At Goodwood, MG chose to showcase its future with the MG Go! concept. Unveiled in a world premiere at the 2026 Festival of Speed, the model previews the B-segment electric hatchback set to hit the market in 2027, but it does so with a design language that draws heavily on mid-20th-century British iconography. The most explicit reference is the MGB GT, the car that for decades embodied the brand’s everyday elegance: understated presence, driving pleasure, and a style that stands out without being flashy. The GO! captures that spirit, not the form: the team at the MG Design Center in London, led by Carl Gotham, worked to avoid nostalgia for its own sake, focusing instead on a contemporary aesthetic built around a few essential yet recognizable stylistic elements.

The result is a car that strikes a delicate balance: meticulous in its details yet playful, evocative yet never sentimental. It’s a subtle tribute to the brand’s entire sporting history—from the MGB GT to the Metro Turbo, all the way to the ZR and the EX4 concept—condensed into a compact car designed to forge a genuine emotional connection with those who drive it every day.

“With the MG GO!, we wanted to create something compact and contemporary, but also welcoming and expressive,” Gotham explained, emphasizing that the goal was not to look to the past for its own sake, but to reinterpret its clarity and charm in a modern way. Behind this stylistic choice lies a firm conviction: even everyday cars can have personality. In a B-segment crowded with generic models, MG is betting on character as its true distinguishing feature, bringing the brand’s signature sportiness to a mainstream electric vehicle that’s accessible and designed for real-world use.

Peugeot has announced a partnership with Strate School of Design, a leading institution in design and innovation education, with the goal of supporting the creativity and growth of the next generation of designers. Through this collaboration, Strate students will work on real-world projects addressing the challenges of future mobility, user experience, and emerging technologies. Guided by Peugeot’s design experts and the school’s faculty, they will gain a unique immersion in the automotive world. In addition to sharing expertise, the initiative allows Peugeot to identify and nurture the most promising talents, transforming the projects developed into a true innovation lab that helps anticipate the future needs of the mobility sector.

“The agreement reflects the brand’s commitment to bridging the gap between academia and industry, to foster innovative solutions for sustainable mobility, as well as to support young talent from the earliest stages of their education,” said Matthias Hossann, Head of Design at Peugeot. Mike Levy, head of Strate’s Transportation and Mobility Design department, emphasized that this collaboration offers students the opportunity to engage with the ambitions of an industry undergoing profound transformation, working alongside an internationally renowned automotive design team known for its creative boldness. At the same time, the initiative allows the French brand to understand how the new generation of designers envisions their professional practice, their relationship with the brand, and their approach to mobility.

The future of mobility stems from the convergence of innovation, creativity, and the younger generations. This is the vision behind the Geely Design Camp, the international project promoted by Geely Auto, which—following the success of its first two editions in China—is expanding to Europe for the first time this year, involving some of the continent’s most prestigious automotive design universities. The initiative serves as an important platform for dialogue dedicated to young design talents, who are called upon to envision the future of the automobile through new ideas, aesthetic languages, and solutions that combine technology, sustainability, and the customer experience.

The European leg of the Geely Design Camp will reach one of its most significant milestones in Milan, a city that symbolizes international design and is home to the Geely Innovation Design Center Italy—the creative hub inaugurated in 2023 that serves as one of the strategic hubs of the Group’s global design network. Here, the finalists will have the opportunity to engage directly with the world of Geely Auto, gaining a deeper understanding of the brand’s design philosophy, its design principles, and the increasingly central role of aesthetic identity in the development of future vehicles.

“Design is one of the fundamental elements through which Geely interprets the evolution of mobility,” says Marco Santucci, Managing Director of Jameel Motors for Geely and Zeekr. “Investing in young designers means investing in the ideas that will guide the next chapter of the automotive industry. Milan, with its unique design culture, is the ideal place to foster a dialogue between talent, technology, and an international vision.” The program also includes a hands-on experience with a visit to Ambrostore Milano, Geely Auto’s new Italian dealership, which serves as a concrete example of Geely’s market approach: a place where design, technology, and brand values connect with customers and the community on a daily basis.

Geely’s Milan design center opened in 2023 inside the Torre Diamante in Porta Nuova. Here, the Chinese group has chosen to establish its design language at the heart of one of the world’s most influential creative ecosystems. This decision goes beyond a mere operational presence and reflects a specific cultural vision: to shape the future of mobility through a dialogue between European sensibilities, technological innovation, and international identity. The Milan center is now one of the five hubs in the global Geely Design network—alongside Shanghai, Ningbo, Gothenburg, and Coventry—connected through a continuous, 24-hour operational model that accelerates creative processes and fosters consistent design development on a global scale. Milan, however, represents something more: it is the meeting point between “Italian Flair”—defined by proportions, material culture, and an attention to light and the human experience—and Geely’s contemporary vision of smart, electrified mobility.

