Interview: Wolfgang Egger, Audi Group Head of Design
Born in 1963 in Oberstdorf, Germany, Wolfgang Egger has always been passionate about cars. His father, not believing he could simply enter into a design school and build a career, wanted him to pursue a more practical approach; so, in 1984, Egger entered the International College of Arts and Sciences in Milan, Italy, to study Industrial Design. During his studies one of his tutors, noticing he was so fixated on Alfa Romeo, recommended he do an internship at the Italian company in 1988. This was the beginning of Egger's automotive design career.
Upon graduation, Egger swiftly entered the design department and was appointed Chief Designer in 1993. A move to SEAT as Chief Designer followed in 1998 and he was able to input his personal style in the Ibiza, Cordoba and Altea. But Egger soon returned to work for the Italians and, in 2001, was appointed Head of Design at Lancia. That position was short-lived however, as in the same year he returned to Alfa Romeo as Chief Designer.
Finally, on May 1st 2007, Egger came back to his German roots and succeeded Walter de'Silva as Head of Audi Group Design after de' Silva took the position as Head of Design at the Volkswagen Group. In his new role Egger will work for de'Silva and is responsible for the Audi and Lamborghini brands. Stephane Seilaff remains head of Audi brand design.
Car Design News sat down with Egger at the 2007 Frankfurt Auto Show to discuss his past and his ambitions for the future with the German company.
CDN: As a German, what do you see as the differences in design approach between a German company and an Italian one?
"The approach is the history of the coachbuilders, where all the designers come together to look for a vision. There is a passion for the car, for the driving dynamics. The traditions are different and the approach is different. In Alfa the tradition, the culture, was more rounded, more three-dimensional in some themes like the hood for example, and the fender. The aspect [to the body] on the wheels was a romantic line, with volumes that are very sporty, but there were compromises to the aspects of functionality. Here [at Audi] it's very monolithic and precise, but in the same way with Alfa there is an approach between the wheelhouse, the side lines and the greenhouse which puts the car on the road. This relationship between the road, wheel and body produces emotion when you see the car from a distance. In many ways it's the same, in thinking of the origin of competition and sports cars."
CDN: Would you say that the monolithic approach is unique to Audi? How do you ensure that you keep a distinct brand language for Audi?
"We are moving ahead with the Bauhaus tradition but we are going to join the emotional aspect of these designs. The possibilities include the emotional aspects that are related to the Quattro tradition. The Quattro is a passionate car that everyone sees as unique to Audi. So we are going to continue with the Quattro theme more and more, but not recalling the past. The typical precise lines - we call Tornado lines - in the sides will reflect light and shadows but in a more dramatic way. And in combination with the details and the aesthetic concept that is unique to Audi - the aluminum refinements, a fine definition in the section - make the design unique. These details all have a fine definition that is particular to Audi, like jewelry. We are also pushing the limits of technology. It's the only brand which consistently pushes the limits of technology."
CDN: What would you say has been a highlight in your career in terms of design?
"It's like a family. You feel like a family. As people and also as cars. I love all the cars, but maybe the last one [the Alfa Romeo 8C Competizione] because it's the smallest, like the last child. The last design is like the last baby of the family, it's most emotional."
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