Geometric Design: A 17-Year-Old’s Dream
Michiro Eguchi
―― Moving to the 2nd-Gen. Mirage Project
In January 1981, once the design work on the Mirage II Turbo and the Minica Ami 55 was largely complete, I was transferred to the 2nd-gen. Mirage project. Unlike the 1st-gen.model, the 2nd-gen.Mirage was planned from the outset as a broader lineup that would include 3- and 5-door hatchbacks as well as a 4-door sedan. About ten designers had already been assigned to the project, but the basic design had yet to be finalized. More manpower was therefore needed to move the project forward.
―― Reviewing the Concept and Starting the Sketches
Tomio Kubo, the chairman who had led the design of numerous models, including the Colt Galant and the 1st-gen. Mirage, sent us a message expressing his determination: “I’ll keep working on this until I can no longer see!” With those words in mind, we decided to go back to the basics and rethink the project from the ground up.
The people involved in the project, including members of the Passenger Car Product Planning Dept., conducted further research and held a series of discussions. Based on the results, we summarized the basic concepts for the three models on several panels. The chairman gave it a favorable evaluation, and we moved on to the sketching stage.
At first, We wanted to give each model its own distinctive character by developing a different design for each. Unfortunately, however, we had to proceed on the assumption that the major body components would be shared in order to avoid increasing costs. Later, when Honda unveiled the three versions of the 3rd-gen. Civic, each with a distinctly different design, I remember feeling envious.
I already had an idea for a small sports car that I had been sketching on my own for some time, and I used that idea as the starting point for my sketches.
The previous designers had already been working on an approach that sought to refine and evolve the highly regarded 1st-gen. model. This was also one of the reasons why it had taken so long to settle on a final design.
I therefore aimed for a new form while retaining the simplicity and clean lines of the basic body. The entire design staff divided the three models among themselves, and we moved from initial sketches to full-size tape drawings and then on to modeling.
―― The Competition Begins
I was responsible for the 3-door model, but by the time the clay model was completed, the basic dimensions had been changed. Until then, the 3-door had been developed with the same 2,300-mm wheelbase as the 1st-gen. model, but it was changed to 2,380 mm, shared with the 4-door model. At the same time, instead of having each designer work separately on one of the three models, it was decided that the 3-door would be finalized first. Everyone was therefore brought together to work on it, with the aim of deciding in a short period of time.
This led to a fresh sketch competition among all the designers involved. A specific sketching format was established so that the executives could easily compare the proposals. Following the example of design consultant Aldo Sessano, we worked in the Italian highlighting technique using colored Canson paper. In the end, my sketch and those of two other designers were selected, and we moved on to the model-making stage.
―― A Designer’s Vision
At the time, Chairman Kubo’s design philosophy emphasized not only simplicity and sharpness but also flush surfacing. These principles were very much in line with my own design philosophy, so I was confident in moving forward.
What first inspired me to become a car designer was the Autonova GT, which I saw in Car Graphic when I was in high school. Its designer, Pio Manzù, had studied at the Hochschule für Gestaltung Ulm (Ulm School of Design), which was influenced by the Bauhaus tradition. He was also the founder and editor of the Italian automotive design magazine Style Auto.
Manzù was the person who showed me the appeal of automotive design. His simple, architectural, and geometric forms became a guiding principle for my own design work.
Specifically, I incorporated the concept of modularity used in architecture, creating a simple and rational panel structure with as few elements as possible. I first worked out the basic proportions of the 3-door model and then divided its surfaces geometrically. To minimize the step between the glass and the body, I studied several different glass curvatures and established the basic cross-sectional profile. I had learned this technique through my work with Masao Oshima, who designed the 1st-gen. Mirage.
The 1st-gen. model had a clean, beautiful appearance, but it also had a somewhat static quality. To give the new model a more dynamic character while providing larger windows, I extended the design line from the sides of the fenders up into the beltline.
For the plan view, I created a stronger curvature than usual to give the body a sense of volume. This was something I had learned from the Fiat 500 I drove as a hobby at the time.
