Based at the company’s design centre in Turin,
Italy, Jung Hyun Lee leads a team of talented exterior designers that are
aiming to operate quickly and efficiently, leveraging the speed of a Chinese
company to deliver their products to Europe.
Car Design News:
What does a typical day look like for you at the Changan European Design
Centre? Good coffee and plenty of sketching?
Jung Hyun Lee: No
two days are exactly the same, but there is definitely a rhythm. Most
discussions with our headquarters in Chongqing happen early in the morning
because of the time difference. I stay in close contact with our design VP,
Klaus Zyciora, who sets overall direction for ongoing programs.
I also work
closely with our Chinese general managers here in Europe, who help interpret
the needs and expectations of the Chinese market from a European point of view.
That constant exchange is important because it keeps our vision aligned across
continents.
Inside the studio, much of my day is spent
with the design team. I review sketches, 3D development, and clay models, and
we hold regular critiques where we refine ideas together. Those sessions are
not only about evaluating quality, but also about pushing the team to challenge
assumptions and search for stronger alternatives.
CDN: What about
when it comes to general strategy? Do you have any daily routines or exercises
that examine the wider picture, keeping your team on track so that they deliver
Changan’s exterior design vision here in Europe?
JHL: Beyond the
creative work, I spend time with team managers coordinating resources and
clarifying priorities, making sure each program progresses with the right
momentum. We look at market trends, discuss brand direction, and ensure that
what we are developing in Europe is aligned with Changan’s long-term vision. We
prepare presentation material for headquarters, and I often review work coming
from our teams in China, giving feedback so development stays unified across
regions.
The larger purpose of the European studio is
to blend European design maturity with the fast, highly competitive nature of
the Chinese market. My responsibility is to keep that bridge strong, guide the
creative output, make clear decisions when needed, and ensure that what we
deliver is meaningful, executable, and consistent in intent.
CDN: How long has
the company been designing in Europe for the European market?
JHL: Changan
established a permanent design centre in Turin back in 2011. At that time, very
few major Chinese state-owned automotive companies had invested in a dedicated
design studio in Italy, so it was a bold move and, in my view, a
forward-thinking one. It showed a belief that if you want to grow globally, you
need to be inside Europe’s design culture, not just watching it from a
distance.
Today the European Design Centre plays an even
more strategic role as the company prepares to enter the European market. Being
in Italy gives us a particular vantage point: a mature design environment
shaped by long traditions of proportion, form, and emotional expression. That
perspective helps us shape proposals that feel globally relevant, rather than
serving only one regional preference. There is also a practical advantage –
with our teams distributed across time zones, development can continue almost around
the clock. It keeps momentum and improves efficiency across the design process.
CDN: Can you give
a brief outline of Changan’s design DNA?
JHL: From what I
have experienced, Changan’s design philosophy is genuinely human-centric.
Across the group’s different brands, the core idea is consistent: design begins
with people – their needs, emotions, unspoken expectations, and sometimes even
the things they haven’t yet imagined.
Many companies say they are user-centric,
but Changan’s level of commitment is unusually intense. The organisation puts a
lot of effort into understanding how customers are changing, and into
delivering not only what customers want today, but something beyond what they
expect tomorrow. It is not just research for its own sake; the expectation is
to translate that understanding into real products, quickly, without losing
design quality.
Changan also embraces innovation, but with
discipline. Innovation isn’t simply doing something different. The market is
not that simple, and “different” can fail quickly if it sits outside an
acceptable emotional or cultural range. What we try to do is push boundaries as
far as possible while still keeping the design connectable and believable for
customers.
CDN: Is it a
difficult juggling act – pushing the technological boundaries while
simultaneously making sure you are designing for specific human needs?
JHL: Finding that
balance is not a one-time decision. It requires constant dialogue with the
market, careful analysis, and the willingness to iterate again and again. And
in practice, that becomes both a challenge and a reward for designers.
Another important factor is having an open
internal design culture. The group has multiple brands, but designers are
encouraged to contribute beyond their own brand through internal competitions.
That openness brings fresh viewpoints into each program and helps prevent
creative stagnation.
CDN: What are the
current challenges for you and your team as exterior designers?
JHL: Every few
years a new technology arrives and people say it will replace designers. When
Photoshop became widespread, some predicted the end of hand sketching. When 3D
tools advanced, people said clay modelling would disappear. When VR arrived,
the same discussions happened. Now the conversation has moved to AI.
But history shows something different. These
tools don’t remove the need for designers. They expand what designers can do.
AI is a powerful tool. It can accelerate exploration, visualization, and
iteration, and it will certainly improve efficiency. But it does not replace
the human role in design. It cannot define meaning, context, brand values,
cultural intuition, or emotional resonance. Those decisions still require
judgment, and judgment comes from people.
So I think the real challenge today is not
whether AI will replace designers, but whether designers can evolve quickly
enough to use these tools in a smart and creative way. The designers who thrive
will be those who can curate, direct, and interpret AI-generated output, just
as earlier generations learned to use Photoshop, CAD, and VR. AI itself won’t
suddenly become “the designer”. But designers who understand how to work with
AI will become more capable and more efficient, and in the long run, more relevant.
CDN: Do you think
Changan is in a unique position, bringing a very Chinese marque and design
ethos to the European market?
JHL: We are
definitely in a unique position. We want to introduce new ideas and new energy,
but we want to do it in a way that is smooth and respectful, and that can
integrate naturally into the European landscape. Our goal is not to be
aggressive or disruptive for its own sake. This requires both humility and
confidence. Europe has a deep automotive heritage, and we respect the brands
that shaped it.
At the same time, we need to distinguish
ourselves not only from European competitors but also from other Chinese brands
that have already entered the market. We are observing both the successes and
the difficulties others have experienced, learning from them, and refining our
approach so we can avoid repeating the same challenges. Being a Chinese marque
brings unique strengths.
The pace of innovation in China, the willingness to
challenge conventions, and the maturity gained from designing for the world’s most
competitive market all contribute to a strong design identity. These attributes
help us stand out by offering European customers something genuinely new rather
than a variation of what they already know.
Of course, it also creates challenges. We have
to bridge cultural expectations, communicate our values clearly, and build
trust in markets where Chinese brands are still relatively new. The key is
finding harmony: staying true to our design ethos while ensuring our products
resonate with European sensibilities. To me, this is not simply about placing a
Chinese brand into Europe. It is about creating a dialogue between cultures,
design languages, and customer expectations. If we do it thoughtfully, it can
lead to design outcomes that feel truly original.
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