After perfecting his design skills in Italy and Germany, Alessandro Dambrosio has spent his last seven years in Japan. He discusses adapting his leadership style to respect cultural difference and empower diverse teams.
You’ve worked in automotive design for over 25 years for various luxury and high-volume brands. Tell me about your career path.
Ever since I was a child, I always dreamed of doing what I’ve been doing for 25 years now. My father passed down to me a passion for cars and for drawing. He is still passionate about both, though his hand is decidedly orientated towards landscapes and not, like me, the design of something that can be mass-produced.
After graduating, in industrial design, from the Faculty of Architecture at the Politecnico University of Milan, I was fortunate to be able to complete an internship at the Alfa Romeo Style Centre. I came into contact with aspiring designers from all over the world, and, with the help of experts, we had the opportunity to create a concept car that was exhibited at two motor shows and is still on display at the Alfa Romeo Museum.
This first step was crucial for me because it was a stepping-stone to a permanent job as a junior exterior designer at Fiat. My first role was at the Lancia Style Centre. I arrived at a time when we weren’t overwhelmed with projects, but I used that to my advantage by trying to learn as much as possible from the most experienced designers. I went through hundreds, perhaps thousands, of A2 sheets of paper sketching models from various views. It was quite a training ground.
After two years, I returned to Alfa Romeo as a senior external designer, where I remained for about six years. Three-dimensional work was preferred to two-dimensional work, and the A2 sheets of paper were replaced by sandpaper, chisels and blocks of clay to be modelled in scale, leading to mathematical models to share with the platform engineers. Eventually, I was promoted to the role of chief designer, where I had my first experience of costs, feasibility and delivering presentations, as well as managing a small workgroup. Evidently, I achieved something positive because I was later entrusted with the role of chief designer of exterior and interior for the Maserati brand. This proved to be a very important experience for me in terms of managing a team and providing opportunities to interact with very important external professionals.
My time with Maserati lasted only a couple of years, however, because at the end of 2009, I received a phone call that changed my life. It was Walter de Silva, the head of global design for Volkswagen Group, offering me a job as his design assistant in Wolfsburg.
For me, it meant not just an opportunity but the opportunity I was looking for. VW was catching up with Toyota as the world’s leading OEM, and Martin Winterkorn’s strategy was not only successful commercially but was based primarily on beautiful design. I stayed at VW for more than seven years, during which time I collaborated on important projects both in the concept and production phases. I also managed two design centres – one in Munich that worked on the Audi brands, including Ducati, and one in Braunschweig that worked on all nine of the group’s other brands. I collaborated with talented designers and prominent figures, many of whom I have maintained contact with to this day, both professionally and as friends. Everything was going smoothly until the Dieselgate scandal broke in 2015. The whole castle collapsed, and many of the key people responsible for previous successes departed. After resisting for a couple of years, I decided to change. It was no longer the VW I had dreamed about.
It wasn’t an easy time, but from the ashes, a new opportunity arose. I’ve always loved Japan and its culture, and I was very intrigued by the Mitsubishi-Nissan-Renault alliance. Please allow me to take this opportunity to thank Tsunehiro Kunimoto, the then vice president of design at Mitsubishi, who literally gave me a second life as executive design director. Seven years later, I’m still here and almost as excited as I was on my first day. I’ve had the opportunity to collaborate on some show cars, to bring a dozen or so cars into production that are selling well, to meet some amazing colleagues, to experience an extraordinary culture and even to learn a little of the Japanese language.
What was the main attraction of Mitsubishi, and how does working for a Japanese brand differ from working for European brands in terms of your leadership style?
Let’s start by saying that Mitsubishi is a very important brand, well known throughout the ASEAN market. Being a huge racing fan, I will also point out that the Pajero has won the Paris-Dakar Rally 12 times. The vehicle portfolio needed a major overhaul when I joined the company, and I don’t think there’s a stronger motivation for a designer than helping in the rebirth of a historic brand.
