In addition to a Europe-specific version of the Exalt concept, Peugeot will reveal a new show car in Paris. Called the Quartz, it follows themes established by the Onyx, shown in Paris two years ago, and the Exalt, which debuted in Beijing earlier this year.
At 4,500mm long and 2,060mm wide, the Quartz is the smallest of the three, and, more obviously, switches coupé for crossover aesthetics. It has also brought about a turn away from elegance and towards aggressive exterior design, with its oversized intakes, slashed surfaces and 23-inch carbon rims.
Peugeot's recent concepts have involved interesting uses of materials inside and out. The Quartz continues this trend by revisiting the diagonal 'coupe franche' that separates the mineral gray color of the front of the car from the matt black rear wings. This car also adds red highlights on the exterior, while the door cards feature upper surfaces milled from a single piece of composite, with the grooves left over from the process also highlighted in red.
The cabin also features the first application of digitally woven textiles. These use polyester fibers made from recycled plastic water bottles, and are printed in single pieces so there's no waste. Peugeot uses natural volcanic basalt in the center stack, too, which had previously featured in the rockers of the Exalt.
Renault has bucked the trend of rather uninspiring Paris Motor Show previews with the Eolab. This B-segment-sized car that has been designed to a brief that states it must return fuel economy of 2l/100km (118mpg US/141mpg UK), and that all of its major technical innovations must be production-feasible by the year 2020.
The Eolab is actually two cars – the Eolab prototype, which the engineering team has signed off as capable of 1l/100km (235mpg US/282mpg UK), and the Eolab Concept, which was overseen by the design team.
The latter is understandably better resolved visually, most notably in the detailing of the LED headlights that spread across the nose, and the buttress-style A-pillars that run down into the fenders, forming the leading edge of the door shut.
The name Eolab is a blend of 'Aeolous,' the Greek god of winds, and 'Laboratory', rather than an unfortunate anagram of ebola, and highlights the impact that aerodynamic efficiency has had on the design in order to achieve the economy target.
The carbon-alloy rims – 19-inch on the Concept, 17-inch on the prototype – have shutters built into each spoke, while the car features variable ride heights and an active front spoiler that helps control air flow around the car.
At speeds of 70kmh (43mph) or above, spats extend behind the rear wheel, cleaning the air flow as it disconnects from the car and reducing the drag coefficient to 0.235, or 30 percent less than the equivalent current Renault Clio.
The colorway reflects the emphasis on aero too, with fluoro orange highlights on the aero bodywork contrasting with the liquid metal gray. That color theme and geometric pattern of the car's nose is echoed in the cabin.
To reduce weight, there are two doors on the passenger side, and a single driver's door, while the four seats are 30 percent more compact and 40 percent lighter than today's Clio. An aluminium bar crosses the dash, referencing the use of lighter materials - Renault claims the Eolab is 400kg lighter than an equivalent Clio - while the car's 11-inch touchscreen includes a cloud-themed display designed to encourage economical driving, rather than just providing a readout of current mpg as today.
Although this car could quite easily have come from Renault's alliance partner Nissan - its similarity to the Resonance concept in particular is notable - the Eolab is certainly worthy of a more thorough exploration in Paris.
Following the 'concept' unveiled at the Frankfurt show a year ago, Ford has now released pictures of the near-identical production version of the second-generation S-Max. The car will make its public debut at the Paris Motor Show next month, and goes on sale in early 2015.
Although it's designed in Europe for the European market, the S-Max has still received the One Ford global design treatment. That means the generic chromed trapezoidal grille, tapered lamps and creased hood are present and correct, visually aligning it with the Fusion/Mondeo with which it shares a platform. However, as with the most-recent Kuga, this is at the expense of the previous model's more distinctive overall design. The S-Max also loses details like the circular fog lamps mounted high up the bumpers and caricature fender vent this time around.
Although very similar in size to the outgoing model, the A-pillar of the new S-Max has been moved reward, continuing the wider industry trend of moving away from monovolumes. The beltline has been raised to reinforce the car's positioning as the sportiest minivan on the market, although that comes at the expense of reduced glazing, which seems like an oversight in a family car.
The tailgate is a stacked with surface changes that somehow lack the confidence of the simpler original. We'll have to wait until Paris to be sure.
As with the exterior, the cabin has been given a contemporary if not exactly exciting makeover, with all but the HVAC controls now incorporated in an eight-inch touchscreen. However, again that comes with the loss of the some of the original's interesting details, like its parking brake lever that plunged into the center console.
We're adding it to our list of somewhat underwhelming Paris show debutants.
The Aston Martin Lagonda name has been resurrected again, but this iteration promises to be far less controversial than the 2009 SUV concept.
