Background
Bruno Sacco, despite being so inextricably associated with the most Germanic of marques, was Italian by birth. After a short-lived, early excursion into surveying he set his mind on becoming a car designer having been captivated by an electric blue Studebaker Commander Regal at the 1951 Turin motor show. By 1955 Sacco had secured an internship at Ghia but he yearned to work at Mercedes-Benz having been seduced by the all-conquering 300SL Gullwing and the marque’s racing dominance at that time. Sacco made his own luck and introduced himself to Karl Wilfert at the 1957 Turin Motor Show. Wilfert was then the head of body development at Mercedes-Benz. By January 1958 Sacco was working at Mercedes’ Sindelfingen design centre as only the second designer to be recruited from outside the company. The first was Paul Bracq.
By 1971 Sacco was Mercedes-Benz’s head of styling, leading a now a 130-strong team, and central to the company’s aspirations. Sacco soon brought a shared vision to the marque’s styling via his dry sounding principles of “horizontal homogeneity” and “vertical affinity.” The former is the implementation of design cues that are shared across the range and the latter the family resemblance between models and their successors. In short order an individual Mercedes-Benz became recognisably part of a wider ecosystem courtesy of its “rippenleuchten” (ribbed lights) and its, soon to become, eponymous “Sacco panels.”
For those of a certain age every Mercedes-Benz of note benefitted from Sacco’s methodical regimen, including the R129 SLs, the revolutionary W201 “baby Benz” and the W126 S-Class. In fact it was the sublime coupe version of this S-Class, the C126, that Sacco would oft cite as his crowning glory and recommendations don’t come much more emphatic than that.







