Volkswagen presented three concept cars at the Shanghai Motor Show. The three cars mark the intention to continue the path set by the ID.Code, a prototype unveiled in Beijing in 2024. The three models were developed by Volkswagen together with its Chinese partners: the ID. Aura with FAW, the ID. Era with Saic and the ID. Evo with Anhui. The showcars anticipate a new generation of zero-emission vehicles designed for the Chinese market and are part of the strategy to launch 30 new models on the Asian market by the end of 2027.

The ID. AURA from FAW-Volkswagen is the first concept based on the Compact Main Platform (CMP) that Volkswagen designed especially for the Chinese market. With its high computing power based on artificial intelligence, the highly automated driving system used on this platform raises the bar for intelligent and natural driving behaviour. The concept was developed especially for price-conscious customers, combining modern technology and dynamic design. A smartphone-like UI/UX concept is integrated in the vehicle’s centre console, while the artificial intelligence-based humanoid assistant controls the infotainment system.

The ID. EVO is aimed at young buyers eager to stand out from the crowd. Based on an 800-volt architecture platform, the ID. EVO is the first fully electric full-size SUV in the ID. UNYX family by Volkswagen. The concept vehicle features a high-performance electronic architecture that not only facilitates a wide range of new digital services, but also expands the customer experience with over-the-air updates.

The ID. ERA is a spacious full-size SUV with three rows of seats, offering a preview of the first Volkswagen model equipped with range extender technology. A fuel-powered generator charges the battery while driving and provides an additional range of more than 700 kilometres. Together with a range of 300 kilometres in electric mode, the concept car can thus cover more than 1,000 kilometres.

Past, present, and future—art as an expression of design philosophy and a symbol of evolving creativity. These are the themes explored and celebrated by the installations and events presented by several car manufacturers during Milan Design Week, which once again drew large crowds to the city from April 7 to 13. From art exhibitions to multisensory experiences and new product reveals, design remained the undisputed star. Here are a few highlights:

Range Rover: when the past still inspires
Range Rover, now a flagship brand under the new JLR umbrella, created an installation in Piazza Belgioioso that celebrated the connection between past and future in a unique way. Two environments, created in collaboration with NUOVA, a Californian design studio, served as a backdrop for two cars representing the beginning and culmination of the Range Rover story. The common thread: color. In the first room—evoking the 1970s with immersive sensory elements such as lighting, background music, wood and Carrara marble furnishings, and Aeir-brand scents—the original pre-series Range Rover stood proudly in classic Olive Green. That same color, reinterpreted for today, was used on the 2025 Range Rover Autobiography in the second room, a more metaphysical setting featuring white columns and stones. Accompanying it: the Wet Stone fragrance and ambient melodies.

Kia: a journey into the human soul
In recent years, Kia has often explored themes such as multiculturalism, encapsulated in its current design philosophy “Opposites United.” The brand hosted a dual exhibition: one titled Transcend Journey at East End Studios on Via Mecenate, where it showcased the EV2 concept—previewing an upcoming electric B-SUV—and the adventurous WKNDR concept of the new PV5 electric utility vehicle, both introduced by design chief Karim Habib. The other, Opposites United: Eclipse of Perceptions, was housed in the Museo della Permanente and featured four artworks by Philippe Parreno and A.A. Murakami. Two of Murakami’s pieces, The Cave and Beyond The Horizon, offered particularly evocative experiences. The Cave featured still waters and red light with robotic arms moving through the scene—symbolizing the creative drive of the human soul—while Beyond The Horizon filled a dark wall with giant, floating bubbles.

Omoda 9: a growing personality
More pragmatic, without artistic ambitions but with a clear philosophy guiding its brand identity, Omoda revealed its latest model on Via Tortona. The brand, which entered Europe alongside sister marque Jaecoo under the Chinese giant Chery, introduced the Omoda 9—marking the next step in its fashion-forward, high-tech evolution beyond the pioneering Omoda 5. This large SUV represents a stylistic maturation, with less emphasis on the distinctive oversized grille of the Omoda 5, replaced by a more refined front end with luminous horizontal and vertical lines that convey an aristocratic yet reassuring presence. There’s more: proportions were defined using the golden ratio, and the aerodynamics were honed to optimize comfort and efficiency. Great care was also given to the onboard experience, not just through materials and design, but also with a tactile interface (including touch controls on the steering wheel), a 24.9” display, and a dedicated Sony sound system.