Created for a select group of Middle Eastern clients, this large three-box sedan (dimensions haven't yet been made available) offers a well-judged balance between the current Aston Martin range and the idiosyncratic 1970s Lagonda by William Towns.
Its proportions are very extreme for a luxury sedan, with a cabin sat far rearwards behind a very shallow A-pillar. While the angle of the rear screen is also 'fast', the chrome DLO graphic that continues to rise towards the rear before forming a steep connection to the elegantly flat beltline adds formality and a sense of its forebear's angularity. This is helped by a refreshing lack of tumblehome that's balanced by a particularly deep shoulder surface.
Its nose is a neat and understated evolution of the deep grille of the recently updated Rapide without sticking rigidly to the Aston form, while its lamps are integrated into the graphic by a continuous chrome edge that defines their lower edges. It's appropriately moody without appearing overly aggressive. Its rear is similarly restrained with its lamps and horizontal chrome bar sitting within a concave surface.
We have yet to see its interior, but we're hoping it channels some of the '70s Lagonda's sci-fi touchscreen vibe.
The XE is Jaguar's rival to the BMW 3 Series, Audi A4 and Mercedes C-Class. It's the smallest of Jaguar's sedans, fitting into the range below the XF and XJ. It's the first production model to use Jaguar's aluminum architecture that's intended to reduce weight, yet increase flexibility for both engineers and designers.
We'll have to wait until the Paris motor show to see the car first hand, and in a spec other than the top-of-the-line XE S shown here, but it's clear that the car's looks will present few surprises, presumably deemed essential by the marketing department for a model about to enter a conservative and competitive segment.
At 4,672mm long, 1,850mm wide and 1,416mm tall, its dimensions are incredibly close that that of the latest C-Class. However, although pitched into the mainstream of the mid-size exec segment, the XE's new platform helps give cab-rearward proportions closer to that of niche models like BMW's 4 Series Gran Coupe.
At the front, the lamps follow the theme of the latest XF, with J-shaped DRLs, while the creases that run from the lamps to the upright grille appear to create a more cohesive relationship than on the larger XJ.
As you'd expect, although not retro, the XE references the E-Type with the power bulge in the hood and LED signature in the tail-lamps.
Along the car's bodysides, the surfacing is clean, with a simple shoulderline plus a lower, horizontal line that links the front fender vent with the tail-lamps. The rocker treatment also appears effective at adding the impression of extra curvaceousness to the car's flanks.
At the rear, the transition of the C-pillar to the bodyside and rear deck helps build the coupe-sedan impression, while the XE becomes the first Jaguar to feature the larger type logo and leaper graphic to help reinforce brand identity.
Inside, again there are few surprises, but what you get appears well resolved. The sweep around the scuttle links the XE to the flagship XJ, while the air vents at each side produce an interesting interlocking shape with the door cards.
The new car is the first to get JLR's new InControl infotainment system. We're keen to sample the new system, as the previous setup was outclassed by most rivals. The screenshot doesn't give much away, although it's disappointing to see that the modern fonts used by the screen's UI, which surely sets the precedent for future Jaguar interior design, aren't matched by those on the HVAC controls below.
For only the fourth time since the first was introduced 25 years ago - when it reignited the small sports car market - there's a new Mazda MX-5 Miata.
Mazda's aim this time was to strip away much of the bulk that had accumulated over the years, recapturing the essence of a compact, light and affordable roadster. The subtext is that the MX-5 Miata has become a car more often bought by women in their 60s, rather than the young males it was originally intended for.
At 3,915mm in length, 1,730mm wide, 1,235mm high and with a wheelbase of 2,315mm, the new car is significantly shorter, lower and wider than its predecessor. It's even a full 35mm shorter than the 1989 original.
But it's the form language that has been given the most significant reboot. It's difficult to read in these pictures, but it's easy to imagine how dramatically low its nose will look, accentuating its compactness. Its graphics are a smart evolution of the MX-5's, while bringing it more in line with the current Mazda range, with far more expression than the lozenge-based themes of the outgoing car.
The same applies to the surfacing, which features a great deal of topographical cross-section, particularly across its hood. Its beltline has also become more curvaceous, accentuating its wheels, yet still allowing a refreshingly upright cabin as it dips across the door sections. The rear aspect is perhaps the biggest departure, with a hint of the first-generation BMW Z4 both through its lamp graphics and dropping feature lines towards the corners of the car.
There's only one image of its interior so far, which features a free-standing center screen (of course), a recurring circular theme and exterior color spilling into the interior via the upper door cards, which is reminiscent of the Fiat Barchetta.
This promises to be one of the more interesting cars of the Paris motor show next month.