In Japanese culture, the company is considered to be almost a second family, and therefore belonging is very important. The Alessandro who arrived from Germany full of energetic handshakes with everyone every morning and eager for noisy discussions and tests of strength with colleagues is completely different from the person I am now after seven years. I’m much more thoughtful, patient and respectful. I would say I’m also much more analytical, while retaining a passionate side, without which I couldn’t have done what I’ve been doing for years. I’ve obviously always been myself in terms of my design process, my skills and my desire to do things, but when you take on a managerial role in a place where the culture is so different from the West, you have to listen, look, study and learn. You have to respect the culture you’re working in.
What is the greatest leadership challenge in turning vision into reality within a large automotive organisation?
Competition has increased exponentially in recent years – in quantity but, above all, in quality. Chinese cars that we used to dismiss are now not only technologically cutting-edge but also demand respect from a style perspective. Alongside this, time to market has almost halved compared to a few years ago. This translates into a very frenetic and complex management of the design process planning, where no missteps can be allowed.
I believe it’s very important to have a very clear style and strategic vision. You always need to strive for the new, the ‘never seen before’, but without betraying the design criteria, the brand’s DNA. This is certainly always evolving, but it must never be denied or ignored. Strategy and design must always be shared not only with the team but also with the board, which is a fundamental player in this evolutionary process.
My focus is to ensure clear communication at all levels, paying close attention to the cultural diversity of the stakeholders. I want to lead with empathy and always take responsibility, delegate and empower, address the causes and not the symptoms, avoid getting lost in the detail, maintain a big-picture vision and guide the team towards broader goals. I want to be realistic without asking for the impossible and empower people to grow.
With consumer expectations, technology platforms and mobility trends evolving so rapidly, how do you manage a long-term design vision?
We are living in a period of tremendous transformation, and it’s often difficult, even for those of us who have direct contact with senior management, to understand the right path to take. Nonetheless, I believe we cannot hide behind these uncertainties to avoid fulfilling our role and taking responsibility. Uncertainty must not mean stagnation, and it must not mean a lack of vision. You need to be able to create a clear and inspiring vision that is aligned with company goals and, above all, motivates the team to achieve ambitious results. Effectively communicating this vision in a clear and engaging way is essential to creating a sense of belonging and participation in the organisation’s success.
The role of a design executive is not only to outline the style guidelines for a brand but also to have a long-term strategic vision. It is precisely in times like these that a lot of research and advanced design can be done, as well as enabling new, uninitiated talent to gain experience. So-called phases of uncertainty are felt by the entire team and can lead to a drop in motivation. My approach is always to define ‘who does what’. Every team member should be clear about what is expected of them and, above all, how each individual’s work contributes to the overall success of the project. In this regard, I try to keep everyone informed about developments, challenges and objectives.
I want to understand everyone’s concerns and offer them emotional support, creating an environment where team members feel heard, trusted and valued. I provide regular constructive feedback and support to help team members grow and develop their skills, and I show my appreciation for their achievements to maintain high morale and motivation.
As well as fostering a transparent work environment where team members feel comfortable, motivated and inspired, it’s crucial these days to have the ability to adapt to change and respond flexibly to the challenges that arise. A leader must be able to assess the impact of their decisions and actions on the organisation, making the necessary adjustments based on the context in which they operate.
What advice would you give to those aspiring to a design leadership role in the automotive industry today, given the evolution of the sector and its expectations? What kind of skills will they need?
It may seem obvious, but first and foremost, you need a lot of passion. You also need to have patience and humility. The transition from a desk where you design, create and draw to one where you must direct and manage a team can be challenging and even traumatic. It’s very important to stay grounded and to realise that being a good designer is no guarantee that you will be a good leader. You must never stop being curious. You need to invest in your ongoing training and develop skills beyond the ‘pencil and paper’ aspect of creativity, while deepening your knowledge of the automotive industry in general.
