Retaining consistency even at times of seismic change and transformation has always been a signature feature of Mazda, a brand which over the years has managed to innovate and reinvent itself while keeping a tight grip on its identity. The transition towards an era that will inevitably be more “electric”, as well as towards a truly global market presence, represents a new chapter in which creativity and that very same proverbial consistency will be truly put to the test. The CX-6e embodies the vision of this delicate transition.

Purest vision form
It is not Mazda’s first fully electric car, nor even the first created on the back of the fruitful collaboration  with Chinese partner Changan, which has already produced the Mazda 6e saloon: but whereas the latter, the spiritual successor to the Mazda6, had to carry forward a legacy while introducing many new elements, with the CX-6e the team led by Jo Stenuit, Design Director at Mazda Motor Europe, has been able to give shape to its vision of the near future in its purest form.

Bolder and progressive
Designed at the European style centre in collaboration with the Japanese team, the CX-6e was conceived as a global project, though targeting primarily the Chinese and European markets. “It was important to create a design strong enough for both markets”, explains Jo Stenuit. “Chinese customers often expect a more futuristic and technological design language, which is why the car is more “edgy”, bolder and more progressive than what people normally expect from Mazda”.

Emotions and experiences reinterpreted
This intention is apparent first and foremost in the proportions, those of a mid-to-large Suv that highlights the sporty nature without over-stating it, evoking cues inspired by European grand tourers, with a long bonnet and an interior that seems to taper towards the rear, athletic yet graceful. And without any desire to imitate a specific model, as Bahram Partaw, Lead Exterior Designer, points out: “What interests us is the feeling an object manages to generate. We always try to capture an emotion or an experience and reinterpret it through our own design language. The CX-6e is clearly futuristic and technological, yet it retains elegance and a grand tourer spirit through its almost coupé-like proportions”.

A tauter language
An approach that is immediately apparent in the closed front end, the most radical ever created by Mazda, with its suspended light signature and the clean design that breaks with many conventions of the past. While continuing to pursue the fundamental principles of Kodo Design, the CX-6e introduces “a tauter, sharper and more technological language that pushes Kodo into territories we had never ventured into before”, Partaw continues.

The catamaran as a source of inspiration
The result is a silhouette that remains elegant and visually light while conveying presence and solidity. The quest for this balance stems from an unusual source of inspiration: the catamaran. “For me, it perfectly represents the relationship between power and lightness”, explains the designer. “When you’re looking for a strong road presence, you usually end up creating heavy volumes. We, on the other hand, wanted to maintain a sense of elegance and slenderness”.

(Full article in A&D no. 279)

Just a few months after the launch of the refreshed 500 with mild-hybrid powertrain, Fiat is introducing a more refined trim level for the convertible version, the 500 C, that enhances and highlights the classic charm of what is now the only convertible city car available on the Italian market. The trim level, named Dolcevita, evokes the atmosphere of the 1960s and offers—as a special edition but not a limited edition—a refined elegance that enhances the car’s aesthetics with just a few details, without, however, reaching the level of luxury of the unforgettable Riva edition, introduced in 2016 on the previous 500 and, in that case, produced in a limited series.

The new version stands out on the exterior, in particular, for its exclusive blue fabric convertible top, chrome mirror caps, the side badge featuring the Dolcevita logo, the new 16-inch diamond-cut alloy wheels, and standard full-LED headlights. The interior is more understated, featuring “Pieds de poule” fabric and vinyl seats with an embroidered “500” logo, along with enhanced features such as a DAB car stereo with a 10.25-inch screen, automatic climate control, a rain sensor, and a rear parking assist radar.

The inspiration comes from the model’s own history. From its very beginnings in the late 1950s, the 500 has always offered a version with a sunroof, which initially extended all the way to the base of the rear window. It was precisely this design that inspired the brand’s designers to develop the modern “C” versions, introduced in 2007, featuring an electrically operated fabric center section.

MG Motor is planning a single launch for 2026 – but with a double impact. With the new MG4 2026 and MG4 Urban, the British brand now controlled by China’s SAIC Group is strengthening its position in the core EV market through two compact models that share the same name, yet differ significantly in concept and character. The MG4 returns with a series of updates largely shaped by customer feedback, as explained by Lorenzo Cereda, Head of Product Marketing at MG Motor Italy: “We listened carefully to customers and to the constructive criticism, especially regarding the interior quality – considered functional but somewhat lacking in touch and feel – as well as the onboard technology updates. We can now offer a car that is much closer to customer expectations.”

Concerning the style, the changes are subtle but targeted. The sporty front end and full-width rear light signature remain, while one of the car’s most distinctive elements has been redesigned: the split rear spoiler with its aerodynamic channel at the base of the rear window has been replaced by a cleaner single-piece solution, said to be both simpler and more efficient. New wheel designs and exterior colours also join the range. Inside, the cabin is still dominated by the large 15.6-inch central display, now running on a new operating system developed together with Oppo. Physical controls remain limited, with a rotary gear selector and integrated air vents contributing to a dashboard designed to improve perceived quality. Driving dynamics have also been refined, although the decision to manage regenerative braking and driving settings through infotainment menus rather than dedicated controls may still divide opinions.

As for the MG4 Urban, despite its name it is neither a derivative of the MG4 nor a particularly small car. It is based on a dedicated platform optimised to maximise interior space, with a cell-to-body battery structure integrated directly into the chassis. The result is a compact hatchback measuring 4.23 metres in length – around 10 centimetres longer than the MG4 – while sitting below it in terms of price, battery and power output. Its main strength lies in the design, which Cereda describes as “mainstream: it means being more immediate and easier to understand, with some references to the Cyberster in the headlights, grille and wheel design.” Its urban-focused character emerges through compact proportions, softer rear surfaces integrating tail lights with a subtle Union Jack-inspired graphic, and handling enhanced by a particularly tight turning radius. The interior layout closely follows that of the MG4, especially around the infotainment area and dashboard architecture, while introducing driving controls directly integrated into the steering wheel.

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.

Bertone’s cars have returned to Turin. Consisting of about eighty vehicles, including extremely rare concept cars and prototypes, the ASI Bertone Collection has left the Volandia Museum in Malpensa to move permanently to the Heritage Hub, which, thanks to an agreement between the Automotoclub Storico Italiano and Stellantis Heritage, has opened its doors to host this extraordinary testament to the design work of that creative powerhouse of an atelier that saw the rise of great masters of car design, from Giorgetto Giugiaro to the late Marcello Gandini. And it was precisely these eyewitnesses—including Giugiaro himself, along with colleagues Mike Robinson, Luciano D’Ambrosio, Giuliano Biasio, and David Wilkie—who created one of the most engaging moments during the presentation ceremony on March 31, with a talk that quickly turned into a flood of memories and tributes to Bertone’s genius and his ability to nurture and bring out talent.

Speaking of memories, one that was particularly meaningful to us at Auto&Design was the one shared during the speech by Marie Jeanne Bertone, president of the foundation now dedicated to her father, Nuccio Bertone. She recalled how Fulvio Cinti, the magazine’s founder, described Bertone as “the undisputed driving force behind the rise of Italian car design.”

“The addition of the ASI Bertone Collection further strengthens the Heritage HUB’s role as a unique hub within the museum landscape, capable of recounting the key milestones in technological and design evolution across various fields: from racing to ecology, from custom-built cars to compact cars that have shaped the history of mobility worldwide,” said Roberto Giolito, Head of Stellantis Heritage Italia. “Our mission is to recount, through an evolutionary perspective, over a century of automotive history intimately connected to the city of Turin.”

There are 66 cars on display in the collection, all designed by Bertone between the 1960s and 2000. The public can now admire them in the large space at Via Plava 80, which already houses the fabulous collection of Fiat, Lancia, and Alfa Romeo cars and prototypes, housed in the museum open to the public from Tuesday to Thursday from 10:00 AM to 12:00 PM and 2:00 PM to 4:00 PM, with tickets available for purchase online. But the public opening is not the only “opening” worth highlighting: with the Bertone Collection, the Heritage Hub is also breaking a historical taboo, welcoming for the first time into its halls cars based on models from foreign brands (as many as twenty), many of which are outside the Stellantis Group.

