The Challenger Spirit Behind the Mazda Iconic SP: Envisioning the Future with Creative Passion

 I always start my design process by sketching on paper. This time, my brief was to design a sports car, so I began by thinking about what defines a sports car, what makes it truly special?

Nakayama and I spent a long time discussing this until we eventually arrived at something beautifully simple: a sports car is something that thrills you the moment you get behind the wheel. That’s really what it comes down to. So, we decided to stop overcomplicating things and stay pure to that feeling of excitement. That's what guided my sketches.

When it comes to the design process, I prefer not to be prescriptive. I create sketches that give our clay and digital modelers room to interpret and contribute their own vision. It's all about everyone bringing their perspective to the design.

Still, it was tough to take when the initial feedback on my design wasn’t exactly positive! And the more I revised, the less sure I was about where I was heading. I started to lose that pure emotion I’d captured at the start. That's when Ito stepped in and helped turn things around.

Designers and clay modelers each had different aspects that they wanted to showcase. My role was to balance these elements in the overall design. I could tell that Takahashi was really struggling, and there was a lot of back and forth as we tried to land on a direction.

Those conversations with Ito really helped me find my way back to that pure feeling I’d been searching for. I knew that emotion was key to defining this car’s personality.

Then, we created the full-scale model. When I saw it for the first time, I thought “This is seriously cool,” and fortunately, I wasn’t alone.

A beautiful car typically hits you instantly with its appeal, but the Mazda Iconic SP is different. It has a more natural allure, the kind that draws you in gradually until you don’t want to tear your eyes away.

As soon as I saw the full-scale model, the inspiration just started flowing. I could see where the driver would sit, and how the interior would fit, and that naturally led to ideas for the interior design.

With this project, I decided to start from scratch, beginning with just the chassis and steering wheel. I was aiming for a sporty feel, but it seemed like every sketch I showed Nakayama was off. I kept getting feedback like "This is just no different to what we have," or "It’s trying too hard—it feels forced."

The atmosphere was really gloomy back then. It was like being at a wake!

Nakayama kept saying, "Just do what you feel is right.” Looking back now, I can see it was his way of guiding me, but at the time I was really struggling with that freedom.

We’d hit a dead end when Nakayama shared images of the exterior to try and spark some new ideas. Seeing the exterior makes you visualize a driver. Then you start thinking about where the seat should be, where the steering wheel should go, or what the driver would see. I used this as my starting point. And the daily drive to work in my Mazda MX-5 proved to be an added inspiration.

This desire to connect a car’s interior and exterior design is uniquely Mazda. You see it in the MX-5. It’s a design approach that lets the driver become one with the car. It’s how we create the joy of driving and the pleasure of complete control.

When Nakayama saw my early sketches, he’d say, “It doesn’t exactly shout Mazda—it could be anyone.” Now, I finally understand what he meant. To create something definitively Mazda, we needed to start with the human element. In other words, how the driver would sit in the car.

We were nearly there but there was one component we still had to figure out: the shift switch. That's where Iwakawa’s input proved invaluable.

Our early shift switch designs were shot down as unoriginal. One comment even compared it to a pedometer.

[Laughs] Oh yeah, I remember that!

After 18 different designs going nowhere, I thought, "Let's try something completely out the box." The team kept saying how the car reminded them of a viola, so I took that idea and designed something based on a viola’s four strings. 

Everyone had put so much thought into every aspect of the concept, we needed controls that would really catch your eye. I think what I came up with really nailed it. There’s nothing else like it.

Both my exterior and Hamanaga's interior were quite serious, concept-driven designs, so the playful shift switch provided a great contrast.

What really defines a Mazda interior is that feeling of, "I need to get in that car." Then you actually sit down and it hits you: "This is what driving pleasure should feel like." If the Mazda Iconic SP gives people that feeling, well, that's everything an interior designer could ask for.

 Once Hamanaga has shared his designs for the interior, I began to think about fabric.

I'd been researching next-generation fabrics and had developed a hemp material. So, we decided to try making a hemp composite using this.

Because hemp is an incredibly absorbent material, it soaks up the resin. This results in a loss of its natural texture. One of the challenges was finding a way to prevent that.

Once we’d achieved that, the next hurdle was applying the composite cleanly. It peeled during prototyping so we tested different adhesives over and over to make sure the fabric wouldn’t let us down at the show.

Usually, our work stays behind the scenes. The Mazda Iconic SP was an opportunity for people to see what we do. That made it an incredibly rewarding experience.

It was truly a special moment. We were working on the upholstery right up until the last minute. It was pretty nerve-wracking, but that's why this model means so much to us.

Sato’s stitching made a big difference too. He even took the initiative with the seat accent graphics.

For the stitching, Yamashita wanted an embroidered look. We experimented with different approaches until we got that handcrafted, three-dimensional feel that only hand-stitching can achieve. As for the graphics...[laughs] I just went ahead and made them. Yamashita looked so busy, I thought I'd give her something to work with.

Looking at the finished interior, I'm struck by how much dedication everyone put into the project.

Something about Yamashita's personality just makes you want to give it your all.

 Even before the Mazda Iconic SP, everyone helped me experiment with ideas that were somewhere between work and hobby. I'm full of gratitude for everyone on the team.

