The second-generation Mercedes CLS four-door coupe marks a shift away from the subtle elegance of its predecessor and heralds a heavy-handed, almost Baroque aesthetic, which appears to be spreading throughout the manufacturer's portfolio.
The DRG is dominated by the now familiar, upright grille – complete with three-pointed star – flanked by more horizontally-aligned lamps by virtue of their brutally angular LED running light bars. These increase visual width, but bear little relation to the cluster outline.
However, the most obvious change is in side profile. The taut shoulder line – which previously sprang from the front wheel, swiftly making its arc to the rear tail lamp – has made way for a feature line that now apexes above the front wheel and makes heavy contact with the pronounced rear fender flare. The intersection of elements lacks true elegance, not helped by the oddly forward positioning of the rear door handle, which all conspire to cramp the rear door's style.
To round off the general lackluster of the exterior, the short rear deck appears to droop heavily over its wheels, rather than being under tension, a fact exacerbated by the rear lamp cluster graphics.
The interior is an improvement over the model it replaces and again benefits from being of a bespoke design, rather than borrowed from the E-class. The IP is more driver-focused, with deep-set dials and wrap-around door cards.
The optional carbon-fiber trim is highly dubious, especially when juxtaposed with the analogue clock that now nestles between the face-level air vents.
The result is considered by many observers as a retrograde step, not only for its lack of subtlety, but by aligning itself too closely to the E-class sedan and coupe to have its own distinct identity. The first CLS created this segment and its replacement was always going to be a challenge to design. That this second generation fails to do anything new conceptually is perhaps of little surprise. It is the quality of the execution that is so disappointing.