The BYD Atto 2 made its European debut in 2025 with the electric model, featuring dimensions, shapes, and lines that appear conventional within the current B-SUV landscape, yet its character shines through in the details—a design vision shaped by former Alfa Romeo and Audi designer Wolfgang Egger. The lineup now expands with the plug-in hybrid model equipped with the Super DM-i system, which the manufacturer has chosen to customize with a few features that go beyond the differences dictated by “technical” requirements. Among these are, for example, the enlarged lower air intake with an “active” grille, whose slats open or close depending on the system’s needs, but there’s more.

In redesigning the bumper, a front camera has been added to the center of the front fascia, above the license plate, while at the rear, the BYD logo now stands out in large letters in the center of the tailgate, leaving only the badges for this specific version and the model name on the right side. Additionally, the color palette, consisting of just four shades, now features the new Midnight Blue color, exclusive to this variant.

There are differences inside as well, though almost all of them are functional. The instrument cluster remains the same, featuring an 8.8-inch digital display and a 12.8-inch central display, but the latter does not rotate because the built-in Google system integrated into the digital platform has not yet been optimized to support vertical display. The driving controls have also changed: the selector on the center console of the electric Atto 2 has been replaced by a dual cup holder and a slim control panel with the start button in the center—which perhaps deserved more prominence—while gear selection is handled via a lever behind the steering wheel. As with the other version, the interior design is appealing and the finishes are attractive and well-executed, contributing to an overall sense of quality and comfort enhanced by the hybrid system’s remarkable quietness.

The third generation of Mazda’s best seller model confirms its status as the flagship of the Hiroshima-based manufacturer’s objectives and vision, always attentive to the practical aspects of technology, as well as following trends without becoming a slave to fashion or forgetting tradition.

For this reason, while raising the bar in terms of content, market positioning, and expectations, it confirms choices oriented first and foremost toward practicality. The dimensions have increased significantly, especially the length, which is now close to 4.7 meters, and the wheelbase, which is now close to 2.82 meters, measurements that now place it among the mid-size rather than the compact cars, but which offer increased accessibility and roominess with rear doors that are a full 70 mm longer. All this, however, without distorting the shapes and proportions. The same is true of the interior, which features a large central display with a diagonal of up to 15.6 inches, which does not completely replace the physical controls on the steering wheel and dashboard, and a new digital platform that integrates Google functions, with AI to be added in the future.

Even in this landscape of progress, however, there are traces of tradition: for exemple, the profiles at the bottom of the sides, the shape of the wheel arches, and even some elements of the seats are inspired by and pay homage to the ancient technique of Kigumi, the art of joining wood to create furniture, structures, and even buildings without glue or nails. The interiors are modeled according to the principle of MA (space), one of the pillars of Mazda’s design vision, and developed in parallel with the study of materials carried out according to the principle of respect for origins and traditions, so that even a large-scale industrial product such as a car can convey the feeling of handcrafted care.

The Vincenzo Lancia’s discoveries
In the year marking the 120th anniversary of Lancia’s founding, it is reasonable to expect a number of publications recounting the entire history of the company or its glory years in racing, perhaps taking advantage of its recent return to rallying.

But for Dutch journalist Wim Oude Weernink, author of numerous books on the brand, including “La Lancia,” considered a veritable “bible” for fans of the Turin-based brand, the moment most deserving of being brought back into the spotlight is not that one, but an earlier one.

In his new book, “Automobili Lancia – Vincenzo’s Formative Era 1906-1925” Oude Weernink has chosen to examine Lancia’s first twenty years of activity, starting a little before the company’s foundation with the origins and racing experiences of its owner and continuing through the first emblematic models, from the Alfa to the Trikappa, the prelude and inspiration for the revolution that would come with the Lambda. He focuses, above all, on the innovative spirit and research that characterized those two decades, the real key to Vincenzo Lancia’s early success.

History, technology, and design blend seamlessly in the extensive collection of over 300 images, which includes a wealth of previously unpublished material from archives that have never been explored before. Vintage photos and publications, drawings, and technical diagrams are scattered throughout 134 surprising pages.

The narrative is structured in a dozen chapters, including those dedicated to engines and the origins of the famous narrow V architecture, the attempted American adventure and the first trucks, followed by brief technical data sheets on the nine car models examined in the book.

