As a result, the surfaces are intrinsically interdependent, as the design did not consider the car from separate aspects but as a single, three dimensional sculpture demanding an extremely cohesive dialogue between the sides, tail and front. In homage to the classic Italian traditions of the 1950s and ‘60s, the graphic language of the Giulia is inspired by essential purity, shunning the excess of creases, steps and chromed accents littering certain rivals today. “It is natural that such a ‘pure’ relationship with the new platform, unfiltered by unnecessary intermediary elements, has resulted in a particularly delicate surface treatment”, says Ramaciotti. The curvature of the panels and the visual links between different parts are all clearly the products of a meticulous design process: examples of this are the sills, which twist slightly as they sink under the front fenders (a solution that works on both milder mannered and fire-breathing versions alike), or the gently curved rear screen, which cites the Alfa 156 and allows for a soft transition between the C-pillar and the shoulder over the rear arch. “This is why I say that, alongside proportions and simplicity, surfacing is the third pillar on which this car is built”, concludes Ramaciotti.