You can’t miss his eyes, which shine with intelligence and radiate waves of
creativity and passion. The latter didn’t take long to blossom when the most
gifted Japanese designer of his generation, Norihiko Harada, was still a
schoolboy. His name has been associated with Zagato for decades and has
been behind some of its most iconic creations.
His mantra is simplicity of design without sacrificing refinement and good
taste. Among his many creations, some more beautiful than others, the Mostro
Barchetta occupies a place of choice. A piece of jewelry, produced in just five
examples, is reminiscent of the sublime 1957 Maserati 450S Coupé Zagato.
In this exclusive interview with Gentlemen Drivers magazine, Harada talks
about his beginnings in car design, the creations that have made him a
household name, and his plans for the future.
Discovering the captivating story in PDF
– When did you first think about becoming a car designer?
When I graduated from university in Japan, majoring in philosophy and art history, I
started thinking about becoming a car designer. I decided to go to the Pasadena Art
Center in California to study automotive design. My interest in car design goes back
to when I was at college.
– What was your first car?
My first car was an Isuzu Gemini ZZ. It was one of GM’s world cars, based on the
Opel Kadett. I got it in the early 80s. It had an Isuzu 1.8 liter twin cam engine and was
painted black with gold BBS wheels. I used it for a few years until I crashed it on a
winding road. I was a young, inexperienced driver, which always worried my parents.
– What has your career been like from the beginning to the present day?
I started my career at the IDEA Institute in Turin, Italy, in 1989. I stayed there until
1944. I was lucky enough to work with the design director, Mr Ercole Spada, for
almost four years, until he left IDEA to join his former company, Zagato. Later, Mr
Spada called me and invited me to join Zagato. Since then, I have worked for Zagato
as Chief Designer and Vice President of Design. A collaboration that has lasted for
30 years.
– What are your main projects with Zagato?
I’ve worked on almost all the automotive projects and on a few industrial products. All
the projects are equally important. However, personally, I felt a particular emotion and
passion when I worked on a bespoke project for an exotic sports car chassis for a
wealthy owner.
This is because, as a designer, I can design while exchanging information about the
project directly with the client, which fosters a shared passion. I can work in a pure,
direct relationship between designer and client. If I can understand the customer’s
lifestyle and aesthetic values, I can give them more satisfaction, which ultimately
becomes my own satisfaction.
– Tell us about your experience in developing the Zagato Mostro Barchetta…
The Mostro Barchetta is derived from the Mostro Coupé, a project in homage to the
1956 Maserati 450 GT Zagato. The original car was a one-off driven by Stirling Moss
to win Le Mans.
In designing the Mostro Barchetta, I wanted to create a vehicle with simple volumes
and clear intersections between each volume. It also has long front and rear
overhangs, which contrasts with the current trend in the industry.
– You helped design the MV Agusta FZ4. What is your relationship with this bike?
I’ve always been very interested in motorbike design. However, I knew that this
required specific knowledge, both technical and cultural, of the motorbike world.
When a major client asked me if I could design a motorbike, I was very enthusiastic,
but I also knew that it would be a major challenge.
Customization is a major part of motorcycling culture, more so than in the car
industry. That’s why I wanted to choose a design approach that broke away from
typical customization trends to make the F4Z extremely unique and special. Once
again, I aimed for simplicity. I tried to create a more integrated design, bringing the
language of design closer to that of cars.
– What motivates you?
All the beautiful cars I’ve seen in my life have struck me with their beauty, their sound
and their speed. Today, I want to transmit that wave of ecstasy to everyone. I receive
the emotion through design and then pass it on to others through my work. This is
how the chain of emotion and passion begins, a chain that has probably lasted since
the birth of the automobile. I believe in a kind of reincarnation: emotions and
passions are also reincarnated in designers.
– Where do you draw your inspiration from?
I draw my inspiration from a variety of sources, including vintage cars, airplanes,
weapons, beautiful women, animals, art, the clouds in the sky, the flow of water, etc…
-How would you characterize your approach to design?
It’s very simple. When a man tries to woo a woman, he can talk a lot, use a lot of
words. But sometimes you can do it with one very strong, passionate word. I prefer
the second approach.
– What is your vision of the future?
The interest in speed has existed since the birth of humanity and has always been
stimulated by the latest technologies and creativity. With the advent of the motor at
the end of the 19th century, motor vehicles achieved dynamic performance and
acquired an aesthetic value comparable to fashion and architecture. Just as horse-
drawn carriages evolved into automobiles, even if automobiles one day become a
new generation of transportation tools, I hope they will continue to enhance human
life, captivate everyone with their beauty and be loved as members of the family.
– What advice would you give to future designers and students of transport design?
It’s essential to understand and appreciate the inherent beauty of man-made cars
and, at the same time, to forget everything and invent a shape that no one has ever
seen before. Without ever losing sight of that, you have to sit down and draw in your
sketchbook every day. It’s a purely creative approach that every student should
practice before entering the more complex professional world.
– What are your hobbies?
I practiced martial arts when I was young. I also love music and listen to it almost
constantly while I’m drawing.
