Design language is not for polyglots. It is a job for committees and clever people with rulers and clay.
The trick of design language is to create a meaningful consistency that is present in all models and derivatives. The language needs to be easy to interpret and immediate – not everyone pays as much attention to cars as we do. Visual clues and themes work as breadcrumbs for the uninitiated. Big nostrils means BMW, scary face means Kia and so on.
An issue is that the more models of car a manufacturer makes, the trickier nailing a consistent design theme becomes.
Mercedes has been largely successful in pulling off a consistent and elegant design language, and subsequently some really great looking cars have emerged, particularly the C-Class and E-Class coupes.
Initially Mercedes’ new design direction did not sit right. The rear ends looked rushed, featureless, and unsightly. The new curviness and subdued rear lights were completely at odds with the straight sides and squared ends that have defined Mercedes’ cars for decades.
However, the designs have grown on us, and now we consider the C-Class Coupe one of the best-looking cars on our roads.
There is a togetherness about the C-Class Coupe that really helps it to stand out. The whole design hinges around an elegant, stretching, I’ll-take-my-damn-time front wheel arch that gives the c-class Coupe an aesthetic personality that seems plucked from the 1930s. From some angles and fitted with the right wheels, the small Mercedes coupe is a set of running boards away from being something that drove around during the prohibition.
However, I’m not sure if this was on purpose or by design. But the whole car is better for it. The way the roof line tapers off after the c-pillar also gives the car a nice fastback look, and a wonderful sense of lightness. The rear end is taught, well-resolved and almost gives a wraparound appearance in the spirit of a Scout Scarab.
It’s a great looking car. Be sure to check one out the next time you see one on the road.
Kerbside 