Black Butterfly, the new digital cockpit set to debut in Lexus’ upcoming electric models next year, is more than just a control center, it becomes a dynamic interface for limitless experiences. This next-generation cockpit not only gives drivers access to core vehicle functions, but also unlocks advanced features like a personalized AI agent, a variety of entertainment applications, and driving modes. Black Butterfly takes the in-car experience to a whole new level. Simon Humphries, Head of Toyota and Lexus Design en Koichi Suga: Global GM of Lexus design explain.
Tekst Anja Van Der Borght
What is for you the best part about the Black Butterfly cockpit?
Simon Humphries: “Well, it’s really an opportunity to create a meaningful connection. At Lexus, we often talk about connection and connectivity, but I think it’s time we start thinking more deeply about how to actually achieve something with that. The Black Butterfly cockpit is, of course, a physical component, but more importantly, it’s a symbol, a sign that says: now we can generate content tailored to you, to me, to anyone in the car, simply through the act of movement. As the car moves, the experience evolves. And as things shift, new content emerges. So it’s not just about adding another screen to the dashboard, that’s not the point. It’s about transforming motion into interaction, and connection into something truly dynamic. The car would adapt to understand who is in the car. The car would also understand what you like, what you don’t like, what you’ve seen recently, where you’ve been, who you’ve interacted with and then maybe during the journey, that information can be used to make it more enjoyable or more special for you.”
But maybe when I’m driving, I don’t want to be reminded by a pop-up on the Black Butterfly cockpit that I once ate at a certain restaurant, especially if I had a bad experience there?
Simon Humphries: “In that case, the system needs to learn, and that’s where its real potential lies. You should be able to guide it, to indicate the kind of things you’d rather keep in the background. Over time, it will begin to understand those preferences. That’s really important, because otherwise it just keeps popping up saying, ‘Oh, you were here, you were there,’ without any sensitivity to context, and that’s not the experience we want.”
So in which Lexus future model do you hope to see these new cockpit concept appear?
Koichi Suga: “The LF-ZC (Lexus Future Zero-emission Catalyst) concept car that features this Black Butterfly Concept is part of the forthcoming next-generation Lexus BEV lineup, due for market launch in 2026. As the name suggests, the model forms the catalyst for new experiences in the electric age, including elevated driving dynamics, uncompromised design, and new exclusive services, the epitome of the Lexus brand promise to craft cars that enrich the lives of discerning customers. Personally, I wish as soon as possible, but technology development takes time. The regulation is changing. Safety is continuously updated and therefore quite difficult. Also the acceptance of the world is changing…”
Do you think the cockpit will differ between the U.S., Europe, and Asia?
Simon Humphries: “I believe there will always be differences. Take the U.S., for example, people there almost always want a physical volume knob. It’s a small detail, but it matters. In China, on the other hand, they prefer minimalism, no buttons if possible, or maybe just a simple up/down control. They generally don’t want a volume knob.It’s a cultural thing. In the U.S., people don’t want to wait; they want quick, direct control. Turn the A/C up. Done! Whereas in other regions, there might be more patience or different expectations.So yes, these differences will always exist. For instance, in China people are completely comfortable using voice control to interact with their devices. Even when writing emails, they just speak into their phone. That’s normal. But in the UK or Europe, we tend to be a bit more reserved.It’s the same hardware but the software and usage patterns vary by region. I think automotive design will follow a similar path.One of our biggest challenges is managing the growing amount of information in the car while keeping safety as the top priority. We want to simplify the experience, so instead of cluttering the cockpit with buttons, we show only what’s relevant at any given moment. If we can anticipate what the driver needs, we make it easier and safer to interact. Otherwise, we risk turning car interiors into something as overwhelming as an airplane cockpit.”
Today, we live in a society where we receive so many impulses that I personally prefer to use a lever rather than selecting options on screens positioned to the left and right of the steering wheel.
Koichi Suga: “In the concept car, we presented an ideal scenario where everything was integrated into one unified system. However, as you mentioned, there are certain features that are better kept manual, some users still prefer having physical buttons or levers. This is something we consider during development. When we move toward creating a real, commercial vehicle, we carry out thorough user studies to understand what people genuinely want to remain physical.”
Are there any functions that, for you, are a no-go for digitalization — things that should always remain manual?
