Produced from 1969 to 1977, the Škoda 100 became the brand’s first vehicle to surpass one million units. Although it was considered an affordable, people’s car at the time, owning a vehicle was far from commonplace. This inspired designer Martin Paclt to reinterpret the model with a more premium, limousine-like character. “I drew from the proportions of the Superb, and the resulting concept turned out slightly larger,” he says of the basic idea.

A key motivation for choosing the Škoda 100 was the model’s popularity, which Paclt remembers from his childhood. “I wanted to work with a car that people know well—and that many once owned themselves. The Škoda 100 appealed to me with its clean, timeless lines, which resonate strongly with the current Modern Solid design direction,” he says.

From the outset, Paclt knew he did not want a retro-styled recreation. The aim was to preserve the essence of the original primarily through its proportions and overall character. The reinterpretation therefore remains a classic sedan with elegant, flowing surfaces and large, uninterrupted volumes.

Škoda 100

The Škoda 100/110 series became the brand’s first model to exceed one million units, with a total of 1,079,708 units produced between 1969 and 1977. The car retained the rear-engine, rear-wheel-drive concept of its predecessor, the 1000 MB. This four-door sedan was known for its elegant, well-balanced lines, practical solutions, and surprisingly upscale features for its time—such as fold-flat seats in L-grade versions. The Škoda 100 was powered by a 1.0-litre four-cylinder engine producing 35 kW, while the 1.1-litre Škoda 110 delivered 39 kW, with LS versions approaching 46 kW.

The modern vision also incorporates several contemporary cues, including a four-element headlight graphic, a sculpted bonnet with a crease and the Škoda logo, and prominent light strips spanning across both the front and rear. These details refer to the original model’s chrome front trim and rear hot-air vent.

A bold tribute to the original

One of the concept’s most unconventional features is the rear section of the body behind the back doors. This area was inspired by the similar shapes of the original car’s front and rear windows. “The windows were almost interchangeable, and I thought it would be interesting to play with that connection,” Paclt explains. This idea led to a bold design move: the rear window is omitted entirely. This allows the rear body surfaces to mirror the sculptural language of the glazed front. “It’s a small attempt to challenge established rules. It will certainly evoke emotions—and design should do exactly that,” he notes. The signature oval graphic, used on both the front and rear, further reinforces the link to the classic Škoda 100.

The unconventional rear solution also created opportunities to rethink the vehicle’s technical layout. “I wanted to create a concept with a certain degree of realism,” says Paclt. The absence of a rear window enabled him to integrate a fresh-air intake system in that area, complemented by minimalist vents on the rear fenders. “Even an electric vehicle—because this vision is intended as an electric car—requires cooling. Placing the intake above the roof looks cool and effectively directs air to the technical components located behind the cabin. It made sense to maintain the original Škoda 100’s rear-engine philosophy,” Martin says.

Technically, Paclt’s vision embraces the classic “everything in the back” concept. “I enjoy the idea of rear-wheel drive. It allowed me to push the front axle forward and create a truly short front overhang,” he adds. A primary storage compartment is located at the front, complemented by a smaller secondary compartment above the rear-mounted drivetrain—essentially a variation on today’s frunk.

A welcome creative challenge

For Paclt, an exterior designer specializing in headlight design, working on a modern reinterpretation of the Škoda 100 was a refreshing change. While his daily work focuses on exterior elements, this project allowed him to shape an entire car from scratch according to his own vision. “I only had to steer clear of themes connected to the Vision O concept, which I contributed to shortly before preparing my interpretation of the legendary sedan,” he notes.

His process began with traditional pencil sketches. “I sketch with pencils and crayons because they let me produce many drawings quickly and immediately assess whether an idea works,” he explains. “Once I found a concept that made sense, I developed it further in detail,” he continues.

Interestingly, the foundation for the design was the package of the current Superb. “I realized the new Škoda 100 needed to be slightly larger—especially wider—and to sit well on its wheels, which is absolutely essential,” he says. From there, he built the 3D model of his vision: a modern, confident tribute to the original car.

Martin Paclt

Martin Paclt has been with Škoda Auto for more than 11 years. He was inspired to become a designer by his father, an architect. “I realized early on that I wanted to give form to things,” he says. After his studies and a brief career in industrial design, he joined Škoda, immediately becoming part of the headlight-design team where he still works today. “But I am gradually trying to broaden my scope and contribute my ideas to the overall exterior design of the cars,” says Martin, describing his direction. That is one of the reasons why he enjoyed working on his interpretation of the Škoda 100, as he says. He has been involved in numerous models, including the Enyaq, Karoq, Kamiq, and Kodiaq, as well as concepts such as the Vision X and Vision 7S. Most recently, he contributed to the Vision O concept.