―― Aldo Sessano’s Advice
Before the approval meeting, Aldo Sessano came to Japan to review each of the design proposals and offer his advice. He mainly recommended Proposal B. He suggested extending the hood down to the top of the bumper and creating a side opening, so that it would flow continuously into the beltline.
I had actually been drawing this treatment from the sketching stage, but because it was something Mitsubishi had never done before, I thought it might be opposed and deliberately left it out of the presentation. I was lucky that Sessano recommended it, allowing me to realize the idea without having to go through the trouble of convincing everyone!
Unfortunately, however, the wraparound quarter glass at the upper rear section, which I had proposed from the sketching stage, was not adopted. I was disappointed about that.
In preparation for the chairman’s subsequent visit, I refined the details based on Proposal B, incorporating Sessano’s advice. In October, once the model was completed, the chairman visited the Design Section and approved the model.
The grille-less hood, which extended down to the top of the bumper, was ultimately not adopted because it would have reduced cooling efficiency and increased weight. This would also have required additional dampers, resulting in higher costs.
―― Refinement Toward Final Approval
To find an alternative to the grille-less hood, I went back to the sketching stage. A conventional grille with a regular grid pattern would interrupt the flow of the body surfaces, so I initially explored a transparent acrylic grille integrated with the headlights. However, it had several drawbacks, including poor durability and the fact that the components behind it would be visible. It also looked disconnected from the rest of the car when used with darker body colors.
For the refinement, I therefore proposed a body-color grille with horizontal bars that gradually varied in thickness, creating a sense of continuity between the hood and the grille. I was concerned that the engineering team might object to this unconventional approach, but there was no significant opposition. I was also relieved to see a similar treatment later used on the Renault 25.
At this stage, strong requests from the Sales Division and the Product Planning department led to the addition of a side protector along the side bead line. The front corner lamps were later given the name “Boomerang Lamps” for marketing purposes, but my original intention had simply been to create a purely geometric division of the surfaces.
The wheel openings were changed to a trapezoidal shape, which had received high marks in Proposal C and was also something I had explored during the sketching stage.
I also revised the relatively high lower edge of the rear hatch, which Sessano had pointed out would be unpopular in Europe. I personally liked the narrow tail lamps because their shape prioritized function, allowing the hatch opening to be both lower and wider. However, they made the car look somewhat like a commercial vehicle, so I decided not to use them. Instead, I adopted a two-piece lamp design inspired by Proposal C, while lowering the hatch opening as much as possible.
This resulted in a clean, uncluttered body surface above the bumper, which I was very pleased with. Unfortunately, on the European version, the license plate ended up being placed in this area.
With these changes incorporated, the model was refined and successfully received the chairman’s final approval. Unfortunately, however, I had to step away from the project at this point to study at the ArtCenter College of Design in the United States.
The remaining members took over the work of coordinating with the various departments for production, preparing the drawings, and developing the different body styles. After going through the prototyping and production processes, the new Mirage was successfully launched in the fall of 1983.
Makoto Goto, who had supported the project from its early stages, was responsible for the 3- and 5-door models. The 4-door sedan was handled by Chief Designer Ryu Kaibuchi and Hidetoshi Aoki, while Chief Designer Satoru Tsujimoto oversaw the project through to its launch. Mari Kato was responsible for the 4-door wagon and van, becoming Mitsubishi’s first female exterior designer.
―― The ArtCenter Connection
While studying at ArtCenter, I received tremendous support from Professor Keith Teeter. He was an enthusiast who owned and drove a Fiat 850 Spider, and I came to deeply respect him, both as a teacher and as a person.
Later, Professor Teeter became a consultant to Mitsubishi’s Cypress Studio. When he came to Japan two years after the launch of this car, he complimented it, saying, “It’s a good design.” Hearing those words from him was one of the most rewarding moments of my career.
It was only later that I realized that the designers of the 1st, 2nd, and 3rd-gen. Mirages—Masao Oshima, myself, and Jeff Teague, respectively—had all been students of Professor Teeter.
―― The End of the Simple & Sharp Design Era
After this, the design trend shifted dramatically from sharp, angular forms toward softer, more rounded shapes. In that sense, the 2nd-generation Mirage can be seen as the last opportunity when my own design philosophy, Sessano’s advice, and Chairman Kubo’s preference for simple, sharp forms all came together.
