DESIGNA MAGAZINE DESIGNA ISSUE III 2019 2 | Page 116

ROLLS ROYCE
DAWN DESIGN
only ever applied to 28 very special drophead
motor cars, built between 1950 and 1954.
No better execution is possible
Dawn is a blend of Rolls-Royce's
unmistakable road presence with pure 21st
century style. “Our design vision was to
bring an elegance of silhouette to the soft-
top, and natural purity of line to the body
that would be both sexy and captivating,”
says Giles Taylor. “Key to this vision – and
true to all Rolls-Royce design studies – is a
sense of three-dimensional harmony where
no element, whether formal or graphic,
should feel out of place or unnecessarily
forced.”
Taylor is con�dent in his belief in the
quality of a line, similar to the perfect lines
found in nature. Both he and his team
understand how to re�ne a line until no
better execution is possible.
“e core line in Dawn's design is the
'attention-seeking' centre line pro�le,”
Taylor explains. “It had to be low and �uid
... from the low front screen �ows a fast and
sleek line that sweeps over the four seats
and settles onto the neatly tapered tail.
Like raising your collar
Giles Taylor,
Rolls-Royce Motor
Cars Design
Director, reveals
how the design for
Dawn came to life
and the motivations
behind its striking
silhouette.
Taylor �nds designing convertible motor cars
particularly intriguing: “You must never
forget how the occupants will look and feel,
with the hood down. Some designs never
quite seem to carry their passengers in the
style they deserve. Dawn has been designed to
make every occupant look and feel like a star.”
“We felt that the interior line that
encompasses all four occupants should rise
just a little to the rear, as though protecting
the privacy of those in the back seats. Imagine
raising your collar or adjusting your scarf to
shield yourself from the wind, or, in some
cases, the paparazzi...”
“e key body line, which runs unbroken
from the front wing rearwards along the
waist of the car, complements the
silhouette.”
A sense of power and authority
“At the front,” Taylor explains, “there's a
strong sense of purpose, with lines that �ow
from the upper wings of the car and
converge to enhance the visual strength of
the recessed grille. e sculpting of the
lower intake reinforces this sense of power
and authority. Fine, horizontal, bright
elements lead the eye out to the wheels and
on around the car.”
Viewed from the side, the low pro�le and
window shape add to Dawn's powerful
stance. e proportion of glazing to
bodywork is particularly striking, providing
a modern sense of style and con�dence to
the car with the roof up.
e rear design of Dawn is clean, with a
simple, pure proportion. Taylor was careful
to ensure that the size of the rear window
made it practical for driver visibility, yet was
small enough to give rear passengers an
appropriate sense of privacy.
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e quality of re�nement of the soft-top
itself was of paramount importance to
Taylor. Dawn is designed to be the quietest
drophead in the world. And he and his team
worked closely with the engineers to achieve
the best acoustic targets, through
painstaking attention to detail.
“Every new Rolls-Royce body style – and a
drophead in particular – should always add
an extra dimension and allure. Dawn has
that magical sense of occasion that we, as
designers, appreciate from Rolls-Royce's
wonderful design heritage.”
“In the past I've worked with companies
who are all too eager to try and blur the past.
But Rolls-Royce has a rich past, and we have
to carry that on rather than ignore it.”
Dawn revives another famous and rare
Rolls-Royce name, �rst used in 1949, but
is design element naturally draws the eye
down into the interior, harmonising with the
open-pore Canadel door panelling that
envelops the interior space. A range of
contemporary veneer wood grains have been
selected to create a striking, modern edge.
“e car has a style and character made for
out-foxing the paparazzi. It will doubtless
appeal to those who can see themselves
dancing in fountains at dawn.”