves, such as the Ferraris and Alfa Romeos of the Sixties and Seventies, to more niche ones like the 1992 Ford Focus Concept. I particularly adore traditional Japanese architecture, but Korea also always offers me great inspiration. I believe, for example, that the Audeum museum in Seoul is hugely inspiring. I also have a strong connection with Italy: I lived in Rome for a few months as a teenager and literally fell in love with the city to the point that it became a reference point for me.”

And if we talk about designers?

“In the automotive field, my favourite is Giorgetto Giugiaro, but if we broaden the scope, we can add Jean Nouvel, the master of contextual architecture Kengo Kuma, the Swiss architects Jacques Herzog and Pierre de Meuron, and the Danish designer Arne Jacobsen, born at the beginning of the 20th century. Returning to cars, it’s impossible not to think of the ultra-talented designers who worked for Pininfarina over the years and, naturally, Marcello Gandini.”

Is there a car or object you wish you’d designed?

“So many and it’s normal and right for someone in this profession to have cult objects. Starting with cars, certainly the 1963 Alfa Romeo Giulia GT, all the Ferraris created by Pininfarina between the Sixties and Seventies, the Lamborghini Miura and Espada. If I think of objects, the Grand Prix chair designed by Arne Jacobsen in the mid-Fifties comes to mind and, without doubt, the legendary Bialetti coffee maker.”

When did you realise you wanted to become a car designer?

“Quite early on. I even remember that as a child, for play, I created my own personal automotive brand. Then I grew up and began studying engineering: there I understood immediately that I would be much happier as a designer than as an engineer.”

Do you remember a turning point in your career?

“Well, when I started attending the ArtCenter College of Design, I understood it was the place for me. I loved everything about the school and that particular course of study. Meeting Chris Bangle was transformative: I’ve always thought he had an extraordinary personality, and he gave me the confidence I needed to become an automotive designer. He believed in my abilities.”

What are your hobbies and passions?

“At this point in my life with two small children, I don’t have much time to cultivate my hobbies. Family is extremely important to me: it’s with them that I spend most of my time and it’s to them I dedicate a great deal of my energy. Apart from this, I’m passionate about classic cars and architecture.”

Do you listen to music?

“I love music. I listen to it continuously and think it plays an important role in resolving certain conflicts and moods of mine. It’s difficult for me to identify a single artist I like: I believe my musical tastes are rather eclectic, but having grown up in Montreal, I feel the alternative scene in Canada shaped my preferences in this field.”

Are there any cities that are trending today?

“My city of wellbeing at the moment is Seoul, and I believe it has enormous potential. This place is a metropolis that’s also very much on-trend today, given the great quantity of culture and art. This great mix produces strong influences in my soul and fascinates it deeply.”

What’s a typical day like for the head of Kia design?

“A typical day should begin with lots of planning, but the truth is there’s no real typical day. I think every day is very different: we have so many projects and so many meeting places that every minute brings new challenges and opportunities and, often, wonderful little surprises.”

Where do you live now?

“I currently live outside Frankfurt and I like it. It’s quite a small city but, at the same time, it’s very international. Every month I go to Seoul, so I feel I live a bit in Korea as well and, as I said, I adore the city. I’m also connected to Los Angeles, where I am now (at the time of writing): I lived and studied here in the past, and things haven’t changed much from before. Of this city, I’ve always admired the amount of diversity you can encounter.”

Forget the classic Ferraris crafted by Italian coachbuilders, the sinuous lines drawn by Pininfarina in the 1950s and 1960s, or the wedge-shaped forms of the following decades. It bears no resemblance even to the creations produced by Ferrari Design, the company’s in-house design center, over its more than 15 years of operation. With the Luce, the watchword is “disruptive.” A new chapter is opening for aesthetic and design research, breaking away from established conventions and as entirely unprecedented as the car itself: the Prancing Horse brand’s first all-electric model and first five-seater, featuring all-wheel drive, four motors, a 122 kWh battery pack, and built on a dedicated platform, with every single component designed in Maranello, where the Luce will be produced in the coming months.

