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)

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.

At the latest Milan Design Week, Spain’s most dynamic brand—this time the main sponsor of Fuorisalone.it—made its presence felt on multiple fronts: at Cupra Garage, the small electric Raval was unveiled (which Auto&Design will cover very soon); in a more secluded space near Piazza 25 Aprile, the interiors of the future were explored; and at the Garibaldi Gallery, the “Own the Wheel” exhibition (the brand’s first initiative of its kind) took place, featuring works by seven European artists. This last venue, moreover, also hosted the results of a “72-hour” event organized by students from the Raffles Design Institute, who imagined new scenarios centered around the automobile.

Of these initiatives, grouped under the heading “Beyond the known,” the second was perhaps the most interesting. Inside a mysterious, windowless rectangular space, components made of cellulose or almond fiber (examples of so-called “neo-nature”) were displayed alongside a seat described as “evolutionary” and a highly advanced dashboard-door panel assembly. “We offered a glimpse of the future, without references to current models,” confirms Francesca Sangalli, head of Color&Trim. “For example, the seat with 3D-printed support foam”—both aesthetic and structural—“can be produced with different densities and thicknesses right from the manufacturing stage, with material added only where necessary. The advantage of parametric design lies precisely in programming these aspects in advance.” The result expresses an incredible minimalism in construction and weight, fully in line with ecological requirements, while taking on a bold and even “animalistic” aesthetic, according to Sangalli: “It is no coincidence that, when observing a biological organism under a microscope, one perceives a similar visual pattern.”

Translated with DeepL.com (free version)

In the door trim, however, “the section created using 3D knitting features its own graphic design, which also interacts with the 3D-printed pattern applied on top. This conveys sophistication, and we’ve added micro-slits to let light filter through. Ultimately, in this initiative for Fuorisalone, we have maintained Cupra’s strategic pillars—including its tribal spirit and play of reflections—while projecting them far into the future.” The observer is presented with a seamless symphony of surfaces, capable of shifting texture, aligned with today’s design language while heralding its evolution. A further step, pending the final results, toward redesigned and drastically innovative interiors.

The light gold with purple highlights gradually shifts toward a brilliant pearl finish, with an iridescent effect that is barely perceptible at first but becomes utterly captivating once you appreciate its subtlety (for example, when observing the waistline at the rear overhang). Surprisingly, however, this smooth transition does not result from a film applied to the sheet metal, but rather from the expert Duotone Fade paint finish, which blends satin and pearlescent finishes: this highlights the extreme refinement of the “Pearl of Tay” Range Rover, a one-of-a-kind model on display during Milan Design Week. “The name derives from the pearls deposited by mollusks in a well-known Scottish river,” explains Swati Dhanda, materiality manager. “This variety was discovered as far back as the Middle Ages and was celebrated for its rarity until the 19th century, after which it fell into increasingly infrequent use until the 1998 fishing ban.” The distinctive hue of this gift of nature—“luxurious and velvety, with subtle pink highlights”—is the inspiration behind yet another offering from the SV Bespoke division, which has long been dedicated to allowing customers to define numerous bespoke details.

To mark the occasion, the leather on the rear seats is dyed in the exclusive Tyrian Purple “to evoke a pigment highly prized by ancient Mediterranean civilizations, one that was even harder to obtain than gold.” The seatbacks, meanwhile, feature a hand-embroidered motif “that explores a novel approach to shading, with a white center encircled by beige-toned spirals, just like in pearls. It is the work of a professional from our own team, Saveliin Uusküla, a former fashion designer.”

A wealth of craftsmanship crowns the “Traces” exhibition, described as “an archive of memory brought to life through craftsmanship” and centered on three themes that blend references to finishes, off-road vehicles, antiques, and the brand’s origins. The latter, incidentally, are encapsulated for the first time in the logo composed of two mirror-image Rs, introduced last year but only now affixed to the wheels, while the 24-karat gold-plated front lettering seals the exclusivity. And British aplomb inevitably “melts” into opulence…

While the Four Rings partnered with Interni magazine for the thirteenth consecutive year to stage a major exhibition during the 2026 Salone del Mobile in Milan, the Italian premieres of the Formula 1 R26 and the latest RS5 took place during the same period, and, above all, at the former Archiepiscopal Seminary, the hyperbolic “Origins” installation by Zaha Hadid Architects blossomed: a large, flattened ovoid capsule, capable of evoking the principles of Germanic design through the solidity of its metal shell. This setting allowed us to ask a few questions of Massimo Frascella, Chief Creative Officer.