As I worked on this article, I compared my very first sketch with the brochure photos of the production car. I was surprised to see how little the design had changed! It makes me wonder what I was doing for that entire year. But then again, you can’t climb a high mountain in a straight line.
―― What the Project Achieved
Although the second-generation Mirage did not receive the same enthusiastic acclaim as the first-generation model, the lineup expanded beyond the 3- and 5-door hatchbacks to include a 4-door sedan, followed two years later by wagon and van versions. The basic structure and major body panels continued to be used through 1992.
The 4-door sedan was also adapted for production in Malaysia as the Proton Saga, with some detail changes. With minor revisions to the front and rear over the years, it remained in production until 2008.
I believe the simple, modular panel structure gave the design a high degree of versatility and contributed to efficient production. In terms of volume, approximately 1.2 million vehicles across the entire lineup, excluding the Proton models, were produced and sold. The project also appears to have made a solid contribution to Mitsubishi’s profitability.
August 2026
Youthful, High-Tech Interior
Yasushi Kobayashi
―― Target user: Readers of “POPEYE”
In 1979, I joined Mitsubishi Motors and was assigned to the Interior Design Group of the Styling Section. The first project I became involved in was the 2nd-gen Mirage, whose development had just begun.
The team consisted of 5 members, including our leader, Mr. Kamaike. With an average age in the mid-thirties, it was a young and fast-moving organization. As a new employee, I considered myself extremely fortunate to be involved in the development of a new car from its very early stages.
Our first step was a brainstorming session to define the target customer. We envisioned the young generation represented by lifestyle magazines such as POPEYE and Hot-Dog PRESS—people fascinated by Western lifestyles and eager to enjoy leisure activities such as tennis, skiing, and scuba diving. At the age of twenty-three, I myself fit that profile perfectly.
―― Carrying forward “Less Bulky, More Roomy”
The interior design theme inherited the philosophy of the 1st-gen Mirage: “Less Bulky, More Roomy.” The objective was to maximize the sense of spaciousness and practicality within a limited vehicle footprint. Based on this theme, we began our studies using full-scale tape drawings.
Transparent film was laid over the basic package layout, and thin design tape was used to outline the instrument panel, door trims, and seat shapes. Colored paper was then inserted beneath the film to explore color schemes and layout alternatives. Beside the tape drawings, we displayed presentation panels featuring young women dressed in sportswear, representing our target lifestyle image and helping us visualize the intended character of the interior.
Compared with today’s digital design methods, this was an entirely manual process. At Mitsubishi, however, it was the standard practice of the time. Struggling with wrinkles and reflections in the film overlays, we gradually developed a tangible understanding of the interior space.
―― Building initial instrument panel models
The team agreed on a basic direction for the instrument panel: minimize its intrusion into the passenger compartment, make the meter cluster as compact as possible, and prepare for future technologies such as digital instrumentation and new control switches. After producing numerous concept sketches and narrowing them down, two proposals were selected for modeling: Proposal A, which I designed, and Proposal B, created by Mr. Ito. However, instrument panel planning involved a complex combination of factors, and as a newcomer I lacked the necessary experience. Consequently, I handed over the later stages of Proposal A’s development to senior designers and instead took responsibility for designing the control switches.
Around that time, the concept car Asso di Fiori—later developed into the Isuzu Piazza—had attracted attention at the 1979 Geneva Motor Show with its innovative layout that placed switches on both sides of the instrument cluster. Mitsubishi itself had also introduced the “Wing Column Switch” on the 3rd-gen Sigma, concentrating controls close to the driver’s hands. It was becoming clear that integrated control systems would represent a major trend in future car design. I built a rough experimental model to study switch operation and, with the assistance of studio engineers who supported the design team, repeatedly evaluated its usability. The results were incorporated into both instrument panel proposals.
About 3 weeks later, based on the completed drawings of the instrument panel and switches, a full-scale model was delivered by an outside model-making company. The completed model aimed to convey openness and modernity. However, the reaction within the Styling Section was unexpectedly harsh. Several managers pointed out similarities to other cars and even to the 1st-gen Mirage, criticizing its lack of originality.