Zeekr: the meaning of connection
Zeekr, one of the most intriguing brands in the vast Geely portfolio—alongside Lotus and Volvo—also brought its vision of future mobility and sensory art to Design Week. Teaming up with Lotus and other fashion, furniture, and leather brands (Konzepthaus, Leonhard Kurz, Royal Smit & Zoon), Zeekr filled the Phid Hub on Via Tortona with talks and events. On the product side, the main attraction was the Mix, a futuristic and versatile electric MPV featuring pillarless “wardrobe” doors and rotating seats. First unveiled in Beijing in April 2024, the Mix is a digitally connected long-range vehicle designed to encourage interaction between passengers. This idea was also reflected in the exhibition The Art of Connection, which featured a dynamic dual installation of two walls with light compositions that responded to the visitor’s hand movements. Nearby, a 1:4 scale concept car created by a team of design students was on display—somewhere between a space shuttle and a racecar—along with full-scale items such as its steering wheel, a backpack, and a raincoat.

A showcar to celebrate a new beginning. At the Shanghai Motor Show, Mercedes-Benz presented the Vision V, a luxury van designed to offer the greatest possible comfort. Starting in 2026, the introduction of the modular, flexible and scalable Van Electric Architecture (VAN.EA) will usher in a new era. The new platform will redefine the van conception for private use and bring it into the luxury segment, with a focus on the so-called ‘Private Lounge’. The future model range will range from practical family vans in the entry-level segment to exclusive VIP shuttles and luxurious limousines with an enormous amount of space, each in line with different customer requirements.

The Vision V offers a preview of the top-of-the-line version, demonstrating Mercedes-Benz Vans’ vision of combining spaciousness with maximum exclusivity and an unprecedented immersive digital experience. The Vision V is a luxurious and elegant chauffeur-driven limousine that allows you to pamper yourself in a whole new world of comfort. Analogue craftsmanship elements blend with an immersive user experience to create a holistic experience with an enveloping effect. The sporty and elegant exteriors underline the iconic design and highlight dynamism and status at the same time. ‘Mercedes-Benz vans have been iconic for decades. With the Vision V we are taking this legacy and transforming it into a completely new context of high-end luxury transport. This show car embodies the perfect harmony between luxury and van design, setting a new benchmark for the future,’ said Gorden Wagener, Chief Design Officer of Mercedes-Benz AG.

The large, automatically opening door on the right-hand side and the illuminated retractable platform ensure comfort and easy access to the luxurious rear lounge area. An intelligent, switchable glass wall separates the ‘Private Lounge’ from the driving area. If desired, the glass can be changed from transparent to opaque, completely or in sections. The ‘Private Lounge’ seating area is exceptionally spacious. This comfortable environment conveys an unprecedented feeling of space and freedom, as well as security and quiet. Crystal white Nappa leather and shimmering white silk contrast with the large, open-pore briarwood decorative elements. Similar to an exclusive sideboard, the cabinets are set in dark wood trim along the side walls, framed by strips of polished aluminium. The first-class seating is reminiscent of elegant lounge chairs and rests on polished aluminium bases. Made of highly flexible tubular cushions, they have a unique futuristic design. One of the highlights of the ‘Private Lounge’ seating area is the retractable 65-inch cinema screen – with split-screen functions – located under the floor. As soon as passengers are inside and the doors are closed, the screen lifts as if by magic from a console designed with burl wood and Nappa leather.

The Renault Group has acquired the remaining 51% of the Chennai plant in India belonging to its partner Nissan and opened the largest design centre outside France. The opening of this design centre, which marks an important turning point for Renault in India, is part of the brand’s new strategy for expansion in the Indian market. ‘Having a dedicated design studio is crucial to understanding the nuances of the market, listening to its needs and building on its strengths,’ said Laurens van den Acker, Chief Design Officer of the Renault Group.

After a considerable transformation, the Renault Design Centre Chennai now covers 1,500 m² and is equipped with the latest technology, creating a state-of-the-art environment for innovation and creativity. One of the most technologically advanced design spaces Renault offers today. At the centre of the inauguration of the Renault Design Centre Chennai is renault. rethink, a sculpture at once conceptual and high-tech that embodies Renault’s transformation and commitment to India.

