In Part 1, Jo shared insights into his approach to design, his enduring journey with Mazda, the studio's unique culture, and the seamless collaboration between the European team and their international counterparts. Now in part 2 of the interview, we delved into the fascinating world of AI in design, explored the emerging trend of the "inside-out" approach in design studios, reflected on his most significant achievements, offered valuable advice for aspiring designers, and provided a glimpse into the exciting future that awaits Mazda.

Automotive Design Planet: In your opinion, what sets Mazda's design philosophy apart from other automotive manufacturers, and how do you see it evolving in the coming years?

Jo Stenuit: The Kodo design philosophy, especially in its second stage, has significantly set Mazda apart from the competition. During this phase, we consciously embraced simplicity and purity in our designs. This was a departure from the norm in the car design world, where there's often a temptation to create flashy, detailed sketches with lots of embellishments. We challenged this trend and asked ourselves a fundamental question: What elements are necessary to convey the emotions we want our designs to evoke? We coined a term for this approach, mainly when applied to the interior, as “Ma.” 

“Ma” is a concept about embracing space without fear, whether on the vehicle's exterior or interior. It can be challenging at times. I remember the first time I saw the Mazda3, which embodies this philosophy. It appeared exceptionally pure at first glance, with smooth sides with no crease lines. It was quite a departure from the norm, and some initial reactions were like, “What's this?”

However, upon closer inspection, it's truly remarkable. The purity of design is what sets us apart in the automotive industry. It's clean and uncluttered, yet when you dive deeper, the surfaces have incredible depth. This is how our designs come to life, referred to as the "second glance effect." It's subtle, very Japanese in its approach—it doesn't scream for attention, but the more you explore, the more you discover. This, in essence, defines our unique design philosophy and sets us apart.

ADP: Mazda has been known for its innovative material approach. Can you highlight some essential materials or design techniques Mazda has used to create distinctive and efficient vehicles?

Jo Stenuit: At Mazda, our interior design philosophy centres around the "Ma" concept, emphasizing purity and simplicity. We achieve this through architectural choices, minimalist design elements, and careful material selection. We aim to make you feel that the materials are inviting you in. We've invested significant effort in developing materials. What sets us apart is the materials and how we combine them. Even in an interior which is as simple as the Mazda3's all-black design, some elements stand out, offering unique textures and depth inspired by Japanese culture.

Take, for example, the CX-60, especially the Takumi version. With this model, we aimed to showcase Japanese materials and what a Japanese-inspired interior could look like. We incorporated textiles inspired by traditional Japanese textiles and a blend of wood and chrome. This combination creates a welcoming atmosphere that's distinctly Japanese and aligns with the essence of Mazda. This attention to materials represents an additional layer in our design philosophy. It's the finishing touch—the "icing on the cake." 

ADP: We see a trend now with studios shifting to an inside-out design approach, starting first with the user experience and interior. Is it the same with Mazda, or is something unique?

Jo Stenuit: Yes, indeed. I've always been a strong advocate for holistic design. When designing a car, we don't limit our focus to just the exterior. Instead, we aim to deliver a comprehensive design story encompassing all vehicle elements. This includes collaborating closely with other departments to ensure that the entire product is cohesive and makes sense. I've observed that cars designed for the Chinese market, for example, focus on functionality and optimising the customer experience, particularly within the interior. In many ways, they are a step ahead regarding flexible seating arrangements, creating a tailored environment inside the vehicle, and developing intuitive interfaces. In essence, there's a notable shift towards putting the customer at the centre of our design approach, and this change is influencing how we design vehicles from the ground up, emphasising delivering a more holistic and customer-driven experience.

ADP: Sustainability and eco-friendliness are becoming increasingly important in the automotive industry. How does Mazda's design team contribute to the company's efforts to create more environmentally conscious vehicles?

Jo Stenuit: The Mazda MX-30 serves as an excellent illustration of our commitment to sustainability and the innovative use of materials, especially in the context of electric vehicles. It marked our entry into the electric cars and showcased our dedication to incorporating recycled materials into our designs. For example, we utilized recycled PET bottles for the door trim, repurposed jeans yarn for the seats, and introduced cork as a sustainable alternative to synthetic rubber. Cork had a remarkable texture and held significance in our company's history, as we were once cork manufacturers a century ago—this combination of sustainable materials and a nod to our heritage incorporated in a single car.