The disappointing evaluation left the team discouraged, but the development schedule allowed no delay, and we had to move forward quickly.
―― Challenging ourselves with more advanced design
At that point, Mr. Kamaike suggested that we temporarily set aside concerns about production feasibility and pursue a more futuristic design theme. Mr. Ito and I were assigned to develop the proposal. Since the previous design had been poorly received, we decided to push the concept of innovation as far as possible.
Our idea was to eliminate the conventional instrument cluster entirely—the largest visual element of the dashboard—and treat the instrument panel itself as an integrated part of the interior trim. This represented the ultimate expression of “Less Bulky, More Roomy.” A slim digital display would be embedded within a simple, clean dashboard form, while control levers and switches are arranged on both sides of the steering column and are touch-sensitive. The proposal was almost at the level of a concept car in terms of its futuristic character. We felt confident that no one would accuse it of lacking originality.
When the completed model was presented to senior management within the Styling Section, the response was positive. Although concerns were raised regarding practical implementation, the design was praised as bold and innovative, and we were authorized to proceed in that direction. It was an important step forward.
―― Long struggle toward final design
Although the overall direction had been approved, major challenges remained before the design could be translated into a production feasible level. Because the Mirage was intended as a global compact car and would be offered in lower-priced versions, we had to accommodate both digital instrumentation and conventional analog gauges, which required additional space. As a result, the instrument area inevitably regained some physical bulk.
The steering-column-mounted controls that I had designed also underwent revision. To prioritize affordability and reliable operation, the touch-sensitive concept was replaced by rotary controls. By incorporating pronounced serrations on the large dials, I achieved a design that combined good tactile usability with a high-quality appearance.
The final instrument panel inevitably lost some of the purity of the original concept-driven model. Nevertheless, it still retained a sense of novelty. Combined with the open cabin layout, bold color schemes, and sporty seats, I was convinced that the overall interior would strongly appeal to younger customers.
―― Market reception after launch
The 2nd-gen Mirage was launched in Japan in October 1983. When I eagerly reviewed the automotive magazines, I found comments such as: “The unique dashboard immediately catches the eye and creates an atmosphere unlike that of previous Japanese cars.” While this was encouraging, there was almost no mention of the digital instrumentation or control systems in which we had invested so much effort. Because I had been particularly confident in those features, I was somewhat disappointed.
During the initial marketing campaign, Mitsubishi strongly emphasized youth appeal. Advertisements featured the rock musician Kiyoshiro Imawano alongside the slogan “Baby! Run Away!”
At that time, I had been temporarily assigned to sales operations to gain practical experience. What I observed there was revealing: the majority of customers visiting dealerships to purchase the Mirage were actually in their forties and fifties. The youth-oriented design philosophy and marketing strategy, while ambitious, did not fully align with the realities of the marketplace.
Despite slow domestic sales at first, the model’s fortunes improved through the addition of wagon and four-wheel-drive variants, along with expanding export sales. Over its full life cycle, the 2nd-gen Mirage grew into one of Mitsubishi’s core products, achieving average annual sales of approximately 250,000 units worldwide. I continue to regard my involvement in its development as a significant and meaningful experience.
―― Looking Back
This interior program pursued “youth appeal and advanced technology” with uncompromising determination. Looking back today, however, I am not convinced that those priorities truly reflected the market’s needs. The Mirage lineup eventually expanded to include a two-door hatchback, four-door hatchback, four-door sedan, four-door wagon, and four-door van. Its customer base was therefore much broader than we had originally targeted. Among those customers were buyers who valued refinement and a sense of quality rather than youthful sportiness.
In hindsight, reducing such a diverse market to the simple theme of “youth appeal and advanced technology” was probably too narrow an interpretation. A more multifaceted perspective would have been beneficial. The project was driven by youthful energy and by our confidence in our own instincts. Yet experience later taught me that responding to the needs of a diverse customer base requires deeper consideration and broader insight.
Even so, the opportunity to challenge established conventions and explore new possibilities in automotive interior design was invaluable to a young designer just beginning his career. I remain deeply grateful to the managers and senior colleagues who entrusted me with that challenge and allowed me to learn from it.
August 2026