Opinions were quite divided on this new Mercedes-Benz flagship model. While some saw it as a faithful update of the 1950s 300SL, the majority of designers CDN spoke to saw it as too simplistically retro, with its abundance of references to the original car. While it maintains the cab-rearwards proportions of the outgoing SLR and clothes it in a less baroque style, there's a certain heaviness to the design that appears quite dated.

Given that the exterior had tight design heritage roots to respect, it's especially disappointing that the interior design isn't more adventurous. The design theme is said to be inspired by aviation, with four round vents looking like jet engines. It's a perfectly competent piece of work but the result feels disappointing, given this kind of supercar has presented an opportunity to create something far more dramatic.

This was a project started under Professor Pfeiffer's tenure as design chief, but maybe current chief Gorden Wagener would have approached it slightly differently. Production will be in AMG, the first time they've been given a unique model to produce in their entire history.

The SLS features an aluminum spaceframe chassis with aluminum panels - a first for Mercedes, and a far cheaper solution than the previous carbon fiber SLR. Indeed, there are two surprises with the launch of this car: first is how much more affordable the SLS is than the SLR (at mere €150k) and second, the rumored all-electric drive version confirmed by Mercedes (it will be built with development partners) is also poised to make production - an alternative to the 6.3-liter V8 that powers the standard car.

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The iX-Metro is a concept that gives us a taste of a forthcoming production Hyundai B-sector crossover, much as the Qazana concept in Geneva previewed a forthcoming small Nissan crossover. Like the Qazana, the iX-Metro is a funky white car that looks larger in the flesh than one would expect thanks to its high ground clearance, large wheels and long wheelbase. It's also reminiscent of the Nissan in some of its window graphics, but the Hyundai appears taller and has more mono-space MPV in its genes than the sporty Nissan.

For a Hyundai concept the iX-Metro is refreshing simple. Its exterior is defined by a handsome side feature crease that echoes the base line of the DLO before tipping down subtly as it fades out to the rear. Hyundai has also innovated in the front treatment, which sees the grille wrapping around within its aperture - a device that we're picking up in other recent designs. Another interesting detail is the way a slim flat surface runs around the wheelarches and then, unlike a similar feature on the Peugeot 207 and 308, runs into the surface of the rear bumper.

Inside the two most notable aspects of the design are the hub-less steering wheel and the delicate pattern etched on the underside of a thick transparent plastic layer covering the curvaceous instrument panel.

The small crossover is one of the emergent new niches in the European market, and the iX-Metro shows that the Korean automaker is likely to be at the forefront of its development. If they can preserve some of this show car's form language and design details we think they'll have a winner on their hands.

The Mulsanne is significant for Bentley as it is the company's first in-house designed 'big Bentley', directly replacing the Arnage, a design inherited from Rolls-Royce. Ironically, it was interesting to compare it to the new 'baby Rolls' that was also making its production debut in Frankfurt and with which it will compete head to head. While Rolls-Royce has chosen to translate the Phantom theme directly onto the Ghost, Bentley has designed the Mulsanne to be distinctly different in character to its smaller sibling, the Continental Flying Spur.

Conceptually, the Mulsanne is an evolution of its predecessor; but notably it introduces a prominent single headlamp on each side DRG, a lower roof line and a shallower DLO to make it more dynamic. The exterior, by Raul Piers, also has some interesting features, such as the concave shoulder that successfully forms a peak on the front fenders and integrates with the outboard lower front lamps. The subtle looping theme around the upper deck of the trunklid, the rear of the trunk, and at the trailing edge of the rear fender are also noteworthy design elements.

The interior, unveiled for the first time since the vehicle's exterior design was presented at the Pebble Beach Concours d'Elegance in August, was designed by Robin Page. Its design is most notable for its extensive use of veneer. A large surface area in the instrument panel is given over to veneer that then connects to the door cappings before unusually running all the way around the back of the rear seats. The use of veneer is also unique within the industry in the way it is set onto thick pieces of wood, which can be seen at the edges of the picnic tables in the front seat backs and at the sides of the instrument panel.

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