60 IN CONVERSATION
All images The new series comprises three distinct expressions: Evanescent, Reverie and Blossom, the last of which is pictured here
I began my career as a designer at the BMW Group in 2001, starting in the automotive industry. I progressed to lead designer for several projects, then became head of individual design at BMW. After a few years, I took on the role of head of colour and materials for all BMW cars, followed by head of brand vision and BMW design, focusing on design detail and colour. For the past five years, before joining Goodwood [the home of Rolls-Royce in Sussex, UK], I was the director of Design Works Munich, a subsidiary of BMW Group design that works across various industries, including automotive, aviation and rail. I was invited to Goodwood to lead the bespoke design team due to my extensive experience, particularly in client interaction across different industries. I’ve been here for a year and a half now, and I can confidently say this is the pinnacle of automotive design.
Tat’s amazing! And something I can tell you are passionate about. I am particularly impressed by the Spectre Inspired by Primavera’s design and craft detailing. Can you talk through the design processes that you and your team undertake at Goodwood? Every project begins with a briefing or project idea. For Primavera, we drew inspiration from spring, discussing themes like blossoming trees and special light. Te team creates a narrative around these inspirations, as storytelling is crucial. We developed three different themes, focusing on a light introduction with colour accents, and explored how to visually represent concepts like cherry blossoms. One of our talented designers creates
sketches. We decided to incorporate these motifs into the Blackwood veneer, ensuring a sophisticated interpretation. We also integrated the design into headrests,
embroidered details, and illuminated tread plates, curating everything elegantly. Collaboration is key; our designers work closely together, sharing ideas and striving for perfection. Tis teamwork is essential for achieving the best results.
I imagine that a roomful of exceptionally talented individuals, working for such a prestigious brand, must be an inspiring place to work. Regarding the cars you design, how many are bespoke versus standard production models? Tat’s a great question. Bespoke requests have been increasing significantly. When bespoke design began 25 years ago, there was typically one designer; now, we have 25 to 30. Our team comprises individuals with diverse skills, including automotive, interior, fashion, textile, and product design. For example, when designing Primavera, our textile or pattern designers contribute valuable insights. We ensure that our team collaborates effectively, as it’s essential for achieving the best outcomes.
It sounds like a dynamic environment. Absolutely. We also have artisans in-house, and collaboration with them is vital. For instance, when it comes to embroidery, our designers must communicate with the artisans to understand the capabilities of the machines. Tis collaboration extends to all aspects of design, ensuring we maintain high standards of craftsmanship.
I’m particularly interested in Rolls-Royce’s investment in craft skills. How do you attract talent for such unique roles? Rolls-Royce places great emphasis on apprenticeships, particularly in production, to support and preserve traditional
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101