Does the preference for a form that is clearly basic yet striking—as seen in the structure of the Audi Design Hub—reflect the brand’s design principles in some way?

“Certainly, it fully embodies our values, which I also feel deeply connected to on a personal level. It’s about rationality, clarity, and simplicity: the latter, in particular, is truly important to me in everything—I’m someone who gets lost in complexity. I love the brand precisely for this reason. If anything, it can be more complicated to create a narrative through which these concepts reach the public, who must first understand them and then support them, but that’s our job.”

 

So, simplicity needs to remain intelligible…

“Absolutely. It’s a word that doesn’t mean ‘lack,’ but rather ‘reduction’ in the sense of returning to the essentials. Certainly not eliminating things just for the sake of it. Every element must retain a character, a function, and a logic, and we must work to ensure that observers grasp it immediately. When that happens, the result becomes extraordinary. At Audi, in this sense, a sort of inexplicable harmony often emerges between the rational and the emotional, in which the latter sometimes springs from the former.”

Can you give an example of this alchemy?

“Personally, I find that the Concept C, presented last year at the Munich Motor Show, is the perfect embodiment of it. When you like something, you feel the need to touch it: I literally had to caress it in certain areas—not, mind you, despite its rigor, but because of it. The surfaces are all controlled, not at all organic, constructed in an almost Cartesian manner. Yet, precisely for this reason, they generate an emotion.”

Much like what happened nearly thirty years ago with the first TT (1998), which was inspired by the famous principles of the Bauhaus but was decidedly provocative.

“Exactly! It’s a difficult approach to pursue; you have to work ‘with very little’ and take on the calculated risk of over-refining. Which must not happen.”

Speaking of Audi models that aren’t exactly recent, it remains incredible how, in the past, the design language was expressed with absolute consistency across the entire range, from sports cars to compact models. Does the gradual disappearance of city cars today represent a missed creative opportunity?

“These are choices made by management based on market considerations, but for designers, they don’t necessarily become a limitation. In truth, we are constantly developing studies—including digital ones—to understand how the criteria developed for a premium model can be applied elsewhere. If they work on a larger car, they must work the same way on a 3.5-meter-long vehicle; it’s almost a test of validity. After all, a compact electric vehicle bearing our brand will debut soon…”

When the dramatic moving wings open, amid smoke machines and strategically diffused lighting, two silhouettes appear that are hard to miss. As imposing as only SUVs built in Sant’Agata Bolognese can be, one is clad in Viola Pasifae and the other in Verde Mercurius, both crowned by a Nero Shiny roof. Thus, a truly exclusive edition is revealed, defined by a term borrowed from the fashion lexicon (Capsule) and introduced—not by chance—during Milan Design Week, as it explicitly aims to multiply the interplay of colors and finishes.

“Today, 96% of our cars are ordered with at least one aesthetic feature that differs from the standard model,” says Marco Valentini, head of the Ad Personam customization program. Here, however, a specific formula is adopted: starting from a strong design element (“The dark roof, which has always emphasized sportiness”) that remains unchanged and defining, the lucky customer is given the opportunity to define almost everything else, resulting in over 70 variants (“The largest number offered to date”). Furthermore, production will be limited to 630 units, adding an extra touch of rarity to the “collection.”

In addition to the colors shown in person—among which the green is a new addition—the lineup also includes Asopo White, Telesto Gray, Xanto Orange, and Tenerife Yellow (also new), for a total of six options. Added to these are an equal number of “liveries”—that is, combinations of contrasting stripes and trim—and various optional components such as painted wheels or brake calipers. Of particular note is the option to apply the number 63 to the sides, evoking the brand’s founding year, the upcoming anniversary to be celebrated in 2026, and, simultaneously, the number of units planned. Finally, the Nero Ade interior can be complemented with more vibrant accents or carbon fiber details, choosing between leather or Dinamica Corsa-Tex fabric for the upholstery. “In this way, we take another step toward making every Lamborghini an authentic expression of individuality,” concludes Valentini. The concept of identity—highly relevant today—is thus explored, to be projected into the world through the harmony—or the boldness—of a hyperbolic offering for a select few.

An unprecedented convergence of expertise, destined to glide across the water like a swift bird, admired for its elegance as well. In the formal context of Maranello’s first offshore venture—an extraordinary debut aimed at infusing nautical competition with automotive excellence—the technical expertise of two key corporate divisions comes together: Team Tech (led by Matteo Lanzavecchia and Marco Guglielmo Ribigini) and the Design Studio (under the direction of Flavio Manzoni for over fifteen years). Joining this team is naval architect Guillaume Verdier.