The design, however, originated much further afield, entrusted to the LoveFrom studio led by Jony Ive and Marc Newson, with offices in San Francisco and London—a collective that brings together creatives from various disciplines, ranging from architects to product, graphic, and interaction designers. And the product design approach—rather than an automotive one—is clearly evident on the Luce, in an unexpected silhouette consisting of two parts: a large “glass house” that extends from front to rear, encased in a monolithic aluminum body whose front and rear ends act as floating spoilers. The tall, massive rear volume is striking, emphasized by the 24-inch rear wheels (23-inch front wheels).

“When we received the project brief for a four-door, five-seat electric car, we took on the challenge by choosing to separate the elements,” explained Marc Newson at the unveiling in Rome (who, incidentally, had already worked on an automotive project in the past, the 1999 Ford 021C concept car). “We wanted a spacious passenger compartment that was clearly distinct from the exterior bodywork, and this presented a series of problems to solve, such as the windshield wipers, given that the glass area extends forward all the way to the top of the radiator.” Together with Ferrari’s engineers, a vertical arrangement along the front pillars was devised, which does not significantly disrupt the vehicle’s aerodynamics. “I’d like to dispel the misconception that designers and engineers are always at odds; we, too, have an engineering-oriented approach, and the collaboration to achieve the final result was excellent.” Aerodynamics is precisely one of the aspects on which Ferrari’s specialists worked most intensively, with 6,000 hours of wind tunnel simulations using scale and full-size models—more than double the time dedicated to the Purosangue project at the time, the engineers note.

LoveFrom’s product design approach is best expressed in the interior, in the instrumentation and user interface (the “multigraph” is particularly impressive, with physical hands and a virtual dial that transforms from a clock to a stopwatch to a compass), where physical controls inspired by precision mechanics and digital graphics come together in elements that are deliberately kept—here too – well-separated. A successful way to distinguish the Luce’s “full electric” identity, which is activated by inserting the key—a glass rectangle—into a dedicated compartment in the center console, next to the gear selector, bringing the vehicle to life. Essential information for the driver is housed in a “binnacle” integrated with the steering column so that it remains visible at all times regardless of steering wheel adjustment; this too is a well-designed element in its organization of control modules. The two side paddles are made of anodized aluminum, as are the three spokes that evoke the past without replicating it, much like many of the graphic choices throughout the interior. The control panel is a separate element, mounted at the center of the dashboard on a swivel joint that allows it to be adjusted via a handle at the base, while the overhead control panel housed in the roof lining features an additional set of controls, including Launch Control, which initiates the performance launch procedure.

For Ferrari, however, the key focus was on integration, keeping the driver at the heart of the project and prioritizing functionality. While the results achieved in terms of efficiency are impressive (see the 1,050 horsepower of maximum power), what mattered was not the absolute value of each technical specification but rather how the Luce responds to commands, within a system designed to work in synergy for maximum driving pleasure while always maintaining control of the vehicle. For both the R&D division and industrialization, Ferrari engineers had to tackle uncharted design and manufacturing territory, involving new suppliers and experimenting with solutions and methodologies unprecedented for the company. This know-how goes beyond the Luce experience and is invaluable for future projects.

Bold, high-tech, and sleek. With its wealth of contemporary features, this new all-electric Spanish model is sure to turn heads right from the start. And while on the outside it surprisingly wraps the sharpest aerodynamics in the lineup in character (the Cx is just 0.26 despite its 4.05-meter length), the interior reveals a soul that is, in some ways, even more significant. The cabin plays on the grit suggested by the name, taken from one of Barcelona’s most vibrant, historic, and at the same time controversial neighborhoods. But the interior is driven by a genuine intent to innovate: in the more dynamic VZ trim, a 3D-printed strip stretches out in front of the passenger, captivating with its unique interplay of solids and voids, as tested by Auto&Design during the road test. Another creative first, never before seen from other manufacturers, is the 3D-knitted upholstery—a sportswear technique capable of producing ever-changing yarns (here, 100% recycled and assembled on the sporty Cup Bucket seats). Thus, every top-of-the-line Raval is unique, though perhaps only the owner can tell the difference…

