The Lotus Theory

Mr Payne, the Theory 1 has been travelling the world since its premiere. So it is more than just a design study?

Absolutely. The car is a fully functional prototype. Of course, its speed is limited, but every system works. We deliberately use it as a tangible means of communication: to explain the Lotus brand, show its origins and at the same time outline our future. It is a design statement, brand ambassador and test vehicle all in one.

You talk about the new design manifesto "Digital, Natural, Analogue". What's behind it?

We asked ourselves: What actually characterises Lotus? Historically, it's the analogue art of engineering - chassis, lightweight construction and purist technology. Today, it's the digital world: software, assistance systems and new drive technologies. We combine both via the »natural«, i.e. the human being at the centre. That's why the driver sits in the centre of Theory 1 - the best position for visibility, weight distribution and the feeling of sitting in a real racing car.

How does this principle translate into the design?

We have deliberately made the three levels visible: the analogue structure in recycled carbon at the bottom, the sculptural forms in the middle and the digital technology in the glass area at the top. The interior is similar: visible structure and mechanics, intuitive digital interfaces and, in between, textile touchpoints with soft robotics that respond to touch.

Lotus traditionally stands for lightweight construction. What does this look like in Theory 1?

We wanted to radically reduce the variety of materials. While production cars today often have over 100 different surfaces and materials, there are only ten here. Recycled carbon, a textile, aluminium, titanium, 3D-printed elastomers - that's it. This is a new form of »simplify« à la Chapman.

A Lotus with a central driver's seat is inevitably reminiscent of the McLaren F1. A problem?

On the contrary, the F1 is an icon of driver's cars. For us, it makes sense in terms of content to put the driver at the centre - literally and figuratively. The view to the front is fantastic, the driving experience intense. Of course, it poses challenges in terms of access and packaging, but that is precisely why we have rethought the door concept. A design idea thus became a product innovation.

You yourself have a close connection to Formula 1. What role does this connection play for you?

As a child, I followed Formula 1 passionately. I still remember the 1987 season very clearly, when I was nine years old. Those cars and drivers were formative for me. Back then, Formula 1 was wilder, less regulated, full of characters and more risky. The cars looked different every year and the leaps in innovation were huge. Today, the field is more balanced, which has its reasons, but the fascination used to be different.

For Lotus, Formula 1 has always been a laboratory for innovation.

Exactly. The 1987 Lotus 99T with active suspension was the last major innovation that Colin Chapman had a significant influence on. Fully digitally controlled chassis systems - that was revolutionary and changed the whole of Formula 1. And the exciting thing is: This technology is still used in our road cars today. The Theory 1 is also at this interface between analogue driving feel and digital precision.

How important are these motorsport stories for the brand?

They are essential for Lotus. Chapman founded the company out of a passion for motorsport. These stories are not just memories, they are building blocks of our identity. They give us credibility and help to position the brand in new markets in the upper premium and luxury segment. Young customers may not have experienced this time themselves, but we can translate the spirit and make it visible with concepts such as Theory 1.

And if you were simply looking for driving pleasure for a week today?

Then I would return to the Italian coast. I worked in northern Italy for a few years, spent weekends by the sea, enjoyed the winding roads around Liguria. Less regulated, more intense, full of joie de vivre. For me, that was one of the best driving times ever.

Let's talk about a difficult word: Luxury. What does it mean to you?

Luxury is dangerous because everyone immediately associates it with something different - status symbols, price tags, surfaces. For me, luxury is something different: an experience that goes beyond the ordinary and is not purely for sale. Ultimately, time is perhaps the greatest luxury good. In the automotive world, it means creating an experience that touches emotionally, not just impresses materially.

Has that changed over the years?

Yes, absolutely. Luxury always depends on the social context. In economically strong times, people are more open, in uncertain times more selective. Today, many expect luxury not only to shine, but also to have meaning - be it through sustainability, individuality or quality of experience.

You work in a highly regulated environment. Doesn't that restrict creativity?

I see it more as an incentive. Every rule is a challenge that forces us to find better solutions. If I had complete freedom, I might have become an artist. But in automotive design, it's the interplay that appeals to me: creativity, technology, safety, market requirements. A good product can only be created if everything works together.

How do you see your role as Head of Design at Lotus?

It goes far beyond designing beautiful cars. We are the guardians of the brand, we have to preserve its history and at the same time open it up to new markets. This requires responsibility and an understanding of technology, business and customers in equal measure. Design at Lotus is not on the sidelines, but at the centre of the company - from research to marketing. We don't work in a relay system, but in parallel and integrated. This keeps the story consistent from the first draft to the finished car.

Lotus is currently facing a radical change towards electromobility. How much of the brand essence remains?

A lot - if we deal with it consciously. Yes, the technology is changing completely. But we have considered every step: Where do we create continuity, despite all the differences? One example: all primary functions remain physically accessible - whether Drive Mode, climate control or recuperation paddles on the steering wheel. This is a very conscious commitment: even in highly digitalised vehicles, the driver remains at the centre, with clear, analogue touchpoints and knowledge from the past.

The new vehicles have enormous performance figures. Does a Lotus really need over 900 hp?

That's the big question. Of course, the power creates a fascinating impression of speed - and in Germany you can even use it. But for Lotus, the crucial question is: what is the sweet spot? I firmly believe that we can build even more credible driver's cars with less power but radical lightweight construction. Less weight, less power - but more emotion. That's very close to the Chapman ethos.

So could Lotus be one of the few brands that can once again appear with less power - and still be taken seriously?

Yes, absolutely. That's exactly our advantage. Not every brand could do that. But at Lotus, people believe in this story because it is deeply rooted in our history. When we say: "Less weight instead of more horsepower", it's in line with our values - and customers immediately understand why it makes sense.

Many people say that electromobility takes the emotion out of driving. What is your response?

That it's a question of storytelling and design. We want to utilise the digital possibilities without sacrificing the driving experience. The driver is always at the centre - visually, ergonomically, emotionally. The car has to grab you when you get in. For us, electromobility is not the end of driving pleasure, but the opportunity to redefine it.