Lexus chose the Frankfurt Motor Show to preview their entry to the premium C-segment, the LF-Ch. The five-door body style clearly benchmarks the BMW 1-Series, though 20mm lower and 61mm longer and with the rear axle pushed rearwards. But while the 1-Series offers a complex bodyside with simple graphics, here that approached is reversed: the body section is a smooth ‘S' with complexity given to the corners.

In profile, the thrust of the hood apes the IS-F, leading to a low and wide DRG, with the lower valance wrapping up the sides of the bumper. The pinched shape of the graphics lends to appealingly distorted lamp shapes, though the theme also gives the grille fangs. Nevertheless the expression effectively references the LS while introducing a more menacing demeanor.

Walking to the side-glass, the shape is fuller than a 1-Series with a broader radius as it turns down the C-pillar. The stretched chrome trim is also attractive, but it is the rear corner that seems less well thought out. Although the basic shape of the taillamps is dynamic, the shape seems a series of flats as the eye moves round, above which an awkward separation of surfaces need more time in the model room.

Inside the Lexus uses fluid forms that pull from the main IP to leave negative space above the console. The asymmetry of the arrangement brings the controls to the driver, the balance of mass and movement in stark contrast to the austere interiors of German rivals.

The premium C-segment is diversely represented: a front-drive hatchback (Audi A3), rear-drive hatchback (BMW 1-Series) and premium MPV (Mercedes B-Class).  Although Lexus offers clear vindication of BMW's direction, it does without rear-wheel drive: it will be interesting to see the value of this to the customer.

Saab is arguably the most underperforming car brand in the world. It has strong international recognition, values that are ripe for connecting to the 21st century car buyer and a rich back catalogue of distinctive but not polarizing design signatures. But despite this it struggles to sell 100k cars per annum and seems to be perpetually lacking internal corporate conviction. Depressingly, this lack of conviction seems evident in the new 9-5: it is yet another disappointingly average new Saab design that looks about five years old at launch.

Speaking to CDN, Design Chief Simon Padian told us that the car had actually been finalized for 18 months and conceded that Saab designs have been cautious and understated in the past. That, he assured us, will soon change under the Swedish brand's new ownership.

From a distance the first thing that struck us about the new 9-5 was how its short hood, long trunk and forward leaning proportions are more akin to those of a lower medium sedan than a large luxury car. Its Aero-X derived DRG give it some large car presence and the resolution of surfaces is faultless, but overall the design lacks the strength of theme expected of a Saab and needed in this sector.

Inside it's a similar story: a gentle evolution of previous Saab design themes, notably in the core architecture of the instrument panel and the way the unique air vents are integrated into this. But overall there is less progression from its predecessor than most designers we spoke to felt was needed.

The commercial and design potential of this brand is immense, and the new 9-5 is a competent if slightly dated bit of design. Fundamentally it is the design's lack of gravitas that shows how General Motors, from the beginning to the end of their ownership of Saab, have failed to really 'get' this great Swedish brand. Let's hope the company's new suiter has a bit more conviction.

Like the Galaxy and S-Max, the new Ford C-Max and Grand C-Max are two vehicles produced for one segment, yet aimed at different demographics of buyer.

The exterior styling of both vehicles is a development of Ford's familiar ‘Kinetic Design' language and features elements previewed in the Iosis Max showcar from Geneva. The six-point lower trapezoidal and slim upper grille together with rising waistline and shallow DLO has made production relatively unscathed in the smaller, five-seat C-Max.

The seven-seat Grand C-Max - Ford's first European-designed vehicle to make its way to North America - features the same frontal treatment as its smaller sibling, with the exception of a three, rather than single-bar upper grille. The flanks of both cars feature pronounced wheelarches, and a light catcher swage in the lower door area to take away some of the vehicles' visual height.

Aimed at young families, the Grand C-Max features twin, sliding rear doors, which the design team has worked hard to integrate into the design in an attempt to minimize any van connotations. The shoulder-line broadens towards the rear of the vehicle creating pronounced rear haunches, which flow into the rear lamps.

Both the five-and seven-seat versions follow the same interior theme. The IP develops the theme first seen in the Fiesta - HMI and HVAC controls split, with the upper IP volume projecting into the vehicle, featuring stereo and navigation controls on a piano black gloss panel, which is surrounded by a mixture of polished and satin-finish bright-work around the air vents and center console, creating an interior with a high-level of perceived quality. Notable also in the Grand C-Max interior is an innovative center middle seat design, which tumbles and then folds into the squab of the outer middle seat, creating a clear and easy access route to the far rear row of seats for children.