Fabrizio Giugiaro: Designing Between Emotion and Electricity

I met Fabrizio Giugiaro at the Salone Auto Torino, where the cobblestone courtyards around the Royal Palace of Turin glimmered with concept cars and prototypes. Amid the bustle of journalists and designers, Fabrizio spoke candidly about the future of electric mobility, the soul of design, and why the next chapter of the automobile still needs emotion—and a little combustion. There is a short 5 minute video that we did after this interview you should also check out!

by Bernard Martin

For the Salone Auto Torino GFG Style Display 2025, two historic and highly celebrated pieces from the Fabrizio and Giorgetto Giugiaro collection where on display at the booth set up in Giardini Reali - the 1963 Chevrolet Testudo and the 2002 Alfa Romeo Brera - as well as the Peralta S style model, the first one-off created by GFG Style, a project by Fabrizio Giugiaro inspired by Giorgetto Giugiaro's Maserati Boomerang.

It’s hard to imagine modern automotive design without the name Giugiaro. Between Giorgetto and his son Fabrizio, the family has shaped everything from the Volkswagen Golf to the DeLorean DMC-12. But sitting across from Fabrizio Giugiaro in Turin, surrounded by GFG Style’s futuristic concepts, I wasn’t there to talk about the past—I wanted to understand where the future of design is headed, especially as electric vehicles reshape the industry he helped define.

“I started working on electric drive long before it became fashionable,” Fabrizio tells me with a grin. “Back in 1992, I built a car in Israel that was technically electric, but it had what we’d now call a range extender—a small turbine that generated power.” He laughs at the idea that something he built three decades ago might be more relevant today than ever. “That car was ahead of its time. The idea was simple: let electricity drive the wheels, but keep a small engine or turbine to recharge the battery. Lightweight, efficient, flexible fuel. That’s still, for me, the most logical approach.”

​His conviction hasn’t changed, even as the rest of the industry races toward all-electric mandates. “Full electric is important,” he says, “but it isn’t everything. The market and the infrastructure have to grow together. Forcing it by regulation—before the market is ready—was the big mistake.”

Bandini Dora concept. The GFG Dora, designed by Giorgetto Giugiaro, nicely highlights the aesthetic concept behind the conception of this full-electric sports car, created as a tribute to the famous cars designed by Ilario Bandini in the 1950s: the structural pillars have the function of enclosing the volume dedicated to the driver and passenger, with a protective function like the halo in Formula 1 cars. At the same time, their shape creates a super minimal and elegant line, conveying an idea of speed and sportiness, and combines the front and back of the car into an organic whole.

When he left Italdesign, Fabrizio began creating wild, go-anywhere machines: the Parkour, the Audi Nanuk, and later, the GFG Kangaroo—an electric “hyper-SUV” that can blast around a racetrack or climb over rocks with equal ease.

​Around the same time, he collaborated with the reborn Bandini Automobili on the Bandini Dora, a striking open electric roadster that paid homage to Italy’s small coachbuilt sports cars of the 1950s. “The Dora was about freedom,” Fabrizio explains. “It was electric, yes—but more importantly, it showed that electric architecture lets us rethink proportion and emotion. The absence of a big engine means you can make something light, beautiful, and pure.” Both cars reflected his belief that electric design shouldn’t just mimic combustion—it should rediscover the joy of form.

“The Kangaroo was an experiment,” he continues. “Electric, fast, and versatile. Technically, it worked beautifully. But I discovered that even if electric cars are better in performance—faster, more balanced—they can lack something very human: charm. You know, that emotion—the sound, the vibration, the feeling. A supercar needs that soul. Without it, it’s missing something.”
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Although the aggressive and aerodynamic shapes make one think of a “pure” sports car, the GFG Vision 2030 is configured as an SUV, given that it has been designed to cope with all kinds of terrain and environmental conditions, from track to off-road, whether it is sunny, rainy or even snowy. Not just an SUV though, but a Hyper SUV, given its all-electric power supply and ability to deliver top-notch performance while ensuring comfort and safety.

