Company
Timeline
Role
The Idea
The G-Class has been my favourite car since I was a kid. The S-Box is what happens when you take that obsession and rebuild it with no rules attached. It draws on the rich heritage and the unmistakable, iconic silhouette of the original, then runs it through a contemporary lens — classic elegance fused with modern modification. Every change and adjustment was made for purely aesthetic reasons rather than technical correctness; this was never about engineering accuracy, it was about getting to a shape that feels exactly right. The result is a car that doesn't exist and never will — it`s a car I would prefer over the majority of cars that actually do exist.
Design Language
The design is defined by a clean, boxy aesthetic and great attention to detail. The exterior is minimalist but functional — sharp lines, hard angles, nothing decorative that doesn't earn its place. That restraint is the point: the G-Class is already one of the most confident shapes ever drawn, so the work was about sharpening and modernising it without ever softening what makes it instantly recognisable. Every surface has been designed to sit between sophistication and aggression — subtle enough to convey a sense of quality, yet robust enough to exude determination.
The Making Of · Process
The workflow always begins with a sketch. From there, one iteration follows another — each round builds on the previous one, refining the vision, adding depth, and working out light sources and details that haven’t yet been finalized. I even sketch directly over the renderings, because for me, that’s the fastest way to visualize a new idea before I commit to it. It’s a deliberately dynamic, back-and-forth process rather than a linear progression from concept to final image, and this is precisely where most of the actual decisions are made.
The Making Of · Iterations
Experimental Worlds
The original plan was to showcase the car in an SAS store. But the deeper I delved into the project, the more I was drawn toward experimental and graphic worlds—abstract settings, eye-catching backdrops, and treating the car more as a sculptural object than as a product in a showroom. This detour became the visual hallmark of the project: less car advertising, more art direction, reimagining the G-Class as something more akin to a gallery piece.
Credits
Stickers & Logos — Moritz Moysig
Sound — Amedeo Inglese
With thanks to — Maurice Schilling, Kevin Jaeger, Vitaly Grossman,
Vincent Schwenk and Jacob Eisinger.
A car that doesn't exist, built for the people who'd want it to.
