Koenigsegg Eidos Imagines a Cleaner Kind of Hypercar
By Hugo Mattson September 2, 2026
Koenigsegg Eidos is an independent hypercar concept created by young automotive designer Gabriel Naretto.
Architecture and sculpture influenced the project, particularly its proportions, surfaces and use of light.
Eidos takes familiar elements of Koenigsegg design and places them within a much cleaner body.
Hypercar design can get incredibly busy. Cooling, aerodynamics and performance bring plenty of openings, vents, wings and other hardware with them.
Gabriel Naretto went in another direction with Koenigsegg Eidos.
Eidos is an independent digital design study with no official connection to Koenigsegg. Naretto describes the project as an exploration of what remains when everything unnecessary is removed, drawing inspiration from architecture and sculpture.
The result is a very clean hypercar.
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There are few conventional character lines across the body. The nose is smooth, the sides are shaped through large surfaces and much of the aerodynamic hardware sits low on the car.
It still looks dramatic. It just gets there with fewer ingredients.
A lot happens with very few lines
The side profile probably explains Eidos better than any other view.
It is extremely low and wide, with a small cabin placed between enormous wheels. The windscreen begins quite far forward and the body stretches well behind the cabin towards a broad rear end.
There isn't much decoration along the side. A shoulder runs from above the front wheel towards the rear, while the lower body gradually curves inward before opening into a large intake ahead of the rear wheel..jpg)
The five-spoke wheels are similarly simple. Their size gives the car plenty of presence, with large red brake calipers visible behind them.
Eidos also looks surprisingly long from the side. Part of that comes from the very low roof, which makes the cabin appear almost buried inside the body.
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The front is unusually clean
Two narrow headlights sit near the outer edges, leaving a large area of uninterrupted bodywork between them. A small Koenigsegg-style shield sits in the centre.
Most of the openings have been moved lower down.
There is a large central opening, deep intakes on either side and exposed carbon fibre around the splitter. Against the white body, the darker lower section gives the front some definition without making it overly complicated.
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The shape changes considerably with the viewing angle. Head-on, Eidos looks extremely wide. From three quarters, the front fenders become much more noticeable as they rise around the wheels and flow back towards the windscreen.
A tiny cabin surrounded by bodywork
The glasshouse is small compared with the rest of the car.
A large curved windscreen wraps around the cabin and continues into the dark side glass. The surrounding bodywork makes the passenger compartment look almost carved into the centre of the car.
There is some familiar Koenigsegg character here.
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The CC850, Agera RS, Regera and Jesko have all used variations of the compact cabin and wraparound windscreen that became part of the company's identity. Eidos picks up on that idea without copying any particular model.
Even the mirrors are kept small, sitting on thin supports extending from the front fenders.
Seen from above, the body grows around the front and rear wheels before narrowing around the cabin. Behind it is a raised central section with a dark carbon-fibre panel running through the middle.
The architectural influence is especially clear from here. Eidos is made from a handful of large shapes rather than dozens of smaller details.
Light becomes part of the design
The orange environment used for the renders does more than provide a dramatic background. It makes the surfaces much easier to read.
Large parts of Eidos have almost no lines running through them. Instead, reflections reveal the shape of the white body.
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Along the doors, the surface gradually moves inward towards the lower intake without a sharp crease marking the transition. The hood follows a similar approach, with gentle changes in curvature becoming visible as light moves across it.
The sculptural influence is particularly noticeable here, with the shape of the panels creating much of the detail.
This reliance on light also means Eidos can look quite different from one angle to another. Areas that appear almost flat in one render reveal much more volume in the next.
The rear is a different story
The back of Eidos is considerably more aggressive.
The upper section remains simple, with a broad rear deck and a narrow dark strip containing the lights. Below that sits a huge diffuser.
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Deep vertical fins extend behind the car, while the exhaust is positioned in the centre of the exposed carbon-fibre assembly. The rear tyres are also much more visible from here, making the width of the car particularly obvious.
Most of the body remains clean while the functional-looking hardware is concentrated close to the ground.
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Then there is the enormous Koenigsegg lettering across the rear deck.
It is easily the loudest piece of branding on an otherwise restrained design.
It still looks like a Koenigsegg
Eidos isn't intended as a preview of a future production model. It is Naretto's interpretation of what a Koenigsegg could look like with much of the visual noise removed.
The familiar ingredients are still there: a wraparound windscreen, very low roof, wide rear shoulders and wheels pushed far towards the corners. Carbon fibre becomes more prominent where the aerodynamic hardware takes over..jpg)
But Eidos isn't simply a Jesko or Gemera with different body panels.
Naretto has concentrated on the proportions that make a Koenigsegg recognisable and built his own surfaces around them.
Large clean panels also leave little room to disguise awkward proportions. Eidos uses plenty of them, particularly around the doors, front fenders and rear shoulders.
Despite its extreme dimensions, the result looks surprisingly calm.
Eidos shows Gabriel Naretto's approach to car design
Eidos gives a good indication of Naretto's priorities as a designer: proportion, surfacing and the way light moves across the body.
The car itself is anything but subtle. It is incredibly low and wide, the wheels are enormous, the cabin is tiny and the rear diffuser would look at home on a racing car.
What Naretto has avoided is adding another line, vent or opening simply to make those proportions appear more dramatic.
For a young designer interpreting one of the most distinctive hypercar brands in the world, that makes Eidos worth a closer look.
Sometimes a cleaner shape is enough.
Connect with Gabriel Brando Naretto
To explore more of Gabriel Brando Naretto’s work, including ongoing projects and portfolio highlights, you can follow or connect with him on the following platforms:
