Volvo, Safety, and Scandinavia

—First, could you tell us about your background?

After majoring in Industrial Design at the University of Quebec, I moved to Sweden and began my career as a clay modeler at SAAB. I joined Volvo in 1995. Until 2001, I was involved in surface engineering for models like the S80 and S40, while also handling creative design. After that, I became the program chief designer for the C30, where I worked on the exterior design. Since 2010, I've been responsible for the exterior design of the current V40.


—Both Volvo and SAAB are Swedish car manufacturers. Do you like Scandinavia?

It's similar to Quebec, where I grew up, and it's a comfortable place to live. I like the beautiful nature, the society where people help each other, and the high environmental awareness.

Of course, industrial products like cars also have a Scandinavian character. There's a very strong emphasis on creating cars for people. At Volvo, we who work here constantly keep in mind the need to ensure that occupants feel safe while driving.

—In Japan, Scandinavian design often brings to mind warm, light-colored wooden furniture, perhaps reminiscent of The Beatles' "Norwegian Wood." When you speak of Scandinavian design, what are its core elements?

As I mentioned earlier, making occupants feel safe is paramount. Of course, Scandinavian design isn't monolithic; its expression has evolved over time.

What is Volvo's Value?

—As the designer, could you explain the highlights of the V40 that you personally oversaw?

Volvo's marketing team might point to rivals like Audi'sA3, Mercedes-Benz'sA-Class, and BMW's1 Series, suggesting they are all variations of the VolkswagenGolf. However, I believe Volvo is creating its own distinct Volvo.

The Golf is a great car, and it seems German manufacturers are creating their own versions of it. But Volvo is distinctly Volvo. It's crucial to establish our own position rather than conforming to the market and getting lost.

—As the person in charge of exterior design, what do you constantly tell your subordinate designers?



A good example is the result of customer clinics. Car manufacturers gather potential buyers and ask them what kind of cars they like, what kind of interiors they prefer, and so on. From this, we learn that consumers don't need complex controls.



—It's a battle between complexity and simplicity, isn't it?

Rival companies sometimes adopt complex digital displays and control systems. While an iPhone itself might be easy to use, incorporating iPhone-like elements into car controls isn't always necessary. We believe cars should offer technology and controls that simplify life, and we design with that in mind.

Scandinavian Colors

—The body colors for the V40 are quite subtle and striking. Is this intentional?

The body color is important in its coordination with the interior. The two together form the complete car. We consider this when coordinating the colors.

So, if asked about my personal favorite color, I would say a white body with a black interior. Why white? Because the V40 has intricate surface graphics, allowing for subtle shifts in color tone to be appreciated.

—Does the way colors are chosen also reflect Scandinavian sensibilities?

Perhaps. When I think of Scandinavia, I always picture summer seascapes. The waves are calm, and silence prevails. The sun shines brightly. However, sudden strong winds and thunderstorms can occur. And then they pass. This can repeat within a 15-minute interval. This strong contrast between tranquility and surprise is often found in nature. I want to incorporate these "elements of surprise," or in other words, a "sense of playfulness," into the car's colors.



—The sunlight in Northern Europe and the US West Coast is different from Japan, so cars appear differently. Natural light has a close relationship with car design, doesn't it?

I'm also the type who finds various light conditions fascinating. As I mentioned, the light in Scandinavia is beautiful, particularly in Denmark. There's a fishing village called Skagen on the Jutland peninsula. There's Cape Grenen, known for its sand dunes, where the North Sea and the Atlantic Ocean currents meet. The light here is exceptional, attracting many painters who have left their works here.

Isn't it interesting how nature influences car design?