Probably no designer works alone. This takes place in groups, especially when entering really new paths. In this case, experts may also be joined by suppliers, a collaboration for weeks and even months. And yet, any day counts on which e.g. a new idea or its failure emerges. One must not ignore human interaction. Of course they are not to be seen in the future results. And yet the cooperation is still in there.

It is, of course, most beautiful to create a concept car. Something at least partly new is the result. It becomes even more interesting when new materials and/or new technologies are used. As the innovations come from the outside, manufacturers and non-suppliers are suddenly working together on the basis of a first early design. Probably also something from the inside of its respective company is disclosed.

Obviously even in the management positions of design studios older people are rare. And if they do, they must have stayed quite young inside. More younger people dream of new design and have the urgent motivation to implement it. A big task to satisfy their demands on 'fun' at work and then to find an approach to take them to their responsibility. For the former, there are now so-called 'design factories', a kind of playing field for adults.

Lack of any kind of instrumentarium is amply unknown here. No matter what initiation rite you need to develop your own imagination, there is enough here. This comes more from the supplier specialized in new materials, which, of course, also closely observed by the invited 'guests' outside the upcoming task.

It also does not exclude an insight into the manufacturing process. How to do this with the necessary secrecy, unknown. New materials are not only useful for additional tasks, but also often replace old-fashioned ones. Earlier was the choice between expensive leather and velour, so there is now cheaper coating of normal fabrication that feels like the latter.

It is therefore wrong to believe that only the manufacturer is the beneficiary of such a cooperation. For example, who procuces a new material can still not capture most of the possible market accesses and certainly not the conditions attached to it.

And then comes the concept of 'performance', which is regarded as a challenge for designers. This applies to both sides, material and its further processing. It includes not only e.g. the haptics and the appearance, but also the material testing already in a quite early phase. Makes sense, because what fails in any area needs to be developed before you can think of its use in the car.

And where does the whole thing end up for the motor vehicle sector? Very common in lightweight construction. This, in turn, means that not only a single material is sufficient, as has already been the case with the recently practiced connection between carbon fiber and aluminum, e.g. In car body construction. If the non-metals remain under each other and the idea of the renewable raw material is added, the material mix becomes even more colorful. Then the connection techniques gain in importance.

This even goes so far that the 'green' materials partly or completely displace the carbon fiber, a somewhat strange thought for e.g. a racing car. But even a rally car needs sponsoring designer speeches. Completely clear, he is always on the side of the sales numbers, so he uses everything, in order to put the complete brand into the scene at the same time. There is suddenly a 'Performance Blue' from a seemingly harmless blue of the outer skin.

For the series or as a concept one speaks e.g. of 'extremely muscular proportions' or a 'design philosophy of sensory clarity', perhaps also the 'most extreme expression of our designer language'. The more HP or better kWs sleep under the hood, the less may be so-called powerdomes missing. Daytime running lights are suddenly 'forward-looking' by 'nano active fiber technology', flanked by 'ribbed cooling module' integrated into the cover glass at the rear of the vehicle.

It is the train of time, something away from the facts, from reality. Best seams to be dreaming through the whole day. It is simply not enough that a car is fast, it must also look like this. The fact is that you have already the real performance in many sports cars that are still affordable, approaching a wall of 250 km/h and an acceleration of 0 to 100 km / h in 3 to 4 seconds. So the distinction form the form must be guaranteed.

But this is an important statement for the profession of the designer that it is not just a form of thinking on a paper that has to be defended by various competitions. This must be an inimitable feeling to see your own design glide over a road in the sunlight, and if only with an auxiliary substructure and a maximum of 40 to 50 km/h.