Its designs avoided the imperious Faberge gilding of Benz, or the Ghery-esque swoop and swoon of Bimmer. Instead, they were clean inside and out, with simple and elegant lines, comprehensible ergonomics, and subtle new signatures that were recognizable without being in any way overwrought. Customers, alienated by their rivals, flocked. Sales rocketed. And Audi became known as a formal/functional design leader – the Mid-Century Modern Architecture of the luxury vehicle world.
But now BMW and Mercedes have taken note and corrected course. Both brands have discarded their dalliance with carbuncularity and are now, debatably, near the top of their game design-wise. Benz is delivering handsome stolidity not seen since the Bruno Sacco era of the Seventies and Eighties, and BMW has regained a grip on the kind of elegant sportiness characterized by Paul Bracq during the same time period. And the interiors of both brands are consistently on a level of craftsmanship, attention to detail, delight, and material selection and innovation once reserved for Bentley and Rolls.
Beyond this, given that the brand made a name for itself based on a conservative sensibility, there is the concern that it has painted itself into a rounded corner of sorts, denying options or opportunities for more significant change. This can leave the limiting impression that new cars are barely distinguishable from their (undeniably handsome) predecessors save the slightest evolutionary details.
“It depends on the car you’re talking about,” Lamberty says. “If you have a strong design sense like on the A5 it can be liberating. On something like the A4, it’s a little harder. We’re in the middle class with these cars, not the high luxury. But that B9 A4, it’s a quiet, clean car. Don’t tell me it’s boring, it’s clean. If you do a clean car, the design has to be really clear and really defined.”
Also key is the importance of family resemblance in enunciating a brand’s equities. While BMW and Benz are perhaps just as guilty of this, the sedan offerings from Ingolstadt are almost indistinguishable save their S, M, L, XL sizing. We’re compulsive, so we appreciate a consistent identity, but we also wonder if there should be some visible benefit to purchasing an A6 over an A4.
“That is a point every sporting company has,” Lamberty says. “It’s a point of the heritage. And you’re right, after a while, it starts to show a similarity – turning a circle. This is what we want to change. We want to give the sign in our design that, first, it’s an Audi. But we want to give each car family a character. I think the A4 has a totally different identity than the A5. But it’s clearly Audi, it’s clearly Quattro.”