Alongside this pinnacle of innovation, showcased in the Ahead collection, the more accessible models still feature fully eco-friendly fabrics for the center section of the front seats and part of the rear bench (Pulse), or feature sporty styling, Dynamica upholstery, and 73% recycled microfiber on the backrest and headrests (Immersive), or focus on vegan leather and fabric derived 36% from recycled materials (Feel). And that’s not all: for various trim levels, “dynamic light projections” are included, which project medallions of light onto the door panels, resembling new finishes, like a digital decoration.

At the end of the test, the bodywork once again impresses with its paint finishes. The popular Midnight Black, Glacial White, Magnetic Tech, and Fiord Blue are joined by the brand’s now-classic bold matte finishes, this time represented by Manganese and Century Bronze. The glossy iridescent Plasma finish subtly shifts between cyan and pink, while the roof offers the options of Manhattan Grey and Midnight Black (in addition to the solid single-color option). Finally, these bold color accents even appear on some of the eight alloy wheel designs (one 17-inch, two 18-inch, and five 19-inch), featuring contrasting details in Tech Copper or Sulfur Green. To add one last burst of energy to a decidedly electrifying product.

In the prestigious setting of the ADI Design Museum in Milan, the Car Design Award celebrated its 2026 edition, reaffirming its status as one of the most anticipated and significant events for the global creative community. On this occasion, Auto&Design organized a moment of collective reflection on the monumental challenges the sector is facing, caught between the advance of artificial intelligence and the urgency of sustainability that is authentic and not merely declared.

The design talk, titled “Sustainable Intelligence: Design in the Age of AI” featured: Chris Lefteri, Design Ambassador at Alcantara; Luca Borgogno, Strategic Director of Transportation Design at IAAD; Florian Seidel, Design Manager at Lavazza; and Alessandro Belosio, Assistant Chief Designer at Toyota ED², moderated by Silvia Baruffaldi, Director of Auto&Design.

The Three Intelligences of Contemporary Design Education According to IAAD.

Luca Borgogno, Strategic Director of IAAD, outlined the pillars for tomorrow’s designers during his presentation. The first is manual intelligence: “Physical know-how, from drawing to sculpture, remains the essential foundation for managing the relationship with form.” Next comes social intelligence, which requires “designing with full responsibility for the environmental and human impact that every new object will have on the community.”

Regarding artificial intelligence, Borgogno clarified that the goal of the school’s internal observatory is to train professionals capable of using this tool consciously: “We must master AI with a critical eye to prevent automation from replacing the designer’s creative thinking.” A call for practicality that also touches on digital ecology: “Being responsible also means reducing the energy footprint of the digital processes and servers required for the project.”

Material as a bridge between technical data and aesthetic appeal

Chris Lefteri, Alcantara’s Design Ambassador, explored how algorithms can accelerate the use of circular raw materials. “AI is essential for transforming complex data into aesthetic predictions, helping us create low-impact materials that are also visually compelling.”

The challenge, according to Lefteri, is to transform sustainability from a duty into a pleasure, moving beyond the “poor” aesthetics of the past: “The designer’s task is to make eco-friendly materials so extraordinary that they are desirable for their beauty, not just because they are good for the planet.” In this new vision, the success of clean technology depends on its ability to generate a genuine “emotional and sensory experience for those who use it.”

Analog Rituals and new digital tools

Florian Seidl of Lavazza shifted the discussion to the realm of everyday life, where the user experience is “rooted in the naturalness of the gesture and the tactile pleasure of physical interaction.” Despite the rapid pace of progress, Seidl calls for a pragmatic evolution: “New digital tools are available to everyone: today, it’s no longer enough to know how to design well; you have to know how to integrate these technologies to innovate production processes.” One example is the Tablì project, where sustainability becomes an industrial reality: “We’ve eliminated plastic and aluminum by creating a machine that uses only pressed coffee, completely reinventing the capsule system.”