The result is a sleek, tapered monohull sailboat, painted in the evocative Fly Yellow hue to symbolize both tradition—since the name derives from the 1964 275 GTB—and the ultra-contemporary act of rising from the sea’s surface. The sensual profile of the hull is, of course, shaped by the invisible aerodynamic and hydrodynamic demands of ocean crossings. “Hypersail represented an unexpected opportunity for us, a perfect challenging goal to expand our creative exploration,” Manzoni says with satisfaction. He is keen to emphasize that, just as with cars, once again the threads of aesthetics are dictated by function: “When the ultimate performance goal is required, technical and structural constraints become unavoidable. That’s why the project proved so complex and interesting!”

Among the most significant features are the solar panels installed on the deck and sides: they are walkable (thanks to careful friction analysis to prevent accidents), oriented to maximize sunlight exposure, and—as could be seen at the Flagship Store during Milan Design Week—seamlessly integrated into the boat’s dark sections. These dark sections, moreover, result from the use of carbon as the primary structural material, ultimately creating a striking chromatic contrast.

Finally, while the upper bodywork occasionally hints at “the architecture of the Le Mans-winning 499P” in the way its various sections are arranged, overall the livery conveys a seamless pursuit of perfection comparable to the “purity of the Monza SP1/SP2.” Beyond the formal design, however, the unprecedented “marine” element will give rise to technological interactions with the road surface in the future, as Manzoni explains: “We have developed a true laboratory, with a strong focus on sustainability since there are no on-board generators. Therefore, energy is produced through wind or, indeed, solar devices. Undoubtedly, this approach will be reflected in the car in terms of ecology and ‘clean power’.” In what ways? The journey has only just begun…

Restrained, rational, utilitarian in the noblest sense of the term. At the same time the concept car ELO is playfully appealing, you might even say visionary. A design oxymoron that brings together the many different souls of the Double Chevron, drawing inspiration from a deeply authentic creative process. With a nod to the smart simplicity of the 2CV and plenty of carefree spirit perhaps borrowed from the Méhari, solutions worthy of a 1990s minivan and, of course, an ultra-modern emphasis on sustainability and the brand’s role in the Stellantis line-up.

Short lenght
“The starting point was a meeting called to discuss how to reinvent the cabin within a very cramped footprint”, says design chief Pierre Leclercq. “Length-wise, even when a dedicated electric platform is adopted, the comparison is with the 4.01 m of the C3. The exact contrary of some of the bloated SUVs out there”. Three pillars lend a structure to the concept and give it a name: rEst, pLay, wOrk, a celebration of today’s multifunctionality.

The ultimate experience: sleeping on board
“Six years on from Covid, many users deploy their car as an extension of the office, even if only to send emails, or even as an occasional substitute for home during weekends away”. A trend towards “digital nomadism” that is shifting people towards a renewed interest in camping and “a freer, more frugal lifestyle.” Curiously, therefore, the ultimate way to enjoy the vehicle is to sleep in it: when necessary, a comfortable mattress, developed in collaboration with Decathlon, is inflated with an electric pump.

Revolutionary interiors
Despite the spectacular “nighttime” configuration, the entire interior architecture has been turned on its head. While the dash has developed the current strip running below the windshield (“perhaps with a production future”) and the steering wheel is a reinterpretation of the single-spoke heritage, the single central rotating driver’s seat shatters convention, while two extra rail-mounted seats can be added alongside it as a surprise.

Flat surfaces extending to the windows
On the outside, the elaborate livability of the interior translates into a decidedly basic design language consisting of clean-cut sections, flat surfaces extending to the windows (“making them less expensive”) and a lowered beltline to ensure driver visibility “comparable to the C3” from his unique position.

A well-established team
The ELO experience, although not aimed at future production, reveals Citroën’s unique creative maturity: “We have designed and created a similar laboratory of ideas because we have a well-established team and, above all, the perfect mindset”, concludes Leclercq. “Sometimes we even explain to other divisions how to optimise components, calibrate costs, or highlight exceptional features”. Very Citroën.

(Full article in A&D no. 277)

Among the figures that shaped Zuffenhausen’s 2025, officially released in mid-January, one stands out above the rest: 51,583 deliveries for the eternal symbol of rear-wheel drive fun, yet another record in the name of continuity. It is no coincidence that Michael Mauer, who until last month was the long-standing head of design, has always described himself as “firmly convinced not to revolutionize or ‘overdevelop’ such a car,” even when introducing its most advanced and powerful iteration, the twin-turbocharged variant. The latter, recently exhibited once again among the classics at the Rétromobile show in Paris, is therefore based on a formal load limited to the rear “reminiscent of a muscular person wearing a shirt that is too tight.” A further touch of discretion is provided by the Turbonite-colored exterior and interior accents, the first Pantone reference inspired by a car (2024) and yet a shade of anthracite.

