Mulder, meanwhile, has a gloriously eclectic set of objects that translate into Bentley customer options. “I have blue and white Chinese ginger jars and kimchee pots, a hand-beaded bird of paradise sculpture stem jutting from an old glass vase, a smoked glass jug of carnations in reddish hues, a collection of 1920s tea cups, ethereal Spin ceramics from Shanghai and blue and white KLM Dutch houses… These form electric yet wonderful stories which I can easily translate into Bentley car interiors when I present ideas for customers. A Crown Ducal 1930s cup with its soft creamy background contrasting with a graphic black orange tree pattern and hand printed oranges could be a ‘Porcelain’ Bentley exterior paint, with a body kit and grills in black, a ‘Beluga’ linen interior with a Bentley Mulliner ‘Mandarin’ bespoke contrast stitch.”
Which leads on to new visions of a future we all feel uncertain about, although what is clear is that the entire human population looks set to emerge from this with a simpler appreciation for the natural world, and for a quieter, calmer look at luxury perhaps.
“We are already on a path to a sustainable future”, says Mulder. “We are seeing new colour directions emerge from these times of quiet and reflection - colours that both calm and invigorate us. I expect to see materials which will re-engage our senses.”
Eggl agrees. “Prior to this there was movement to minimalism. True luxury is a lot finer, more simple, more to do with materials and finishes. The aesthetic pre Covid-19 was the idea of materiality beyond bling - the idea of not festooning stuff with stuff. We are now facing post-opulence design language. We are looking into calmer colours; beautiful, elegant colours that will last for ever.”
There will, of course, still be room for the madness of the Black Badge sub-edition of Rolls-Royce models for the younger, more extrovert clients out there (“fun, cool colour ways will continue”), but overall things are calming down.
Good news, too, for enthusiasts; the designers are not without their automotive inspirations at home. On one wall of Eggl’s apartment hangs a print of Sir Stirling Moss [the racing legend was still alive when we spoke]. “I bought this timeless print during my first year at Rolls-Royce, at the Goodwood Revival festival”, says Eggl. Near it hangs a vintage black and white photograph of a racing car at the Revival (Eggl isn’t sure which car it is). “I admired the aesthetic of this stunning vintage racing car’s iconic styling”, she says. Which will come as a relief to car lovers who don’t want design to stray too far from its automotive heritage.