The Challenge of Sustainable Modularity

In the automotive sector, Alessandro Belosio of Toyota ED² reiterated the centrality of the cabin as a space for physical contact, where “emotion must guide every design choice.” Belosio warns, however, of the risk of standardized design driven solely by data: “The designer must maintain creative control to avoid flat, characterless interiors, always retaining a strong provocative edge.” The true opportunity of AI lies in managing technical complexity: “We can finally integrate intelligent modularity that makes cars more premium, easier to update, and simpler to repair, drastically increasing their longevity.”

Finding a unifying thread across the wide array of installations, exhibitions and product launches that defined this year’s Milan Design Week (April 20–30) is no easy task. Or perhaps it is. On closer inspection, a common perspective emerges: a shared gaze directed toward the past, in search of inspiration.

MINI and Paul Smith, a story in colour

The installation A Garden of Curiosity, staged within the historic Palazzo Borromeo d’Adda on Via Manzoni, celebrated a long-standing and distinctly British partnership between MINI and designer Paul Smith. This collaboration is renewed today not through a concept, but — for the first time — with a production-ready special edition.

The new MINI SE Paul Smith blends dandy-inflected styling with artisanal attention to detail and high-tech content — a balance that defines the latest MINI language. Smith’s signature motifs appear throughout, from multicolour woven stripes on the steering wheel to refined interior accents, while the exterior draws the eye with bespoke finishes such as the specially developed Nottingham Green.

The display paired the new model with the historic Paul Smith 40th Anniversary MINI from 1999 — a one-off example from the final Rover-era generation, finished in a distinctive Smith-inspired livery. Extending into the garden, the installation also featured an interactive room where visitors, between April 21 and 26, were invited to compose ever-changing arrangements using colourful fabric panels applied to the walls.

Renault Twingo, fun and pop

With the new Twingo E-Tech Electric, Renault completes its “nostalgia operation”, following the electric revivals of the R5 and R4 — and shaping what already feels like an instant success.

Here, design takes centre stage, reinterpreting and amplifying the qualities that made the original Twingo so engaging. From its playful proportions to the launch green colour — once earning it the affectionate nickname “frog” — the new model embraces its heritage with clarity and intent.

At the RNLT flagship store in Via Garibaldi, in the heart of Brera, two large-scale sculptures by designer and scenographer Marcantonio remain on display until June 2. Drawing on the car’s inherent friendliness, the works reinterpret its design cues with wit: the arched full-LED headlights become eyes, the logo suggests nostrils, and the bumper defines expressive “cheeks.” The installation recreates a stylised pond in which three sculptural “frogs” appear perfectly at ease.

Lotus articulates “Theory 1”

For Lotus enthusiasts, the promise embedded in the Theory 1 concept was already evident. In contrast to recent models that seemed to drift away from the brand’s founding principles — established by Colin Chapman — by growing in size, weight and power, this essential three-seat sports car returns to core values: lightness, purity and driver engagement.

Developed under the direction of Ben Payne, Theory 1 was presented at the House of Automotive in Via Tortona in a bespoke Au livery, pairing black and gold in homage to the iconic Lotus 72 John Player Special. The interpretation was created in collaboration with Italian fashion house Larusmiani.

Accompanying the car, the exhibition In Progress displayed chassis and body components from the Type 72 Formula 1 car — one of the key inspirations behind Theory 1 — alongside references to two other defining models: the lightweight Eleven barchetta and the wedge-shaped Esprit designed by Giorgetto Giugiaro. Together, they outline a manifesto for the brand’s near future.

Lepas L6, diverging directions

Milan Design Week is not only about revisiting the past — it also serves as a platform for those looking decisively ahead. This is the case for Lepas, a new brand from the Chery Group, making its Italian debut as an independent player alongside names such as Omoda and Jaecoo.

Here, Lepas unveiled the L6, a compact SUV measuring 4.5 metres in length and offered in two distinct powertrain variants. Rather than relying on off-road clichés or overtly fashionable cues, the design draws inspiration — in both name and form — from the sleek, sinuous figure of a leopard, suggesting a refined and grounded sense of sportiness.