Fabrizio believes the car market is splitting in two. “There will be cars for mobility—smart, shared, connected, autonomous. They’ll move people efficiently,” he says. “And then there will be cars for pleasure—for driving, for emotion. That’s the future.” He’s realistic, not nostalgic. “I love automatic transmissions,” he admits. “But I understand why people want manuals again. It’s a toy, a game. It’s fun. Cars for fun will never disappear.”
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​He’s also keenly aware that today’s youth relate to cars differently than previous generations. “In Europe, many young people don’t even get a driver’s license,” he says. “Their social life is through their phone. When I was 18, a car meant freedom. For them, it’s the device.” But here’s where he sees opportunity. “In China, cars are already integrated with that device. You get in, your phone connects, your music starts, your cameras activate. The car becomes part of your digital world. For young people, that’s exciting. They can say, ‘I’m here!’ and share it instantly. That’s how they rediscover the car.”

He has deep respect for the speed of Chinese innovation. “In China, interior design, integration, connectivity—they’re already beyond Europe,” he says. “They understood how to connect technology to emotion for a new generation. Meanwhile, Europe is still sleeping.”

When the conversation turns to policy, Fabrizio doesn’t mince words. “The biggest mistake in Europe was trying to force electric cars through rules instead of letting the market evolve naturally. The infrastructure wasn’t ready. If you live in a house and can plug in, fine. But if you live on the 10th floor of an apartment building—what are you going to do? Run a cable out the window?” He shakes his head. “That’s not realistic. People don’t know what to buy—diesel, electric, hybrid. Nobody wants to buy something that loses 90 percent of its value in two years. The market has collapsed for that reason.”

The GFG Kangaroo on the move on the streets of Turin, near Piazza Castello, on the occasion of the 2024 Auto Show, still displaying the race number used during the last edition of the famous Mille Miglia, run entirely by the full-electric hyper SUV. Characteristic of the models designed by Fabrizio Giugiaro is that they are fully functioning and traveling prototypes, capable of tackling any kind of route, often driven by the Fabrizio himself.

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​The Giants and the Independent

Fabrizio’s view of the global landscape is refreshingly candid. He sees consolidation as inevitable but not necessarily bad. “A few years ago we saw the American Chrysler group merge into Fiat, and then into FCA,” he says. “Now we have Stellantis—a giant that stretches from Detroit to Turin to Paris. It’s a necessary structure, because developing technology today costs billions. But the challenge is cultural: how do you keep Italian passion and identity inside a multinational that large?”

At the other end of the spectrum, he sees small independents thriving on authenticity. “Look at Pagani,” he says. “They build cars with manual gearboxes and incredible craftsmanship—pure emotion. They prove that there’s still space for people who create for the sake of pleasure, not just production. In some ways, Pagani is more in touch with what people want than many of the big manufacturers. That’s the balance the future needs: the giants for mobility, and the artisans for emotion.”

Today, GFG Style works with clients around the world—each with their own vision. “We’re a design service,” Fabrizio explains. “Some customers want pure electric, others hybrid or turbine-based. And now, with Bizzarrini, we’re back to pure internal combustion—a naturally aspirated V12. Old-school charm, brand-new engineering. Everyone is running away from combustion, so we said, fine—we’ll make something that celebrates it.”

He smiles when he describes the project. “The Bizzarrini is one hundred percent termic—completely internal combustion, no hybrid or electric assist. It’s like an old car in the best way: a naturally aspirated engine, no turbos, pure mechanical emotion. Not a thousand horsepower, but a car built to be truly charming and technically classic, even though it’s very advanced. They’re developing a brand-new twelve-cylinder engine from scratch. I said, ‘Are you crazy?’ They said, ‘No, no, no—because everyone else is going electric, so we’ll do the opposite. We’ll create this car, make our own engine, and even sell the engine to others.’ It’s a bold move, but a wise one.”

(In Italian, “termic” comes from “motore termico,” meaning a traditional internal-combustion engine—literally a thermal engine powered by gasoline or diesel.)

For Giugiaro, changing technology isn’t a limitation—it’s just another brief. “Designers are problem solvers,” he says. “When my father started, cars were shaped by engineers. Now they’re shaped by software, marketing, safety, autonomy. It doesn’t matter. Each new rule is just a new target. That’s the fun.”

I ask about the collector market—what happens 50 years from now when today’s cars have obsolete software? He waves it off. “We had the same worry in the ’80s,” he says. “Technology evolves, but people always find a way. There will always be a market to keep these cars alive.”

