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A free scan shows the junk files, broken settings and background clutter dragging Windows down - then fixes them in one click.Free scan · Windows 10 & 11In a 2019 interview accompanying the documentary Chasing Perfect, automotive designer Frank Stephenson traced his path from motocross to car design and explained the ideas behind some of his best-known work. He returned to three qualities he values: strong proportions, sculptural form and details that feel purposeful. His favorite cars and his predictions about electric vehicles show how those principles shape his view of automotive design. Read the New Atlas interview.
How Frank Stephenson moved from motocross to car design
Stephenson said his father’s blunt assessment of his prospects in motocross helped push him toward automotive design. He carried the same drive into the new field, but described success less as a single breakthrough than as making meaningful contributions repeatedly. The interview presents that transition as a personal turning point, not a claim that motocross itself led directly to a design career.
The conversation was published as part one of a two-part interview by New Atlas journalist Loz Blain on September 17, 2019, alongside Chasing Perfect, a documentary about Stephenson and his work. Its career references include the BMW X5, Mini, Fiat 500, Ferrari projects and McLaren models, providing context for the designer’s reflections rather than a complete account of his portfolio.
What makes a design work for him?
For Stephenson, risk matters when it produces a compelling, coherent design. He praised designers who challenge convention rather than simply maintain the status quo, but did not equate novelty with quality. A daring shape still needs to feel appealing and make sense as a whole.
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“If you look at what’s successful in design, it’s the guys that are taking risks and not just maintaining the status quo – which will eventually get boring.”
— Frank Stephenson, on taking risks in design
He emphasized proportion, sculptural surfaces and details that seem to have a reason for being there. In his view, a design should reward a closer look: “Good design should give you that kind of excitement where you want to get closer to it.” He criticized forms that appear to aim chiefly for shock, and contrasted the flowing, sculpted shapes he admires with what he described as a contemporary tendency toward sharp, “origami-like” surfaces. These are his personal judgments, not objective rules for evaluating every car.
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Which cars does Frank Stephenson admire?
Stephenson’s examples span different eras and styles. He often connected their appeal to proportion, shape, surface and detail, rather than treating admiration as a ranking.
- 1963 Chevrolet Corvette Stingray: He singled out the split-window coupe, valuing its distinctive center divider despite the visibility compromise he discussed.
- Alfa Romeo 33 Stradale: He named the car among his favorites, reflecting his appreciation for sculptural form.
- Jaguar E-Type: He spoke at length about its proportions, shape, details and cabin. The interview also discusses Jaguar C-type and D-type cars and the XK line. It credits Jaguar designer and aerodynamicist Malcolm Sayer with influencing Jaguar models from the mid-1950s into the 1960s; that historical framing is the interview’s, rather than an independently verified claim here.
- Ferrari F40: Stephenson expressed admiration for this model alongside his other historical touchstones.
- McLaren P1: He linked the P1 to his own design philosophy, describing it as a case of pushing design while keeping features purposeful.
How did these ideas shape the McLaren P1?
The P1 is the clearest link in the interview between Stephenson’s stated principles and a specific project. He described it as pushing the design envelope without sacrificing the sense that its features served a purpose. The point is not simply that the car looks dramatic: in his account, ambition and coherence have to work together.
The article recounts Stephenson’s anecdote that he billed McLaren £10,000 for a taxidermied sailfish used as inspiration for the P1. It is a story about the creative process, not evidence of a general design method or a current project cost.
How might electric cars change automotive design?
In the 2019 interview, Stephenson argued that electrification could give designers room to rethink conventions shaped by combustion-engine packaging. With less reason for a traditional radiator grille, for example, the front of a car might take a different form. He also saw the potential for more freedom in powertrain layout and cabin space.
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He extended that speculation to vehicle interiors, interfaces and sound, suggesting that these could change as the technology and expectations around cars evolve. He summed up the broader shift this way: “The whole range of design is changing, and what we’re doing today will seem antique one day down the line.” These were interview-era predictions, not settled outcomes or a guarantee that electric cars will all adopt a particular design.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.What the interview captures—and what it does not
The conversation is best read as Stephenson’s account of his influences and design philosophy at the time it was published. It offers personal opinions, career context and predictions, not a current update on his work, the state of electric-car design or the availability of Chasing Perfect. New Atlas referenced a DVD release announcement, but the interview does not establish whether the film is currently available to buy or watch.
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