Audi renews its station wagon par excellence: the A6 Avant. And it does it by evolving a well-known concept that, however, for this sixth generation, takes a considerable step forward. First of all in terms of size. The car body grows by a good 6 centimeters and reaches 4.99 meters. The car also increases in width and height, thus appearing larger and, at the same time, more streamlined. Today more than ever, the German “family car”, which is born on the new PPC platform, adopts a design born of functionality. Every shape and every surface have been defined for maximum aerodynamic efficiency. Thus, the new A6 Avant boasts a Cx of just 0.25, which is the lowest value ever for a station wagon from the House of the 4 Rings.

On the front, a new aesthetic interpretation of the single-frame grille appears, which is now wider and positioned lower, reaching the bumper. The new A6 Avant also adopts new advanced Digital Matrix LED headlights alongside rear light clusters with OLed 2.0 technology: they are able to adapt the light signature based on the various information received from other cars using a Car-to-X cloud connection.

Inside, you discover a renovated passenger compartment dominated by the Audi Digital Stage, a digital stage that uses 3 monitors: the 11″9 virtual cockpit plus behind the steering wheel, the 14″5 curved touchscreen dedicated to infotainment in a central position and the 10″9 display (also with touch technology) placed in front of the passenger seat.

The car, available in both petrol and turbodiesel versions, boasts refined driving dynamics that take advantage of the quattro all-wheel drive, four-wheel steering and the set-up with adaptive air suspension. This injection of technology translates into a comfortable and precise ride. The car is always stable and balanced, but also agile and pleasantly reactive.

What happens when certain components of engineering excellence are separated from their original context to become autonomous masterpieces themselves? We find out thanks to an unprecedented initiative by Maranello, which reinterprets multiple essential technical elements (brakes, exhausts or even entire engines) detached from their original performance location and made to rise to individual aesthetic representations into collectors’ items. From speed to beauty, from beauty to speed, reads the description of the initiative.

‘I really like this cut,’ explains Flavio Manzoni, Ferrari’s design director. ‘It illustrates well the process by which we conceive our cars, starting from racing-related needs that then, inevitably, generate aesthetics. As if beauty were necessary, or rather a direct consequence of aerodynamic and functional requirements: nothing, for us, is detached from the rationality of the result. It is a concept I hold dear’. Having trained as an architect, Manzoni then goes on to illustrate the relationship between small everyday objects and the enormous imagery of the automobile, intrinsically confirming that mechanical components can become exhibition-worthy.

However, we have to treat them as creative proposals: ‘Each one required specific elaboration, even if only to imagine a physical support, as these are always different parts normally mounted on cars. For example, we strongly desired the introduction of transparent elements precisely to highlight the metal’. Some of those present, then, note how surprising is the static pleasantness of elements always imagined to rotate at very high speeds, thus here totally decontextualised with success. Perhaps it is precisely in this singular capacity for transformation, not without a sort of peculiar tension towards ameliorative recycling, that the truly powerful alchemy of this collection lies.

– Tipo 048B Formula One engine: a 3.0-litre, aspirated V10 that delivered 790 CV at 16,300 rpm, it saw Ferrari scoring its ninth Constructors’ World Championship in 1999;
– 6.3-litre V12 engine that powered the LaFerrari (2013), one of the most remarkable in the company’s 78-year history because of the F1-derived HY-KERS. This special piece comes from a LaFerrari prototype, which was created during the model’s development process, representing a real one-of-a-kind item;
– Camshaft from a Ferrari F2003-GA, a single-seater F1 car that scored seven race wins and two World Championship titles with Michael Shumacher;
– Exhaust from the 2.4-litre aspirated V8 in the Ferrari F60, as raced in the 2009 Formula 1 world championship by Kimi Räikkönen;
– Crankshaft from the Ferrari F10, the car that allowed Fernando Alonso to win his debut racing for our team in the 2010 F1 world championship;
– Carbon fibre brake disc from a Ferrari SF71H, as driven by Sebastian Vettel and Kimi Räikkönen in 2018 season;
– Conrod and piston from a 2011 Ferrari F150° Italia driven by Fernando Alonso;
– Piston from the Ferrari F2002 single-seater, as raced to spectacularly successful effect by Michael Schumacher and Rubens Barrichello.

