An icon in modern form: the vampire Ferat thought out in detail

What if this iconic Škoda would be reimagined in Modern Solid design? Designers at Škoda Auto have once again drawn inspiration from the brand’s rich history to create a modern interpretation of legendary vehicles. In the spirit of current design language, two friends have created a futuristic form of Ferat, the former star of a horror film.

17. 6. 2025 Škoda World

Exterior designer Giuseppe Campo and interior designer Stanislav Sabo are among the more artistically inclined members of the Škoda Design team. Both admit that it wasn't primarily a passion for cars that led them to automotive design, but rather a love of aesthetics. “To me, a car is a sculpture on wheels. I enjoy shaping its form,” says Giuseppe Campo. “I'm fascinated by the idea of creating a space where people feel good—one that naturally combines functionality with aesthetics,” adds Stanislav.

The series Icons Get a Makeover is a tribute to legendary models from Škoda’s history and a celebration of the creativity of today’s designers. Their reinterpretations of historic vehicles were created exclusively for this series and do not represent any future Škoda models.

Perhaps that's also why both designers—who, among other things, share a passion for photography—decided to work together on reimagining the unique Ferat as part of a project to revive iconic vehicles. It would be hard to find another car as captivating in the history of the Škoda brand.

Škoda Ferat

The unique sports car Škoda Ferat was created for the leading role in the Czech film The Vampire of Ferat. It is a modified version of the Škoda 110 Super Sport prototype, which the car manufacturer built as a single model in 1971. For the purposes of filming, its appearance was redesigned by Czech painter, graphic artist, and car enthusiast Theodor Pištěk—also an Osca Academy Award winner for the costumes in Amadeus. Under his direction, the car received a black paint job, new front and rear lights, and a massive rear spoiler. Under the hood was a 1.1-liter four-cylinder engine producing 54 kW. The car debuted on the silver screen in 1981.

The search for the essence of the car

While the goal was to redesign the Ferat—which had already received a modern reinterpretation four years ago—using elements of the Modern Solid design language, it was essential for the designers to capture the atmosphere of the original car. That atmosphere was very dark, in keeping with the vehicle’s role as a cinematic vampire. “I tried to capture the feeling of something mysterious, slightly dangerous, and striking, emerging from the darkness,” explains Giuseppe “The interior is meant to literally engulf the crew,” adds Stanislav.

An icon in modern form: the vampire Ferat thought out in detail

Although both designers were given creative freedom in the initial stages, they quickly realized they were on the same wavelength. “We both instinctively used the same design element: the wedge,” says Giuseppe “It just happened without either of us knowing,” confirms Stanislav. The wedge shape, which can also be seen as a nod to the caron in the Škoda logo, appears in both the exterior and interior and serves as a connecting motif.

“After the initial sketches, we did a lot of consulting with each other to ensure the exterior and interior would harmonize,” says Giuseppe Campo. “We worked on it for about four weeks, meeting every other day to sort out technical details. In the end, we brought it all together in 3D models,” adds Stanislav.

Futuristic and realistic

Although the outcome was a dreamlike concept sketch, both designers wanted their car to have a realistic foundation. That’s why they spent a lot of time on the front windshield and roof area. In the original Ferat, these parts were connected and lifted together to open the cabin. Stanislav and Giuseppe opted for a slightly different solution that enhances the vehicle’s atmosphere. The windshield ends with a red line, which acts as a dividing edge between it and the part of the roof and sides that now tilts backward.

Red elements appear elsewhere on the car as well: naturally on the rear lights, but also at the front, where T-shaped headlight graphics reference the original design with separate turn signals. Inside, a prominent red-light strip runs along the centre tunnel, indicating the battery charge level. In the designers' vision, their Ferat is an electric car. So instead of drawing blood from its driver as in the film, it simply feeds on electricity from the grid.

Like the exterior, the interior follows the Modern Solid design philosophy with very clean, flowing lines. The cabin’s centrepiece is a floating dashboard, which, just like in the original, does not extend into the door areas (after all, the Ferat doesn’t really have any doors). The seats are highly original, designed as a seamless part of the interior, and include a nostalgic detail from the original vehicle: oval buttons. On the outside, the massive spoiler has been replaced with large rear fins. The result is a futuristic vehicle with an extraordinary atmosphere and meticulous detailing.

Giuseppe Campo (Gopmac)

Gopmac has been part of Škoda Auto’s Exterior Design Department for over eight years, contributing his unique artistic perspective to the brand’s distinctive look. Interestingly, his early ambitions were far removed from the automotive world—he initially wanted to become a veterinarian. “But then I got into painting and photography, and later developed a deep interest in philosophy, which I still read and write about extensively. All of that gradually pulled me toward a more artistic path,” says the 37-year-old designer. He earned both his bachelor’s and master’s degrees at the renowned Istituto Europeo di Design in Turin, a city steeped in automotive tradition. Reflecting on his journey at Škoda, he shares: “I feel fortunate to be part of a company where I’ve had the opportunity to grow technically and creatively—thanks to the support of my mentors and team leaders. It’s a place where I can refine my skills, push boundaries, and express my own design language.”
Outside the studio, Gopmac is passionate about nutrition and cooking, and he’s an avid traveler. Rather than ticking off popular tourist spots, he prefers to immerse himself in local cultures—a passion he shares with his close friend, Stanislav.

Stanislav Sabo

Stanislav Sabo, who has worked at Škoda Auto Interior Design Department for nine years, found his way into design through graffiti and street art. “I started doing it back in first or second grade and kept at it through university,” he recalls. Originally envisioning a career in graphic design, he soon became captivated by interior spaces, furniture, and later product design. He studied Industrial Design at the Faculty of Architecture at STU in Bratislava. He joined Škoda Auto while working on his master’s thesis—and never left. “I enjoy blending aesthetics with functionality,” he explains as his main motivation. His favourite sources of inspiration are travel and photography. “I don’t go to tourist hotspots; I seek out alternative places that spark creativity,” he says.