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)

Sleek and low-slung, in a styling blend that blurs the lines between saloon, coupé and MPV, the Vision Meta Turismo seems to be the perfect choice for the brand’s 80th anniversary celebrations (in December 2025) as well as the glamorous backdrop of the Milan Design Week (last April). However, Kia’s latest concept reaches far beyond this, offering a profound glimpse into a future of ideas that are masterfully concealed by the exterior.

Inspiration from video games
“We began by focusing on the aspirations of young people, those who have grown up in a fully digital world”, explains Jochen Paesen, Vice President of the Future Design Group. “The challenge was to engage with a generation that may not yet have established consumption habits and may not even like cars. We found our inspiration in video games, which offer new forms of expression and help counter the short attention spans and boredom that readily arise today”.

Progressive mobility device
The result is a vehicle that combines the familiar concepts of autonomous driving and driver-focused operation with a third, deeply immersive experience. At the heart of this vision are extensive glass surfaces that double as interactive screens, creating a digital environment that remains functional even when the vehicle is parked. “We wanted to create a “progressive mobility device” capable of looking towards the future and reinterpreting established conventions”, continues Oliver Samson, head of Kia Design Europe.

Real and digital world
The generous four-door layout is paired with a highly liveable cabin for all passengers, as well as being tailored to the driver, with carefully designed seating and a deliberate emphasis on physical controls. “The young tend to draw a sharp line between the physical and the virtual”, says Paesen, “so we’ve offered both worlds, specifically through a lever that simulates gear changes and multiple buttons for managing, among other functions, lightning-fast starts, bursts of power and engine noise”.

Stop at a “game room”
Not to mention a steering wheel with a grip reminiscent of a video game controller, through which three “digital experiences” (Speedster, Dreamer and Gamer) pivoting around augmented reality can also be selected: “The latter makes use of dynamic images displayed on both the windscreen and the side windows, transforming the interior into a sort of “games room” during stops, or offering a discreet yet effective navigation system for quick use”.

Reconnectin with the road
In other words, true “immersion” sometimes consists of limiting visual clutter and reconnecting with the road, carefully balancing the countless practical aspects of technology. As the conversation proceeds, the designers’ need to manage complexity becomes abundantly clear.

(Full article in A&D no. 279)

The Spanish brand’s new compact electric pushes the boundaries of automotive design, opening up an entirely new interplay between additive technology and sensory perception. Jorge Díez, Chief Design Officer, and Francesca Sangalli, Head of Colour & Trim at Cupra, take us inside a cabin conceived as a manifesto for sustainability and emotional engagement.

Identity and formal attitude
Jorge Diez reflects on how the brand’s identity is bound up with its geographical roots: “In designing the Cupra Raval, aligning with Spanish culture was essential. We are intrinsically more emotional and expressive; when you bring the soul of a country to bear on a car, something authentic emerges. We are not after a static or restful design: we want a formal tension that speaks to the ambition of pushing boundaries, the hallmark of a young brand unconstrained by a long history.”

A reverse path
That determination is written into a silhouette that defies the physical limitations and roof lines typically dictated by electric platforms. “From an engineering standpoint, we worked hard on the proportions”, continues Díez. “The production Raval sits 48 millimetres lower than the Urban Rebel Showcar, which runs counter to standard industry practice. To achieve an aggressive, muscular silhouette we worked on the lower body surfaces, introducing cladding defined by a taut, angular line that lends visual stability and a purposeful stance within a compact footprint.”

The triangle motifs
The Raval’s visual language is governed by iconic geometric motifs. “We wanted a signature that was recognisable from a distance,” says the Chief Design Officer. “Where the square conveys solidity and is suited to SUVs, and the circle reads as friendlier, we chose the triangle as the brand’s defining element. For us, the headlights are the eyes of the car, and we sought a humanistic approach inspired by muscular anatomy: when they activate, the illumination starts from the inside outwards, as if the car were waking up.”

Aerodynamics solutions
Aerodynamic efficiency is woven in as a sculptural opportunity too. “Managing airflow is always a complex challenge,” admits Díez. “We integrated solutions such as the rear spoiler, which creates graphic tension whilst optimising flow separation, and the front air intakes that channel airflow through the wheel arches. The wheels feature enclosed lenticular surfaces to reduce turbulence. We have kept the emotional character of Cupra’s DNA intact, delivering a car with a total range of 446 kilometres.”

A three-dimensional cabin
The dynamism of the exterior finds its answer in an interior layout designed to wrap around the driver. Francesca Sangalli describes the development of the cabin: “Everything orbits around the architecture of the cockpit, conceived to enclose and focus the driver’s attention. When you design a driver-oriented dashboard to communicate control, the materials have to follow that logic. On the Raval we established a material hierarchy: the upper section of the dashboard is soft, whilst the lower section is structural, rigid, and dominated by parametric patterning.”