Xpeng, a leading Chinese high-tech company has chosen the iconic Milan Design Week 2025 as the stage for its Italian market premiere. The company designs, develops, manufactures and markets AI-based intelligent electric vehicles for the global market and its models are designed with extensive use of artificial intelligence under the supervision of designers led by JuanMa Lopez, Vice President Design Center Xpeng.

The ADI Design Museum in Milan was chosen as the venue to host ‘XPENG: #FUTUREMOBILITY’, an exhibition to discover the cutting-edge solutions of a brand that combines robotics, artificial intelligence and futuristic design. Protagonists of the exhibition will be the EV P7+, the world’s first car designed by Artificial Intelligence, the Aeroth X2 flying electric car and the humanoid robot IRON, at the forefront of integrating artificial intelligence and biomimetic movement. ‘We are honoured to present Xpeng in Italy during Milan Design Week in such a prestigious setting as the ADI Design Museum,’ added JuanMa Lopez, who has also worked at Lamborghini, Audi and Ferrari. ‘We could not have chosen a better context for a country with such a rich automotive tradition and a culture that has elevated design to an art form. Our design philosophy is explicit: to create cars that express our know-how through the perfect union of aesthetics and functionality in every aspect’.

What attracts the most attention is the P7+. This flagship reportedly redefines electric mobility by evolving from a simple vehicle to an adaptive intelligent ecosystem. Its advanced AI systems learn from everyday interactions, deciphering driving habits and preferences to create a customised driving environment that is shaped around the specific needs of each driver. The vehicle’s cognitive architecture anticipates the driver’s needs, while the interface dynamically reorganises itself according to the context, delivering relevant information at the right time.

At over 5 metres long, the P7+ has flowing, aerodynamic and elegant lines. Its dynamic design language is emphasised by muscular accents on both sides of the front bonnet and on the rear flanks, without sacrificing the minimalist balance and styling cues that underline its futuristic imprint, especially at the front. It is technology that genuinely places itself at the service of the driver, transforming every journey into a comfortable, intuitive and rewarding experience that truly understands who is behind the wheel. The P7+ seamlessly integrates advanced AI technology into the chassis, powertrain, steering system, smart cockpit and AI Hawkeye Visual Solution, making intelligent driving an essential feature of the mobility experience of today and tomorrow. It expresses the perfect synthesis of style, advanced technology and electric mobility. The technological heart of the P7+ is the revolutionary XPENG AI Hawkeye Visual Solution, a ‘hawkeye’ visual solution that features two 8M cameras (front and rear), millimetre-wave radar and ultrasonic radar, offering intelligent driving performance comparable to LiDAR systems.

Launched at the end of 2024 in its fully electric version and more recently in the range-extended variant—featuring a petrol engine acting as a generator—the Leapmotor C10 currently stands as the true ambassador of the Chinese brand that has entered the Italian and European markets through its partnership with Stellantis. While the other model in the lineup, the electric city car T03, may suggest a popular and accessible image, the C10 reveals a more refined identity. It features a clean and sophisticated design, clearly inspired by premium-market outsiders like Tesla, though with starting prices under 40.000 euros.

The shapes are regular and simple, with no pronounced sculpting along the sides or extremities. The front and rear feature a “mask-style” design, with slim horizontal lighting units connected by a dark trim at the front and a full-width light bar at the rear—both discreet enough to preserve the vehicle’s smooth, solid-looking surfaces.

Inside, however, the pursuit of high-tech luxury status is even more evident. The dashboard follows a straight, uninterrupted horizontal layout, dominated by two displays and a complete absence of physical controls—except for the stalks and a few buttons above the steering wheel. The soft-touch materials are well-finished, ranging from fabric to eco-leather and soft plastics with an appealing satin texture. Rear space is generous, thanks to the vehicle’s substantial length and wheelbase (4.74 and 2.83 metres respectively) and a flat floor free from obstructions, making the rear area both comfortable and airy, further enhanced by a large panoramic roof.

