 Beads
'The time for beads is over,' proclaims Daimler. You had already guessed it or could easily follow it on the Class E Coupé, in contrast to the previously released C and S Class Coupés, except for one way down. So if the
lines don't deliquesce as much as in the picture above in the future, we can only welcome this decision.
However, something like this doesn't work without a saw of a designer:
'The designers at Mercedes-Benz design the cars for the future in an area of tension between tradition and modernity. The focus of her work is sensual clarity as an expression of modern luxury.'
Despite this linguistic knot, it is a step in the right direction. What mini-sculptures aren't up to mischief on the flanks of our cars. Highly unfounded lines are then highlighted. As if someone had played too much with the
shapes when working with sheet metal.
After all, the growth of the rear lights in particular into the side surfaces has slowed somewhat. So you could already know what the next model would look like in this regard. So much unrest usually has a short life. This is
only interesting and exciting with a new car, later only the latter.
As I said, the Mercedes designers have already done away it with the Class E Coupé, but are now pointing to the upcoming Class A. It has a special status anyway, because, although it borrows slightly from the SLS, the
special success of Mercedes design began with the W 176 from 2012, especially among the (somewhat) younger group of buyers.
Of course, the designer deprives himself of certain options, which is why it is of course better to start with the (smaller) Class A and not with the Class S. Of course, a new name has to be found, namely 'Aesthetics A'. So this
compact class sedan should be reduced back again to its basic body. You don't want to get rid of the beads completely, but rather 'extremely reduce' them.
And when the designer language finally gets to the point, you can see what is intended. Instead of a bead, which, for example, represents a somewhat sharp-edged elevation in a surface, you now want to place two surfaces
at an angle to each other, which of course also results in an edge, but not in a bead.
However, what this has to do with a 3-box design will probably remain the secret of the Mercedes designers. Perhaps the brand's sweeping success in China can already be felt here, which will soon dispute us our practical
tailgate. A brand's willingness to push its audience in a sensible direction is limited. Rather the opposite is the case.
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