​As our conversation winds down, it’s clear Fabrizio sees the future as neither electric nor mechanical—it’s emotional. “Cars will change, but people won’t,” he says. “They’ll always want to move, to express themselves, to play. Whether it’s through an app or a manual gearbox, the desire is the same.” He smiles as we step back toward the display of GFG prototypes gleaming in the Turin sun. “Mobility will be smart. Cars for fun will be special. That’s the world we’re building.”

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The Giugiaro Cars

Highlights from a family that shaped the language of automotive design.

GFG Style Museum

Together, Giorgetto and Fabrizio Giugiaro have designed cars for nearly every major manufacturer, influencing everything from the everyday hatchback to the modern supercar. Their legacy connects eras — from the analog grace of the Maserati Ghibli to the digital vision of the Bizzarrini Giotto — proving that great design transcends powertrains and generations.

• Bizzarrini Giotto (2026–) – Fabrizio Giugiaro / GFG Style. A pure expression of mechanical artistry, the new Giotto revives Giotto Bizzarrini’s spirit through a naturally aspirated V12 developed from the ground up. Designed by Fabrizio Giugiaro, it celebrates internal-combustion purity in an era dominated by electrification — blending Italian elegance with raw performance.
• GFG Peralta S (2025) – Fabrizio Giugiaro / GFG Style. Unveiled at the 2025 Pastejé Automotive Invitational in Mexico, the Peralta S is GFG Style’s first one-off commission, created for collector Carlos Peralta. Built on the Maserati MC20 platform, it pairs a twin-turbo V6 with a mirror-polished aluminum and carbon-fiber body. Its dramatic dome canopy and crisp wedge lines pay tribute to Giugiaro’s father’s 1972 Maserati Boomerang, reinterpreting classic Italian futurism for a new era.
• Bandini Dora (2020) – Fabrizio Giugiaro / GFG Style. An open-top electric barchetta that reimagines 1950s coachbuilt charm for the EV age. The Dora’s carbon-monocoque chassis and twin-motor electric drivetrain showcase how lightweight design and freedom of form can coexist with modern technology.
• GFG Kangaroo (2019) – Fabrizio Giugiaro / GFG Style. Dubbed a “hyper-SUV,” the Kangaroo combines supercar performance with off-road capability. Built on an electric platform with adjustable suspension, it embodies GFG’s philosophy of versatility and emotion in electric mobility.
• GFG Sibylla (2018) – Fabrizio Giugiaro, GFG. Elegant electric GT concept celebrating 50 years of Italdesign.
• Fiat Grande Punto (2005) – Fabrizio Giugiaro / Italdesign. The Grande Punto marked a major design and quality leap for Fiat’s small car lineup. Its flowing lines, high shoulder, and pronounced wheel arches gave it the stance of a larger premium hatchback. Giorgetto Giugiaro oversaw the project, but Fabrizio led the creative direction, setting the tone for Fiat’s modern design language in the mid-2000s.
• Alfa Romeo Brera (2002 Concept / 2005 Production) – Fabrizio Giugiaro / Italdesign. A breathtaking coupe that translated almost unchanged from concept to production. The Brera demonstrated Fabrizio’s ability to balance sculptural form with modern functionality.

Many Italdesign projects in the 1990's were true collaborations, blending Giorgetto’s classic approach with Fabrizio’s modern vision. Examples include:

• Volkswagen Golf Mk4 (1997) – Refinement of the Golf line into a more premium segment.
• Alfa Romeo Scighera (1997 Concept) – Futuristic concept car with supercar looks.
• Daewoo Matiz (1998) – Hugely successful small city car, designed at Italdesign and sold globally.
• Concept Cars for Geneva & Turin Shows – Fabrizio and Giorgetto often worked together on experimental designs that influenced future production cars
• Maserati 3200 GT (1998) – Fabrizio Giugiaro / Italdesign. The car that helped restart Maserati’s modern era. Its distinctive “boomerang” LED taillights and refined proportions bridged the gap between tradition and technology.
• Bugatti EB112 Concept (1993) – Fabrizio Giugiaro / Italdesign. Four-door super-saloon concept, decades ahead of its time.
• DeLorean DMC-12 (1981) – Giorgetto Giugiaro / Italdesign. A stainless-steel wedge immortalized by Back to the Future. Its angular design remains one of the most recognizable silhouettes in automotive history.
• Fiat Panda (1980) – Giorgetto Giugiaro / Italdesign.  Minimalist, functional, and honest — the Panda became a design icon of simplicity and efficiency.
• Lancia Delta (1979) – Giorgetto Giugiaro / Italdesign.  A compact hatchback that evolved into a rally legend.
• BMW M1 (1978) – Giorgetto Giugiaro / Italdesign. BMW’s first supercar, marrying motorsport engineering with timeless wedge aesthetics.
• Lotus Esprit (1976) – Giorgetto Giugiaro / Italdesign. A study in sharp geometry and lightweight proportion, the Esprit defined the 1970s supercar look.
• Hyundai Pony (1975) – Giorgetto Giugiaro / Italdesign. Korea’s first mass-produced car, launching Hyundai onto the world stage.
• Volkswagen Golf Mk1 (1974) – Giorgetto Giugiaro / Italdesign. The blueprint for every modern hatchback. Clean, geometric lines and practical packaging redefined compact car design worldwide.
• Volkswagen Scirocco (1974) – Giorgetto Giugiaro / Italdesign. Stylish sports coupe counterpart to the Golf.
• Maserati Merak (1972) – Giorgetto Giugiaro / Italdesign. Developed as a lighter, V6-powered companion to the Bora, the Merak carried over much of the same Italdesign body architecture but featured subtle differences — including open rear buttresses and a slightly softer character. It retained Giugiaro’s refined wedge form while emphasizing balance and agility.
• Maserati Bora (1971) – Giorgetto Giugiaro / Italdesign. The Bora was Maserati’s first mid-engine production car. It combined angular, modern proportions with elegant detailing and everyday usability — a hallmark of Giugiaro’s design philosophy. Its clean wedge shape influenced much of Maserati’s 1970s styling direction.
• Maserati Boomerang (1971–1972) – Giorgetto Giugiaro / Italdesign. The Boomerang was a radical concept car designed by Giorgetto Giugiaro at Italdesign. It debuted as a non-running design model at the 1971 Turin Motor Show, then returned as a fully functional prototype at the 1972 Geneva Motor Show built on the Maserati Bora chassis and mechanicals. With its razor-edged wedge profile, sharply angled windshield, and geometric surfaces, the Boomerang distilled Giugiaro’s design language into a pure, futuristic statement. The car’s interior was equally groundbreaking — a sculptural dashboard where the steering wheel surrounded the instrument cluster — a motif that influenced concept and production cars for decades afterward.
  Although it remained a one-off, the Boomerang’s design directly influenced later Italdesign works such as the Lotus Esprit, DeLorean DMC-12, and VW Scirocco, and helped define the aesthetic vocabulary of the 1970s.
• Maserati Ghibli (1967) – Giorgetto Giugiaro / Ghia. A long-hood, fastback grand tourer that captured the essence of Italian sophistication and power.
• De Tomaso Mangusta (1967) – Giorgetto Giugiaro / Ghia. A sleek mid-engine sports car whose flowing wedge form foreshadowed the design trends of the 1970s.
• Lamborghini Miura (1966) – Marcello Gandini / Bertone. While Giorgetto Giugiaro had recently left Bertone to join Ghia when the Miura was conceived, the car was designed by Marcello Gandini, who succeeded Giugiaro as chief designer at Bertone.  However, Giugiaro’s stylistic influence was still very much present. His earlier work at Bertone — notably the Alfa Romeo Giulia Sprint GT (105/115 Coupé) and Iso Rivolta — established the refined proportions and crisp surfacing language that Gandini evolved into the Miura’s flowing mid-engine form. So, while Giugiaro did not design the Miura, the project grew directly out of Bertone’s design culture that he had helped define in the early 1960s.
• Bizzarrini 5300 GT Strada (1965) – Giorgetto Giugiaro / Bertone. Designed while Giugiaro was still at Bertone, the 5300 GT remains one of the most graceful and muscular sports cars of the 1960s. Its long hood, fastback profile, and taut proportions set the template for generations of Italian grand tourers — and directly inspired Fabrizio’s modern Bizzarrini Giotto six decades later.
• Alfa Romeo 105/115 Coupé (1963) – Giorgetto Giugiaro / Bertone. One of Giugiaro’s earliest masterpieces, setting the tone for decades of Alfa Romeo elegance.