This dual identity is most clearly expressed in the front-end treatment: the fully electric version features a closed, sharply defined surface, while the plug-in hybrid adopts a more traditional approach, centred around a large, rounded grille with a graphic pattern reminiscent of whiskers. Two distinct interpretations, expressing complementary yet clearly differentiated design directions.

A space inspired by Scandinavian design yet situated at the heart of Design Week, with design itself at the center of Volvo’s history and evolution. It was against this backdrop that a special session dedicated to the evolution of Volvo design took place at the Volvo Studio Milano, exploring the theme “The Tension Between Timeless and Futuristic.” The stars of the event were the Swedish brand’s designers Cecilia Stark, Senior Design Manager Strategy, and Rekha Meena, Head of CMF Design (Color, Materials, Finish), who guided guests through a reflection on the meaning of timelessness in an era defined by electrification and digitalization, in which design is called upon, on the one hand, to be progressive and communicate cutting-edge technologies, and on the other, to remain authentic and faithful to the brand’s timeless values. “We use materials in our cars that are designed to stand the test of time,” explains Rekha Meena. “This approach extends to the entire interior design, where the driver remains the focal point. The relationship between the driver and the materials is also crucial, which is why we pay close attention to the tactile feel as well as their quality.”

Cecilia Stark and Rekha Meena explored the sources of inspiration behind Volvo’s design through concrete examples linked to the brand’s latest models, particularly the EX60. Material samples were presented, offering a glimpse into the journey from inspiration to realization, highlighting the quality that defines Volvo’s modern stylistic expression. The presentations underscored the fundamental role of Color, Materials, and Finishes (CMF) in shaping the emotional and sensory experience generated by a car.

Several key aspects have become clear. Volvo’s approach is rooted in Scandinavian design, striking an ideal balance between form and function, tradition, refined timeless elegance, and a progressive vision—capable of creating interiors that convey serenity, modernity, and authenticity; nature is the primary source of inspiration for Volvo’s designers. From Nordic lighting conditions to raw materials, the influences of the landscape are transformed into elements of modern automotive design, creating meticulously detailed environments where form, colors, and materials work in harmony; Volvo designers also draw inspiration from fashion, interior design, and product design in general through an interdisciplinary approach; Sustainability is not an afterthought but an integral part of Volvo’s design language. Volvo’s design process takes into account themes such as the circular economy, reducing environmental impact, and material innovation; every Volvo car interior is conceived as a room, a distinct space with its own character, a distinct atmosphere, and a clear identity. Thus, the car becomes a reflection of the contemporary Scandinavian lifestyle.

The new EX60, Volvo’s newly launched premium-segment electric SUV, represents the latest and most refined expression of Volvo’s design philosophy, striking a balance between craftsmanship of the highest quality, sustainability, and innovation. In full accordance with the principles of “scandavian design,” the EX60 makes understated use of materials and colors with a keen eye for detail, resulting in a beauty that is expressed through simplicity and functionality. To illustrate this approach, Volvo Cars’ designers presented the various “rooms” that correspond to the EX60’s interior environments, as well as the exterior color palette that complements them. Each interior environment is paired with a coordinating exterior shade inspired by nature. Dawn is a delicate gray-beige hue inspired by the early hours of a Scandinavian morning. Rye is a refined shade developed for Volvo’s bespoke wool blend. Cardamom is a medium-toned brown that evokes nature and the earth. Carbone explores darker shades inspired by Nordic nights.

The design teams of Audi for the Concept C project, of Renault for the Twingo E-Tech Electric and Jeep for its Brand Design Language are the winners of the 2026 Car Design Award, the Oscar of world car design established in 1984 by the Auto&Design magazine.