(Full article in A&D no. 279)

My conversation with William Thorogood, Head of Design, New Business at the Lego Group, is perhaps one of the most interesting chats I’ve had in recent years. Perhaps because of the passion I share with many for Lego (for those who don’t know, a portmanteau of the Danish Leg Godt, meaning ‘play well’); perhaps because it’s a company from the country where I live, and one of its most iconic. Or perhaps because it was a chat between two people who share a passion for Lego and cars. A symbiosis that he embodies, and which also looks towards a continuous synergy between design, marketing, engineering and, indeed, the ability to inspire a vast audience.

Lego Speed Champions
Among the most fruitful is the partnership with BMW, recently enhanced by a tribute to the BMW M3 E30 to mark the 40th anniversary of this model. Part of the Lego Speed Champions series, this new collaboration features an exclusive livery co-created by the design teams of both companies, inspired by BMW M Motorsport. The 358-piece kit faithfully reproduces the kidney grille, rear spoiler and four round headlights characteristic of the original. Furthermore, the two design studios have worked on a full-scale show car featuring the same livery, which will be unveiled and remain on display in Berlin on 1 August 2026.

Reinventing processes
The fundamental difference between Lego and many competitors lies in the very structure of the team. “We have a model where design is fully integrated into the marketing, project management, operations and engineering teams,” says Thorogood. “It’s a single group of people that brings the project to life. We don’t design first and then figure out how to sell and produce it.”

Emotional products
This approach rejects the traditional design-marketing-production cycle. Instead, all stakeholders work simultaneously, feeding each phase with insights from different disciplines. The result is a process that avoids the typical conflicts between creative vision and production feasibility, and allows Lego products to be, first and foremost, emotional.

The issue of sustainability
Recently, however, the issue of sustainability has also come to the fore, a challenge for those working primarily with plastic. Yet, explains Thorogood, green objectives are part of the company’s strategy to reduce its emissions. However, there is the challenge of not sacrificing what defines the brand’s DNA: the ‘Lego building experience’.

Recycling the know-how
One aspect that is often overlooked in the debate on sustainability and innovation is the ownership structure, which, in Lego’s case, gives it an advantage over other companies. “As designers, one of the great privileges is knowing that we can take long-term gambles,” reveals Thorogood, who has 21 years’ experience at the company. Furthermore, “If an innovation doesn’t work, we learn from it and recycle that know-how into the next project”.

(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.

With its fifth generation, the BMW X5 redefines its role as the aesthetic benchmark in the segment it helped pioneer in 1999. This new chapter in the Bavarian bestseller’s history is, above all, a story of design, in which the classic proportions of the Sports Activity Vehicle blend with the stylistic language of the Neue Klasse. The most recognizable feature of the new X5 is its vertically oriented front end, dominated by the Iconic Glow grille, which is also oriented vertically. Rounding out the design signature are the new “double-X” headlight clusters, making their debut on a BMW and transforming the SUV’s look into a distinctive element.

The result, from any angle, is a monolithic, clean, and powerful image that conveys confidence without decorative embellishments. On the side profile, where the SAV’s proportions remain true to tradition, the most innovative feature is the Winglet door handles. Flush with the bodywork, they require just a light touch to activate the electric door opening mechanism—a detail that demonstrates how design never compromises function, while visually lightening the side profile. Customization remains a cornerstone of the model’s identity: eleven body colors and wheels up to 23 inches in diameter shape the car’s aesthetic character, ranging from understated elegance to the sporty flair of the M60e xDrive. For those seeking a bolder look, M Performance Parts—carbon-fiber splitters, a gloss black spoiler, and an aramid diffuser—add a more aggressive design language. It is in the interior that the Neue Klasse is most clearly evident. The cabin eschews excess in favor of clean surfaces and clear structures, while maintaining its traditional driver-oriented layout.

The new slate and glass finishes introduce an unprecedented tactile quality, conveying sophistication through subtraction rather than addition. At the technological heart of the vehicle is the Panoramic iDrive system, featuring a “free-cut” design Central Display, a 3D Head-Up Display, and Panoramic Vision, which extends the projection across the entire width of the windshield. The experience is rounded out by a strip of ambient lighting that runs through the cabin from door to door, transforming technology into atmosphere. The new slate and glass finishes introduce an unprecedented tactile quality, conveying sophistication through subtraction rather than addition. At the heart of the technology is the Panoramic iDrive system, featuring a “free-cut” design Central Display, a 3D Head-Up Display, and Panoramic Vision, which extends the projection across the entire width of the windshield. The experience is rounded out by a strip of ambient lighting that runs through the cabin from door to door, transforming technology into ambiance.

The visual consistency maintained across five different powertrain types—gasoline, mild-hybrid diesel, plug-in hybrid, the all-electric iX5, and the future iX5 Hydrogen—is striking. The new X5 demonstrates that the Neue Klasse design language is not merely an accessory tied to electrification, but an identity capable of spanning every powertrain architecture, confirming the model’s role as the brand’s aesthetic manifesto. Production will begin in Spartanburg in August, with the iX5 becoming the first electric vehicle built at the historic American plant: a sign that the new X5 is poised to write—visually as well—the next chapter in its saga.