We were working with a lightweight sport concept, and had originally created seats with a modern, sleek 3D knit—a single thread knit to match the seat shape. It looked incredibly stylish. Then Nakayama suddenly suggested using one of Hiroshima’s local specialties: denim. I was not happy: "What?? We've worked so hard to get this looking perfect, and now you want to change it??”

[Laughs] Calming you down was no easy task!

 I remember Hamanaga coming to me for help. And there was Yamashita, fuming in the distance [laughs].

As a color designer, my honest reaction was that it was a bad idea. Choosing denim simply because it's from Hiroshima or locally sourced felt too basic and unoriginal for this concept. But once the decision was made, there was nothing to do but make the most of it. That’s how we came to the idea of making sure our denim was something extraordinary.

We collected different denim yarns from Hiroshima manufacturers and took them to a well-known knitting machine maker in Mie Prefecture. After a process of trial and error, and with help from various suppliers, we finally overcame our difficulties to create a great seat which was modern with just the right softness.

By this point, I’d gone all-in on the "Hiroshima" concept, and proposed using recycled oyster shells for some of the components. (See: “The Design AI Can’t Match: High School Students Explore Oyster Shell Composite Plastic in Mazda Iconic SP”)

Collaborating with so many people on this project introduced me to Hiroshima’s treasure trove of talent. We’ve so many innovative companies and materials here.

Up till now, I selected materials based on their rarity, novelty, or performance specs. The "Hiroshima" angle has opened up so many new possibilities for me. I’m still discovering hidden gems in our hometown, even after completing the Mazda Iconic SP. There's so much more to uncover. This treasure hunt is far from over.

My original sketches were in red, but somewhere along the way, Nakayama changed it to white.  I wasn't very excited about that white, to be honest [laughs].

That white was a real challenge. Just one drop of blue would completely alter the feel of the design. Then, just when we finally perfected it, Nakayama decided he wanted red after all. After all that work!

We actually had this great red from a previous project that Nakayama liked. But it had a major issue.

The red needed a white base coat to maximize its vibrancy. This made it really difficult to maintain consistent quality, and we kept getting uneven coverage. We tried all sorts of different base colors to find a solution, and when we finally thought we had something workable, we showed it to Nakayama.

His verdict? “We can’t release this!" It was devasting. We'd tried everything we could think of, but nothing worked. We were at our lowest point.

The paint itself was incredibly challenging to work with. I experimented with countless mixtures and application techniques, but we kept hitting technical limitations. Finally, I decided to rethink the tools we were using. That's when I came across this special spray gun. It was our first glimmer of hope.

As soon as I found it, I texted Yamashita. "I think I’ve found the answer to our painting dilemma."

I was so happy when I got Tsutsumi’s text that night, I can still remember it.

The final color comes from 27 layers of paint. When we finished, I knew we'd created something truly unique, something that couldn't be beaten.

Every time Yamashita gave me a task, it seemed almost impossible to complete. But sharing those moments of success together made all that hard work worthwhile. For as long as I live the Mazda Iconic SP will always be a special memory for me.

I was giving up hope when Tsutsumi’s idea of rethinking the tools put us back on track. I can’t begin to describe how grateful I am for that. Thank you!

It was right down to the wire to get it done. When we took the car to the Japan Mobility Show, the paint wasn't even completely dry.

The finish was still soft to the touch—not that anyone would dare [laughs]. But it was still absolutely beautiful. I got emotional just looking at it on site.

To be honest, I wasn't sure all the elements would come together cohesively. Then when I saw the actual car...it just blew me away.

I didn't get to see it until the very last minute, during the unveiling rehearsal. When they pulled back the cover, I was completely overwhelmed. 

Seeing my design brought to life, watching those headlights opening up, it was like watching my child awaken, like how I felt when I first looked into the eyes of my newborn son. That's how much it meant to me. I was speechless.

When I was a kid, cars were more exciting. They made you want to go to motor shows, or you'd see a Porsche in the newspaper and go “Wow!” with pure excitement. I wanted to create something that would give people that same feeling. Later, sitting alone and scrolling through social media, I saw people sharing similar experiences and I was so moved, I shed a few tears. 

I see concept cars as a kind of communication tool. They create a pure connection between creators and drivers, without any personal interests getting in the way.

For us, it was one of those rare chances to put our undiluted passion out there. It has really motivated us all.

There's something almost magical about this car. It keeps drawing you in so you want to keep looking at it. It gives you this great feeling. There aren’t many cars like that.

This team made it both incredibly fun and incredibly demanding. I feel like I grew a lot through the process, and something changed within me. I'm just so glad we got to create this together. The Mazda Iconic SP carries a global message, but it has also had an effect within Mazda. It’s made me realize the powerful impact a concept car can have.

For me, it's simply experiencing the joy of creating. Being able to put my ideas out into the world through Mazda is like a dream come true. I feel that every time I sketch.

Making this car really brought home to me what a great company Mazda is. Throughout the process, Nakayama's pure vision pulled us forward, making me dig deep into my own expression of authenticity, and I hope that’s comes across.  Rather than a car to admire, it’s a car to love. That's why it’s our icon.

Looking back over everything made me realize just how much I love this team. Nakayama and everyone here who worked on this—you’re all so special to me. You're like a second family.