Throughout my adventures across the industry, I’ve been able to talk to many creative directors, but I’m as confident as Gorden Wagener, Chief Design Officer at Daimler AG, in supply chain, R & D capabilities. No one I know.
Last year, Daimler’s marquee brand Mercedes-Benz sold more than 300,000 new luxury cars. Each car follows Wagener’s “Sensual Purity” design philosophy.Designer announced The whole book On the topic, zooming in with him from his office in Southern Germany is the ultimate short-term intensive course. The walls of Wagener are covered with his own oil paintings of Mercedes roadsters and yachts, drawn in supple movements and outlined with shimmering lines. When talking about cars, he often uses words like “emotional” and “sexy.” And when billions of dollars in revenue make critical creative decisions, demographics and focus groups go beyond following fine-tuned aesthetics and extraordinary sensibilities.
Before answering the phone, I tried the EV evolution of the iconic Mercedes S-Class sedan, called EQS, the most notable of Wagner’s new designs. Passing through Midtown Manhattan, entering FDR Drive, and crossing the Brooklyn Bridge on an occasional sedan, I had the strange experience of two eras coexisting at the same time. 2021 New York is a noisy and jagged place full of contradictions and extremes. Year EQS, on the other hand, is the time when the human body glides through the space inside a long, temperature-controlled metal torso, like a ghost.
Perhaps the most emotional aspects of the EQS driving experience are the instrument panel and windshield. These two elements combine to create a surreal and techno-sensual experience. This sedan is the first Mercedes car to feature a hyperscreen. The Hyperscreen is an AI-powered touchscreen console that spans the entire front of the car’s interior and immerses the driver in its brilliant “infotainment” experience. Floating above the screen, but strangely screen-like, EQS’s gently sloping windshield immerses its surroundings as it travels through space, similar to the small aircraft maneuver described by Wagener. Creates a sense.
Talking about EQS and his overall design philosophy, it’s clear that Wagener believes in the type of luxury that is not only expensive, but also responsible for changing the nature of everyday life. And as we enter a new era with new values, we need to make more changes not only in drivetrains, but also in luxury cars.
Gorden Wagener: I heard you have a chance to drive EQS.
Thom Bettridge: Yes, I did. What really impressed me was that many luxury car makers seem to have released EV versions of their cars, but the EQS design and user experience make you really leap forward with it. I’m trying. It means not only making an electric version of what already exists, but even in the car.
We started with a blank sheet of paper and asked ourselves how to do it in a radically different way from the cars of the last 100 years, using new electrical and digital parameters. One of the most prominent factors is the axle ratio. It utilizes a pure electrical construction with a long wheelbase. What we call the “bow silhouette” is a futuristic proportion that flows like never before. So when you look at a car on the street, it’s actually pretty amazing. And the interior is also included. Driving a car makes you feel like you’re riding a quiet glider, as if you were hovering down the street. Sitting in the car is like sitting in the cockpit of a sports plane, as if it were covered by a high-speed windshield.
When I was driving a car, I had a strange feeling that this might be the last time a person drives by himself. Looking at the hovering experience and the large interior screen, it seems like the car no longer needs to be there. Was autonomous driving a top priority when designing EQS?
Yes, the first idea came from the concept car F 015, a self-driving car unveiled in Las Vegas in 2015, so all the instrument panel and bow proportions came from that show car.
How do cars like EQS convey futurism without arriving somewhere stale? Looking back at the original generation of hybrid cars, many of those designs got stuck in the 2000s moments. Because it feels like it is. How do you convey a gorgeous, non-props-like electro-future rhythm? Star Trek??
We have a very strong sensual pure philosophy, which allows us to have something very emotional, sexy and attractive on the one hand and very clean and high tech on the other. Is the style of our luxury brand and it’s what we do. That style, for example, makes a difference from cheap mainstream brands.
And what guides you in that process?
First of all, beauty or sex appeal. There are aesthetic reasons why something or someone finds it attractive, but the process is also intuitive. When you look at classic cars, some mention the ideals of beauty at the time, but most of them are timeless. That is, its perfect, erotic and sexy surface. EQS shares the surface treatment of the whole body. On the other hand, it is very high-tech, but it expresses its charm, beauty and sex appeal.
Have you and your engineers considered when designing the EQS to make it easier for more traditional S-class drivers to change their driving experience?
We design what’s on the market in five years, so we’re designing something far more sophisticated than what our customers are used to today.That’s why I don’t believe in clinics that ask people what they think about cars, because people’s tastes today may not be what they like in five or ten years. Car made with Vergil [Abloh]Some people liked it, but classic G-class enthusiasts didn’t. But the process begins and they start thinking about it and finding what they like.
How does this kind of one-off experiment, like the Virgil car, as well as the F 015 concept car you mentioned, facilitate the design process?
This is a great process as you have to take different approaches without being bound by stereotypes. When I ask the designer, “Make the next production car,” his thoughts are very limited. But if you tell him, “OK, let’s make a vision for the 2030 self-driving car,” it’s a completely different thing. And from this more futuristic approach to design, you can always pull something out and make it happen today. The exercises at Virgil were a little different. It was about art and the next level of luxury. This is different from traditional luxury. This is because it is tuned for a new group that has never existed before. The project was like a redefinition of luxury in the automotive world.
I think many of the questions you ask about the future of luxury are in the fashion industry. What do you have in common with the creative director who is redefining today’s apparel space?
The speed is quite different. Fashion has four collections each year, but we have one, which is tried for five years before it hits the market and stays on the market for about seven years. Therefore, the way of thinking is different.
How does it work in a company with such a wide audience regarding the new definition of luxury you mentioned in the automotive world? A 70-year-old surgeon is buying a Mercedes car, but a 20-year-old rapper Also buys a Mercedes car. So how do you move the older generation forward while appealing to the entire audience?
First of all, I think it’s important not to try to please someone. When we design, we are not designing for this person or that person. We don’t even think about who we are designing for. Because when you’re thinking of someone, this is the wrong approach. I want to make a real design. Through that process, I make something attractive to children, seniors, boys, girls, men, women and people of all nationalities. The key to a luxury company is that people Is to buy it for that particular important style. My mission is to make Mercedes the most beloved, or more precisely, the most desired luxury brand. So no matter what we do, we ask ourselves:
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