Unlike some design directors, Freeman Thomas is not one that has been spent much time in the spotlight. This might seem normal to many, until you realize the immense contribution he has made to modern car design. After all, here’s the man behind the original Audi TT, the rebirth of the iconic Volkswagen Beetle and the massively successful Chrysler 300C.
Thomas graduated from the prestigious Art Center College of Design before beginning his career in automotive design, like many of his North American peers. His first job was at Porsche – a remarkable achievement by any standard. After rising through the ranks, the affable automotive aficionado decided to switch gears for a few years, dabbling in journalism, consultancy and education before returning to design full time at Volkswagen’s Design Center in Semi Valley, California.
Working with fellow Art Center graduate J Mays, Thomas was responsible for the original design of the Audi TT, one of the most definitive automotive design icons of the last century, as well as the Concept One, which would later become the new Beetle. Recognizing, perhaps, a sense of camaraderie, Thomas left VW to work with Mays’ industrial design consultancy, SHR, but eventually returned to Volkswagen of America as Head of Design.
Opportunities, as they often do, arise at when least expected. And so when Chrysler came knocking in 1999, Thomas moved over to head up the company’s Advanced Product Design Strategy and later the Pacifica Design Center, picking up his pen once more to create the 300C, which became a monumental success for the Detroit-based manufacturer.
Since June 2005, Thomas has been Director of Strategic Design for Ford North America, where he heads a small studio in California focused on Advanced Design. Amongst other concepts, the compact Lincoln Concept C and Ford Start were born out of this studio.
“I’m very hands-on, in the trenches, one of the guys. That’s the way I like it, I don’t like sitting on the sidelines. I want to be part of it. I want to be in the game.”
A lifetime gearhead, Thomas likes to bring his own cars into the studio — such as a Ferrari Dino he is slowly bringing back to factory standard and a VW Vanagon he’s owned since his time at Volkswagen and uses as his daily driver — to inspire his design team.
Intrigued, we packed our bags to meet with the acclaimed designer and find out more about him, his career, and what he’s got in store for Ford.
How do you see your role within Ford?
“My role is as a coach, a mentor and a compass. I’m working very closely with my team. I feel that my job is to sit down with them one-on-one and we talk about what we’re doing and we lay the lines together, we talk about it together because it takes a really broad creative team to create a product.”
Two of the most recent Ford concepts — the Start and the Lincoln C — were born out of this studio and under your leadership. What can you tell us about their creation?
“The theme of the Lincoln C is Jeremy Lang’s, and my role was to work with him: ‘Let’s get it packaged, let’s get proportions, let’s put the team together, what are the details going to be, what is the interior story going to be’ — it’s the overall picture. It’s almost like being a director on a motion picture and bringing your creative team together.
“It was the same thing with Start. We had many personalities on Start and it’s the part that you might recognize that’s me as the overall architect as I put the whole thing together, but I’m really blessed to have a great creative team working with me. What I do is I try to inspire my team by surrounding ourselves in the best of the past and examples of the future — and open-mindedness for the future.”
Both of those concepts bear a distinct ‘Freeman Thomas’ aesthetic. Where do you come up with the inspiration to create these minimalist but premium designs?
“At the end of the day, even when you’re doing something affordable for the minimalist it has to have a sense of premiumness. It’s like taking a bottle of water. You have a Perrier and a bottle of Arrowhead and it really costs the same to produce the two products but the Perrier or a Pellegrino has a more premium feeling to it. It’s the same thing, but it’s a sense of occasion that one brings to the table that the other one doesn’t. It’s the same with an Apple product and what it feels like to have, touch and feel — and the weight — but basically it’s a disposable device.
“When you’re creating an automobile or something that you’d stare at and you evaluate and measure it, somehow when you look at it, it’s hard to express taste. What is good taste? What is great taste? Well, most of it is entity. It’s about coming up with a series of lines that sort of pares away all the superficiality and purifies it into the essence of what it is. That is probably more than anything what I’m trying to do.”