It is precisely this insistent sobriety – in apparent contrast to an object that the company invests with the dazzling title of “icon of icons” – that conceals a refined conceptual approach. If “all models in the range have their own identity,” the top-of-the-range 911 appeals to an “archetypal” construction, reinterpreting the characters of an epic tale in a stylistic key. First and foremost, the Hero: a courageous and persevering figure who expresses supremacy, concentration, and focus. How can such qualities be transposed onto the visual front? By “making dynamic capabilities tangible” through the width of the rear track, the side air intakes, and the extractor under the tail.

So “we push ourselves to the limit” and inevitably evoke the Rebel, the nonconformist and pioneer. He introduces a certain “tension,” which the forms manifest concretely in the controversial rear spoiler, “always at the center of discussions among enthusiasts” regarding its size. Conversely, the visionary but practical Creator restores order and refocuses the search for solutions with a clear purpose, such as the closable front slats to maximize aerodynamic and braking efficiency.

At the end of this unique “intellectual” journey, which served to deepen the gestation of a project balanced between vehemence and refinement, Mauer believes that “the Porsche engineering spirit” underlying the “unobtrusive” aesthetics emerges. A skilful sense of proportion for a queen who knows no stumbling blocks of time. And for a creative mind capable of guiding its paths for more than two decades.

In many respects, Maranello’s latest creation invites muscular, high-energy adjectives – descriptors that wrap it in a perfectly tailored guise for the marque’s most agile and sharp-tempered production model. Flavio Manzoni, Chief Design Officer, however, offers an alternative reading for this whirlwind of dynamism, one rooted in innovation. “Starting with the 12Cilindri, we decided not only to adopt new visual codes and project them into the future, but also to challenge some of the thought patterns prevalent in design schools. This is surprising, because in automotive language there’s a sense that you must adhere to entrenched conventions of line and proportion. The Testarossa is part of this process”.

Striking and identifiable features
The flavour that emerges is a revisited berlinetta, with geometrically controlled volumes, i.e. built on clean, “Cartesian” lines that shape and direct different parts of the bodywork, in a carefully balanced mix of sharp lines and sensual surfaces. One of the most striking and identifiable features is, of course, the large dark vertical element behind the door: “It serves to resolve one of the car’s key challenges, how to cool what are the biggest radiators in the road range”, explains Carlo Palazzani, Head of Pilot Design Projects. “But it also delivers a very technical and intriguing aesthetic, reminiscent of an aeronautical afterburner, as well as functioning as a formal, flank-supporting “corset”. Defining it required very close collaboration with the Technical Department”.

The aerodynamic
“This expressive interplay of functions – separate yet organically integrated into the bodywork – emerges from a design process that begins at the front of the car and follows a flow that is more than merely visual. The aerodynamics are so crucial that they have generated an authentic channel within the door: a deep recess concealed behind the profile and capable of being engineered from a single piece of aluminium (patented). “After gliding over the front, shaped by the bumper’s architecture and the two flicks that direct it upward, the air is then guided along what are the most refined and complex doors ever fitted on a production Ferrari.”

The car’s rear
Despite such excellence, masterfully concealed behind a top surface that seems to follow only the main lines of the bodywork, the rear remains key for both Cx and downforce. “Here we faced another challenge with the twin wings, assisted by a retractable central spoiler, also patented, capable of “stretching” the profile and significantly improving efficiency. Naturally, the resulting stylistic payoff thrilled us.”

A clean and contemporary nose
“The tail design is inspired by the 512 S and the sports prototypes of the 1970s. Personally, I really loved this touch because it was developed with restraint and control”, says Jason Furtado, Exterior Advanced Lead Designer. “Similarly, the nose, angled downwards, appears powerful because it is reminiscent of the supercars of yesteryear, but its restraint makes it clean and contemporary”.

An iconic name
And the name? “We only found out once the design was complete. It comes from the competitive 500 TR of 1956, not just the famous 1984 version. So we never thought about the side strips from forty years ago”, concludes Manzoni. Philologically, however, a correspondence can be seen between the most recent Testarossas in the treatment of the sides, which for both features particularly successful graphics on the air intake. This time, however, it has been completely reinvented.

(Full article in A&D no. 276)