Simon Humphries: “Yes, definitely. Some functions are legally required to be physical. For example, the windscreen defogger, you need to be able to activate that instantly. Same with the hazard lights in case of an accident, you need a dedicated, physical button. So we’re working to find the right balance between hard (physical) switches and digital controls. If everything goes digital, it can become impractical, even unsafe, in critical situations.”
Digital cockpits are very ‘digital’. For me personally, they miss a bit of emotions. How will you with your design team introduce craftsmanship and emotion in the digital cockpit?
Koichi Suga: “I think, given that the device itself is digital, we cannot just implement craftsmanship into this screen or what is shown on the screen. But when it comes to the software and programs used for operation, we’re designing them in a way that connects with human intuition, so that the interface feels natural and intuitive. We’re constantly thinking about how to make the experience as seamless and instinctive as possible.”
Can you give an example in what way the Black Butterfly is more intuitive than another cockpit?
Koichi Suga: “The current car still uses two levers, one for the indicators and one for the windscreen wipers. A hundred years ago, cars were already equipped with such a system. But today, with navigation systems, touchscreens, and the desire to use smartphones in the car, drivers are faced with numerous devices and both digital and physical controls. The Black Butterfly simplifies all of this by integrating everything into a single, unified control interface.”
Would you say that this Black Butterfly Cockpit is more something for a younger generation?
Koichi Suga: “It might be the case at the beginning, but it’s like with phones; people who once needed buttons now use smartphones without them. If something is truly convenient, people will be also willing to adapt to it.”
During Design Week Milan we discovered the Tremor of 1/f in the installation that Tokyo-based creative agency SIX and design studio STUDEO created in collaboration with Lexus. Is this something which you are going to apply in future cars? Where does this idea come from?
Koichi Suga: “I’m not exactly sure where this concept of ‘Tremor of 1/f’ originally came from, but I’d like to try incorporating it into future Lexus designs. When Lexus launched its brand in 1989, it introduced the concept of being human-centered. That’s why we have always thought deeply about what it truly means to put people at the center of everything we do. Lexus has consistently pursued this human-centric philosophy, aiming to create a natural and harmonious relationship between people and machines. So that has been always Lexus’ concept and this Tremor of 1/f was one answer to this concept by the A-UN creators: designer Takeshi Nozoe, creative director from the creative company SIX Inc. and Ikezawa Tatsuki, founder of STUDEO. They create feedback or movement that feels subtle and natural, based on the rhythm of nature.”
Will security, data, and privacy be a concern? After all, with your interface, you’re essentially transferring everything from your mobile phone to the car?
Koichi Suga: “We are well-aware of the concerns about data security. I completely understand that people are not willing just to offer every data they have. And in our concept, it is not about integrating the data of the smartphone into the car, but it’s just to use some needed data in order to enable the people to drive the car smoothly and comfortably. From a design perspective our aim is to make it easier for the driver and the passengers in the car to make it intuitive.”
Tremor of 1/f
Lexus has been exhibiting at the Milan Design Week since 2005 and continues to express its brand vision and message in the space, where creations from around the world come together. This year Lexus teamed up with Tokyo-based creative agency SIX and design studio STUDEO created to create the installation A-Un. In Japan, the greatest human connection is called A-Un. With ‘A’ representing inhalation, and ‘Un’ representing exhalation, A-Un is the feeling of breathing in unison, the ultimate sense of flow that can occur in moments of focus – from music to relationships, from martial arts to traditional craft. This year for Design Week Milan, Lexus teamed up with Tokyo-based creative agency SIX and design studio STUDEO to create an immersive installation inspired by the Japanese concept of A-UN. At the heart of the installation is a massive screen shaped like a Black Butterfly – measuring 3 meters high, 10 meters wide, and 4 meters deep – handwoven over three months using approximately 35 kilometers of bamboo thread. As visitors approach the installation, a sensor detects their heart rate (BPM), and through the phenomenon known as Tremor of 1/f, a unique coloured and moving visual is generated in response to each person’s heartbeat. This interaction symbolically represents how a vehicle can stay attuned to its driver, responding to individual rhythms and emotions. Taking the Black Butterfly as its motif, the work explores how cars, now constantly evolving through software updates, can communicate in more human, intuitive ways, going beyond transportation to unlock new forms of mobility.
