Kartik Ware: Is there anything you’d like to discuss about the Aprilia Tuono 457 and its design before I ask my questions?
Marco Lambri: I have some sketches — not the very first ones, since the bike is more or less finished — but they represent well what a new Aprilia, especially the baby Tuono, is. Aprilia is known not just for performance, but also for design. That’s important across all our products, even scooters. It’s not easy to explain what Aprilia design is — I’d prefer the shapes to speak for themselves. But I can describe our approach using three guiding words: dynamic, sporty, and light.
Dynamic, because when you look at our bikes, they should feel like they’re in motion — even while standing still. Lightness, because 16 weight is the opposite of sportiness. Expressing lightness through shape communicates performance. And sportiness, because we draw constant inspiration from racing — our MotoGP team, for example, influences our road bikes.
Aprilia also has its own design language — distinctive proportions, the signature three-eyed face, a pronounced front and minimal tail, and a frame that looks like it belongs on a race bike. It’s not like what our competitors use. That’s the essence of the Tuono 457. But entering the naked segment was tough. There are so many competitors, and to stand out with so few elements — just a tank, headlight, and seat — is difficult. But Aprilia’s three-eyed headlight gives us a visual signature. On this bike, we reinterpreted that signature because unlike other Tuonos, this one doesn’t have a half fairing. We deliberately avoided that.
With the 660 platform, we redefined sportiness. Rideability became more important than sheer power. Lightness matters more. On the baby Tuono, this idea is even stronger. The bike is compact, but it doesn’t look small. That visual presence was a big challenge, but we’re happy with the result..
KW: That leads to my next question. How much of the design is influenced by the feel of the engine — sound, vibration, character? Are those elements tied to the visual aspect, or are they separate?
ML: A company like Piaggio has a long, complex development process. We work with marketing, engineering, suppliers — many teams. Our part — design — is less tangible. It’s driven by the designer’s sensibility. It’s about passion. Sometimes it’s frustrating, sometimes joyful.
You often need to compromise — other teams have different needs. But we all work for the customer. The Tuono 457 is a global product — important in India, but also for Europe, the U.S., and Asia. Within our team, we’re all bikers. We ride together on weekends. So yes, we think about sound, vibration — those things matter.
KW: I have two follow-ups. First, what’s the essence of creativity for you, and how does it translate into production motorcycles?
ML: I think creativity is not a standard process. It depends on what we’ve seen before from the sensitivity of designers and the process is not continuous. We need time, not too much, but we need time. And sometimes problems are opportunities for us because creativity needs problems. If you think of famous painters, artists, usually they have a psychological profile. We are in the middle. There is suffering and there is happiness. There is passion, there is innovation, and there is tradition.
We often respond to the same brief with many sketches. There isn’t one answer — there are many. That’s what makes our job so hard to explain, but also what makes it beautiful. You have to feel something. And when I see someone’s reaction to a new bike for the first time, I can tell if my team and I did a good job.
KW: So creativity can’t come from a committee, really. Second question — Piaggio has always built bikes that are unmistakably Italian, not tailored to specific markets. Is this global approach a conscious choice?
ML: It’s true, but Piaggio is evolving. The 457 platform proves that. Today, we think in terms of global products. We manufacture in Europe, India, Vietnam, and China. Markets are different, but the gaps are closing. Fifteen or twenty years ago, each market had distinct needs. Today, the needs are more alike. A bike that works in India can also work in Italy, Germany, or the U.S.
KW: One of the most iconic motorcycles ever, in my opinion, is the Aprilia RS 250. The RS 457 seems to borrow the banana swingarm design from it. Was that intentional? Did you look at the RS 250 during the design process?
ML: You’re absolutely right. Sportiness is evolving, and Aprilia is evolving with it. The RS 250 was ahead of its time — prioritising rideability over pure power. That’s the same philosophy we apply today. When designing the 457, we looked at the RS 250, but also the RSV4 and RS 660. The RS 250 is still a modern bike — simple, elegant. So was the first RSV 1000 with the Rotax engine. That simplicity remains beautiful.
And yes, that’s why the 457 doesn’t have a half-fairing. The original Tuono from 2001 didn’t either. It was a high-handlebar sporty bike, naked, no fairing. Later, as power increased, the half-fairing became necessary. But for a smaller bike like the 457, it’s not. Lightness is better.
KW: Of course — a smaller bike doesn’t need the aero.
ML: Exactly. This is the second generation of Tuono. If you look at the wing under the headlight, that’s inspired by the early Tuono. Most people probably don’t remember it. This is a Tuono and a naked bike at the same time — a balance between both. I agree, balance is a better word than compromise. But in this case, compromise isn’t negative. It draws from iconic Aprilias and still f its into a competitive segment where most bikes look the same. Being different, being Aprilia, being Tuono — that wasn’t easy!