Driving is a relaxing experience, although the brand’s strong emphasis on digital innovation sometimes comes at the expense of usability. Certain basic controls—such as side mirror adjustment—must be accessed through the central touchscreen menu, which is less immediate than more traditional solutions.

Pirelli has adopted a development model that applies scientific research to create solutions with a low environmental impact. The Milan-based company invests considerable resources in experimenting with alternative raw materials, such as rice husks, lignin and recycled carbon black, with the strategic objective of progressively reducing the use of materials derived from fossil fuels. The Eco&Safety Design strategy, presented during Milan Design Week, shows the results by integrating advanced digital technologies and sophisticated simulations to ensure that each product meets high standards of safety and environmental sustainability throughout its entire life cycle.

The new P Zero E tyre represents a significant evolution in the sector, demonstrating how technological innovation and environmental sustainability can effectively proceed on the same trajectory. Designed specifically for electric vehicles, this tyre embodies Pirelli’s strategy oriented towards more sustainable mobility without compromising performance. The realisation of the P Zero E has benefited from the implementation of artificial intelligence in the development process. Through sophisticated driving simulations, Pirelli engineers were able to analyse and predict the tyre’s behaviour in real conditions before proceeding to the production phase. This approach allowed significant optimisation of resources, reducing development time, material usage and overall costs. The composition of the compound is another distinctive element: 55% of the materials used come from natural or recycled sources, a remarkable achievement for a product that retains UHP (Ultra High Performance) certification. This innovative formulation contributes to a substantial reduction in CO₂ emissions and limits the use of materials derived from fossil sources. RunForward technology ensures that you can continue driving even in the event of a puncture, preserving vehicle stability and increasing overall safety.

The direction taken by Pirelli sets new parameters for the advancement of the tyre sector towards production methods with lower environmental impact, without sacrificing performance. The use of innovative materials and the integration of advanced simulation systems are already a strategic component for the entire automotive industry.

Text by Tommaso Marcoli

Mario Favilla, a friend and gentleman of car design, has left us. As soon as we heard the news, we leafed through some issues of Auto&Design from many years ago, not without sadness, finding images of him at the Alfa Romeo Style Centre where he had worked for forty years, until he became head of the brand’s Advanced Design. Years that saw him alongside creatives of the caliber of Ermanno Cressoni, Carlo Giavazzi and in particular Walter de Silva, his lifelong friend.

Favilla became de Silva’s right-hand man (photo above) in the relaunch of Centro Stile in Arese, which in the 1990s was transformed from the sideline of the Fiat Group’s style to a laboratory of creativity in which the passion and pride for the brand, carried out by a small, cohesive and determined team, have known few equals in the history of car design. An environment that has also been able to develop young talents, including Wolfgand Egger, Simona Falcinella, Filippo Perini, Alessandro Dambrosio, Alessandro Maccolini, to name a few.

Mario Favilla has dedicated his time and experience to young people and their training. He was one of the creators of the University Master in Transportation & Automobile Design at the Politecnico di Milano, becoming deputy director and coordinator of the Car Design laboratory.

Walter de Silva today addresses his friend who is no longer with us: “We have adopted and enhanced, with the same unconditional love for Alfa Romeo, models designed by other designers, 164, 155, Spider and GTV […] The new Alfa Romeo Style Centre in Arese, functional, beautiful in every detail, led with the same passion as us by Carlo Giavazzi (stage name “Javes”) and made up of a very young Garibaldian team, full of enthusiasm … Then the exhibition “Necessary Beauty” in Barcelona, the Proteo with the congratulations of Gianni Agnelli, the Nuvola that Avvocato Montezemolo liked very much… And again, the 156 and 147, both Car of the Year… The 166, and your dazzling caricatures, your paintings of doors and windows of Tuscan houses and the marinas around your Livorno, but above all your jokes and last but not least your ability to make everyone love you”.

For the twentieth anniversary of Auto&Design, a quarter of a century ago, Favilla personally came to the editorial office to give us a gift made by the Arese team: a clay model of a section of the front end of the 166 with the legendary Alfa Romeo shield, which still welcomes those who come to visit us. And it always reminds us of his sympathy and kindness. Thank you, Mario.

Mario Favilla together with Fausto Brevi, Director of the Master in Transportation & Automobile Design, Politecnico di Milano