The award ceremony was held in Milan at the renowned ADI Design Museum today, April 22^nd, during the Milano Design Week. The event was opened by an exclusive “Sustainable Intelligence – Design in the age of AI” talk with Chris Lefteri, Alcantara Design Ambassador and Advocate, Luca Borgogno, IAAD. Transportation Design Strategic Director, Florian Seidl, Lavazza Design Manager and Alessandro Belosio, ToyotaED2 Assistant Chief Interior Designer.

The Car Design Award includes three categories: “Concept Cars”, “Production Cars” and “Brand Design Language”, the latter an award given to the design team that has stood out for the consistency and transversality of its brand’s formal language across its whole product range.

The winners of the 2026 edition, chosen from a shortlist of ten finalists, are:

• in the Concept Cars category, the Audi design team for the Concept C project
• in second place the Genesis team for the Magma GT
• in third place the Citroën design team for the ELO
• for Production Cars, the Renault Design for its Twingo E-Tech Electric
• in second place the team of BMW design for the iX3
• on the third step of the podium, the Ferrari team for the 849 Testarossa
• for the Brand Design Language section, the design language of the whole brand, the award went to the Jeep design team
• the Genesis design team came second; BMW and Dacia tied for third place.

“The Car Design Award has established itself as one of the most prestigious international awards dedicated to automotive design, celebrating vision, innovation and design culture. Hosted at the ADI Design Museum, the award is not only a tribute to the creative excellence of design centers, but also a unique opportunity to explore the design languages and challenges that are redefining contemporary mobility”, said Silvia Baruffaldi, Editor of Auto&Design and President of the Award Jury.

For the third consecutive year, ERRE Company puts its signature on Traccia. The Car Design Award 2026 trophy, evolving the project thanks to a strongly sustainability-oriented approach. The base was created through filament 3D printing techniques. Furthermore, thanks to an exclusive collaboration with Lavazza, spent coffee grounds were placed in the heart of the trophy. Alcantara® is present in a new triad of colours and enriched by a parametric pattern created by ERRE’s designers; the “trace”, a distinctive element of the trophy, is proposed in a new transparent outfit, also made with 3D printing technology.

CAR DESIGN AWARD 2026, JURY MOTIVATIONS

CONCEPT CARS, Audi Concept C 

“Concept C brings minimalism back to the heart of contemporary car design, with a pure and coherent form that appears sculpted from a single block of aluminium, faithful to the brand’s heritage yet futuristic. A masterclass in ‘radical simplicity,’ where clarity, technology, and emotion merge into a work of profound design intelligence.”

PRODUCTION CARS, Renault Twingo E-Tech Electric

“Highly identity-driven, the vibrant design of the Twingo E-Tech Electric intelligently blends style, charm, and accessibility. It is a city car capable of transforming a small footprint into an authentic design statement, tastefully evoking the original Twingo’s one-box shape to win over both those who lived through the ’90s and those discovering it today.”

BRAND DESIGN LANGUAGE, Jeep

“Without ever betraying its origins, Jeep design reinterprets unmistakable semantic elements — such as the seven-slot grille and trapezoidal wheel arches — transforming them into universal symbols of adventure and freedom. In the era of energy transition, it continues to shape the collective imagination of exploration, making authenticity the cornerstone of every creation.”

 

 

THE WINNERS OF THE PAST EDITIONS OF THE CAR DESIGN AWARD

Anno	Concept Cars	Production Cars	Brand Design Language
2016	Mazda RX-Vision	Aston Martin DB11	Volvo Cars
2017	Jaguar I-Pace	Ford GT	Land Rover
2018	Honda Urban EV	Jaguar E-Pace	Volvo Cars
2019	Alfa Romeo Tonale	Peugeot 208	Citroën
2020	Hyundai Prophecy	Ferrari Roma	Porsche
2021	Canoo Pick-up EV	Land Rover Defender 90	Peugeot
2022	Toyota Compact Cruiser EV	Ferrari 296 GTB	Polestar
2023	Genesis X Convertible	Ferrari Purosangue	Ferrari
2024	BMW Vision Neue Klasse	Volvo EX30	Kia
2025	Lotus Theory 1	Ferrari 12Cilindri	Renault