Beyond technical skills, you must learn to manage how you are perceived by others and how your presence impacts the work environment. You need to lead by example in terms of work ethic and goal-orientated behaviour, you need to be empathetic, and you need to learn how to manage conflict to maintain a positive work environment. Work teams are increasingly diverse and made up of talent from all over the world, with completely different ways of working, thinking and acting. If you look at the three Mitsubishi design studios for which we are responsible, the Okazaki team is about 90% Japanese, the Tokyo team is around 50% Japanese, and the team in Frankfurt is 5% Japanese and comprises people from all over Europe. It’s often necessary to rethink the way you work and adapt to cultural differences while always making sure you are communicating clearly and effectively.
Leaders also need to stay in tune with the way the new generation is thinking and to follow and study new tools and technologies to ensure they are on the same wavelength. I’m getting pretty old now, but I make sure I’m up to speed with AI and the latest software. It’s not something that gets me super-excited, but if I want to have an open dialogue with the new generation, I need to have that knowledge.
With the benefit of hindsight, is there one piece of advice that you would give to your younger self when you were setting out on your career – something you’ve learned through experience that might have helped you navigate challenges, make better decisions, or approach your professional journey differently?
My advice would be to take a long pause before giving an answer and be less impulsive. I’ve reached a phase of my career when I’m much calmer than I used to be, and I’m better able to take considered decisions. When I was young, I tended to be very enthusiastic and was more open than I should have been. There’s nothing wrong with enthusiasm, but you also need to keep your feet on the ground and to try to be reflective.
Who has inspired you throughout your career, and in what ways have they influenced your professional journey, your approach to challenges, or your growth as a person? Are there specific individuals – mentors, colleagues, or even leaders you admired from afar – whose guidance, vision, or example has shaped the way you work, think or lead today?
Many people have inspired me over the years and continue to inspire me today, regardless of hierarchical level. For example, my current division general manager, Seiji Watanabe, is a constant source of inspiration for me in terms of his perseverance, his experience, his dedication to his work, his professionalism and his technical ability. Walter de Silva, a true master, was a great inspiration to me during the six years we spent together at Volkswagen for so many reasons – his vision, his eye for proportion and beauty, his ability to combine ethics with aesthetics, and his ability to manage more than 1,500 top-level creatives who were part of the most important automotive group in the world.
I also had the privilege at Volkswagen of collaborating with Giorgetto Giugiaro, a true genius who certainly needs no introduction, and have maintained a friendship with him and his son, Fabrizio, who is also a great designer.
During my time at Alfa Romeo, I was fortunate to work closely with Wolfgang Egger, who is now global head of design at BYD. From him, I learnt how to grapple with three-dimensionality, spending many days and even nights developing design models from the first milling to the exquisite art of painting.
I would also single out Marco Tencone, who I worked with at Lancia Style Centre when I was starting out as an automotive designer. Talented and extremely experienced from his time at Pininfarina, he was incredibly patient in teaching me the basics of the trade, especially 1:10 scale figurines, and I will always be grateful. I should also mention Ermanno Cressoni, who gave me the chance to work in a world I had always dreamed about, and Jorge Arcuri, a former designer from Pininfarina, with whom I was fortunate to intern during my university years. With his incredible talent and also his humanity, he opened my eyes and prepared me for what would soon be a huge leap.
Finally, I would pay tribute to my colleagues at Mitsubishi – all of them. The junior designers for their passion, the seniors for their perseverance, the assistant managers for their ability to adapt to countless requests, the design managers for their ability to combine and manage the engineers’ technical requests with our own, and the programme design directors for the incredible amount of work they do given the time and resources they have. I also mustn’t forget our surface designers and our clay modellers, who are always available to adjust surfaces before a presentation even when time is a tyrant and who are always so positive in their pursuit of perfection.
Everyone, absolutely everyone, is committed to continuous learning and perfecting their skills, and my colleagues are a source of inspiration to me daily. I have never seen such dedication to work as I have seen in them over the years, and I thank all of them from the bottom of my heart.