Our continuous efforts ensure that such materials are not confined to a single model but find their way into our future vehicles. One of my team's responsibilities is to facilitate understanding among our Japanese colleagues regarding the sustainability trends in Europe, which extend beyond just automobiles into areas like vegan food. This shift in perspective, which we observe in Europe, is vital, and we ensure that our research bridges the gap between these regions, ultimately influencing our product development.

However, I must acknowledge that this presents numerous challenges. It involves addressing cost and production challenges. We are brimming with ideas, but the transition from concept to production is a significant step that demands careful planning and execution.

ADP: Mazda has a rich history of iconic cars such as MX-5. How do you balance the brand's heritage while continuously pushing forward with innovative and modern designs?

Jo Stenuit: MX 5 is a project that garners much attention. I distinctly recall the journey from the third generation to the current one; it involved some heated debates. Ultimately, we decided on a design that leans more towards the emotional side. I wouldn't necessarily label it as 'more macho,' but it's aimed at expressing the car's capabilities. These discussions are a constant presence and are, in fact, a healthy part of our creative process. It's a privilege that we can engage in such dialogues.

A significant aspect of our design process revolves around conversations about the Kodo design philosophy and how best to articulate it. Our approach involves initiating the process with discussions and crafting the design based on the narrative. This approach can sometimes make things complex because it can delve into the philosophical realm, which can be boundless in terms of inspiration when combined with Japanese culture.

ADP: Can you tell us more about Mazda's signature front grille design and how it's evolving, especially in the context of electric vehicles?

Jo Stenuit: Mazda's front grille design has a rich history, dating back to the inception of the Kodo design philosophy. The idea was to give our cars a distinctive face, something recognizable on the road, much like the features of an animal's face. We started with the "five-point grille," often paired with round lamps to symbolize the eyes and character of the vehicle. Additionally, we introduced the "signature wing," located at the bottom of the five-point grille, which seamlessly flows into the headlamps. This grille became a defining element, making Mazda vehicles easily identifiable. As we transition into an era of electric vehicles (EVs), we face exciting challenges. We must evolve this grille, and the question arises: How do we carry forward the character and recognition factor into electric vehicles?

Removing the traditional grille representing eyes and a mouth becomes like a blank expression, which we're actively addressing in the next generation of designs. We need to preserve the brand's identity and recognition while adapting to the unique characteristics of EVs. The EV market has seen a surge in similar-looking designs, often lacking distinct character in the front. It's becoming challenging to differentiate between brands solely based on their vehicle's face. So, having a recognizable front remains incredibly important for us. We're entering a phase where technology will be a given, and there won't be a need to overemphasize it. It will become a seamless part of the overall design.

ADP: Mazda is known for its extensive use of modelling and clay speed forms. Is it still the same after the adoption of digital tools in the design process?

Jo Stenuit: Indeed, our approach to design and modelling has evolved with the integration of digital tools. It's been a learning experience, and there are aspects of both traditional and digital methods that we value. Clay modelling has been an invaluable part of our design process, allowing us to focus on tactile and three-dimensional aspects. However, we recognize the importance of digitalization in the modern design landscape. We're actively applying what we've learned from clay modelling to our digital workflows.

As you rightly pointed out, tools like Blender have blurred the lines between designers and modellers. Designers can now use these tools to quickly iterate and fine-tune their concepts. At Mazda, we've embraced this shift and acknowledge that our clay modellers and digital modellers are more than just modellers; they're partly designers. We encourage them to express their creative insights and ideas about what a car should convey. As a result, the boundary between modelling and designing has become somewhat fluid. In the past, it was clearer because only clay modellers could bring the design to life in clay. 

To adapt to this changing landscape, we're providing training in digital tools to both designers and clay modellers. This approach allows us to empower our team members to explore their creativity and contribute to the design process, regardless of whether they're using traditional or digital techniques. It's fascinating to witness how these tools have taken centre stage. 

ADP: What are your thoughts on the integration of Artificial Intelligence (AI) in the design process? How do you see AI shaping the future of automotive design?