Datasheet

Automobili Lancia – Vincenzo’s Formative Era 1906-1925
Publisher: Simon Stevin, Division of Draaiboomken nv
Author: Wim Oude Weernink
Size: a bound volume measuring 28,4 x 21,7 x 3,5 cm
Pages: 134 overall
Text: english
Photographs: 345 in color and b/w
Price: 75 euros

A story you can touch

Books are born to convey emotions, even more so when they tell dynamic and engaging stories such as those of the great car manufacturers. Lamborghini is one of those names that, on its own, is enough to ignite the imagination. However, in an already very rich and constantly expanding publishing landscape, identifying a new and convincing interpretation is a challenge that is anything but simple. The volume “Automobili Lamborghini – Past, Present, Future” succeeds in its intent, proposing itself – from the end of 2025 also in a special edition with a box set – thanks to an original idea that expands the reader’s sensory experience: a package of great refinement, capable of satisfying not only the eye, but also the touch.

Ferruccio Lamborghini

Published by White Star and written by journalist Simonluca Pini, who has poured into it all the experiences he has had by closely following Lamborghini’s path through often exclusive events, the volume goes far beyond a simple excursus, albeit complete and precise, on the history of the brand and its models, with particular attention to aspects related to design. From the cover upholstery, made with the same technical fabric used for the seats of the Sant’Agata supercars, to the special box with a carbon-effect finish, the work aims to give the reader back the atmosphere that you breathe sitting behind the wheel of a Lamborghini, even before delving into its more than 270 pages.

Lamborghini Miura

Miura drawings

All the phases of the story find space: from the adventure of the founder Ferruccio Lamborghini, through the most complex period marked by frequent changes of ownership, up to the rebirth of the 2000s, all the models, concept cars and the vision of the future, in a story enriched by interviews with Stephan Winkelmann and other key men. Finally, there is no lack of attention to electrification and programs for the present and the next decade, accompanied by photographs and splendid sketches that restore the purest essence of the dream at the base of every project, series and non-series. To complete the volume, a poster dedicated to the style models of the Temerario.

Lamborghini Huracán STO

Datasheet

“Lamborghini – Past. Present. Future.”
Publisher: White Star
Author: Simonluca Pini
Size: a bound volume measuring 26,5 x 30,5 x 9 cm with box
Pages: 772 overall
Text: Italian
Photographs: various in color and b/w
Price: 209 euros (on Lamborghini store)

Video browse the book here

With production now underway at the Borgaretto plant near Turin, the Mole Urbana project — patiently brought to life by Umberto Palermo over the past years — completes its first chapter. The electric quadricycles, presented in their definitive form, stand out for their originality and charm. They persuade with a thoughtful balance of craftsmanship and industrial vision, expressed through a modular construction that is simple, rational, and attentive to material choice and resource efficiency.

Two wheelbase options and multiple configurations, including versions designed for commercial use, turn these retro-inspired vehicles into a lively and appealing proposal. Their frame and bodywork follow a clear, almost schematic approach, yet the final “attire” shows remarkable care: wood, metal and textiles shape the interior atmosphere, accompanied by distinctive storage bags integrated into the front section. In the Sport GT version, the cabin cell adopts a more rounded silhouette and introduces subtle racing cues — more atmospheric than performance-driven, but striking nonetheless.

But Palermo’s vision extends well beyond this initial range, which enters the market in these very months. Built through a virtuous network of companies and institutions spanning Piedmont and the Marche region, Mole Urbana is already looking toward the next evolutions of Europe’s sustainable-mobility landscape. At the center is the EU initiative named as E-Car prroject (and informally knowed as “M0”), to be announced in December and already an influence behind the recent Dacia Hipster concept. The program is expected to generate a new class of urban vehicles positioned between quadricycles and city cars: essential, built like real automobiles yet freed from certain technological constraints — particularly in active-safety equipment — that today weigh heavily even on the costs of the smallest cars.

This is the horizon behind Malya, also unveiled on 7 December as a “three-dimensional draft” more than a fully fledged prototype, but clear enough to outline the evolution of the Mole Urbana construction philosophy toward a new, accessible dimension of personal mobility. Its forms and stylistic cues borrow from the world of classic off-roaders, as do the large wheels and raised stance, conceived to express solidity and robustness within a compact footprint of just 3.75 metres in length and 1.45 in height.