Jo Stenuit: We've been experimenting with AI. Our team has a member from China with some experience in this area. I don't view AI as an immediate threat to designers; instead, it's a tool. However, specific concerns related to data security and confidentiality have led us to be cautious about its current usage. The emergence of AI in design represents an exciting revolution. When I reflect on my past role as an interior designer, I excelled in using design software like Alias to express my ideas effectively. Similarly, some designers might have been proficient in tools like Photoshop. AI is merely another tool in the designer's toolkit.

AI will not lead to the displacement of designers' jobs at this point. Ultimately, the quality of the design output will depend on the quality of the input. The resulting work will reflect if you're a skilled designer capable of providing excellent information or clear guidelines for AI-assisted iterations. It's the same as the early days of Photoshop when some individuals downloaded the software for free, thinking they could use it effectively. They could open the software but needed help understanding how to use it to its full potential. The same principle applies to AI in design.

ADP: Throughout your long career, what project or achievement stands out the most to you and why?

Jo Stenuit: One of the most memorable moments in my career at Mazda was my involvement in developing the CX-7, which was our first SUV. For two years, I was fully committed to shaping the interior of this model, starting from the initial concept sketches and seeing it through to production in Japan. This experience stands out as a valid high point in my professional journey.

After completing the CX-7 project, I had the opportunity to work on some interesting show cars. This was also an amazing experience and broadened my horizons as a designer. Another unexpected twist in my career path occurred when I was appointed to the role of Brand Style Manager. Initially, I hesitated, as it meant transitioning away from direct involvement in car design. However, I swiftly realized that this role offered a unique chance to collaborate with creative minds across diverse fields, including photography, film direction, and graphic design. 

When reflecting on Mazda's journey, a pivotal and challenging moment that comes to mind is our shift towards the Kodo design philosophy. This represented a significant transition from being guided by Ford to regaining our independence as a design powerhouse.

ADP: What advice would you give to aspiring designers who are interested in pursuing a career in the automotive industry?

Jo Stenuit: The design landscape has evolved significantly over the years. Back then, the internet was not that great, and the global design community was less interconnected than it is today. For instance, there was limited awareness of Russian, Indian, or Chinese designers in the Western design sphere. Fast forward to the present, and the design industry has become global. Aspiring designers must cultivate a unique identity to stand out in this highly competitive arena. They must showcase their individuality and demonstrate their distinctive approach to design. The initial screening is rapid when we select through a stack of portfolios. You can quickly identify the good ones based on their work. However, what sets designers apart is not just the quality of their designs but also their methodology, problem-solving skills, and approach to the entire design process. These aspects become crucial as we delve deeper into the selection process.

For budding designers, I'd also like to emphasize the significance of networking. Feel free to engage with more experienced designers, including those in senior positions like me. Establishing connections and building relationships within the design community is invaluable. Reaching out, expressing your aspirations, and seeking guidance is essential. Be bold, ask questions and seek advice. Being part of this collaborative community, learning from others, and openly sharing your insights is immensely beneficial. 

ADP: What does the future hold for Mazda in 2024 and the coming years? Are there any exciting developments or projects on the horizon that you can share with us?

Jo Stenuit: I understand your curiosity, but I am not sure if I can share specific details about our upcoming projects. What I can share, however, is that our primary focus currently revolves around designing a scalable electric platform. This is a significant undertaking and an essential task for us. Regarding electric vehicles, we're not just adapting our existing designs. We're also considering how to express our brand uniquely in the electric vehicle space, which may involve some subtle differences from our current models. While we may introduce a few new cars, no significant unveilings are in the immediate pipeline. Given our relatively small size and the fact that we develop much of our technology and designs in-house, these processes can take some time. Nevertheless, we approach this challenge with the Hiroshima spirit, a mindset embodying resilience, self-belief, and a determination to push forward despite obstacles. We're committed to delivering exceptional designs that align with our philosophy, even if it takes longer.

Stay tuned for more amazing projects from Mazda.

If you are interested in understanding more about Mazda's approach to design, Jo's enduring journey with Mazda, the studio's unique culture, and the seamless collaboration between the European team and their international counterparts, Please read Part 1 of this interview.