Aston Martin DB11 VS Mercedes-Benz CLS-Class

For a while there it looked like Aston Martin had fallen into the ‘everything looks the same’ trap, with Ian Callum’s breakthrough DB7 design in the mid-‘90s writing the script for the DB9 that followed, and heavily influencing everything else in the brand’s subsequent portfolio.

But in 2014, Aston’s design chief Marek Reichman sent a message with the DB10 Concept that things were about to change.

James Bond had Q and MI6 to thank for his DB10 company car in Spectre, but real-world Aston Martin customers were soon offered the DB11, which combined the muscularity of Reichman’s work on the ultra-exclusive One-77 from a decade earlier with the swooping, long-nosed proportions of his track-only Vulcan hypercar.

The hallmark of a well executed 2+2 GT is that it looks bigger in photos than it does in reality, and the DB11 is a perfect case in point.

Appearing limo-sized in our accompanying images, the DB11 is in fact 34mm shorter end-to-end than a Ford Mustang, but it’s exactly 34mm wider, and no less than 91mm lower in overall height.

And as any fashionista worth their salt will tell you, dark colours are slimming, and our ‘Onyx Black’ AMR, with gloss black 20-inch forged rims and black ‘Balmoral’ leather interior accentuated the car’s tightly drawn, shrink-wrapped surface treatment.

Signature elements in the shape of a broad, tapering grille, divided side vents, and sharply curved, two-level (smoked) tail-lights clearly identify the DB11 as an Aston Martin.

But the smooth integration of the car’s broad haunches (very One-77), gently tapering turret (optional exposed carbon) and flowing bonnet is masterful and fresh. The dash-to-axle ratio (the distance from the base of the windscreen to the front axle line) is Jaguar E-Type-esque.

And it’s all subtly aero-efficient, For example, the door handles fit flush to the body, the mirror housings double as mini ‘wings’, and the Aston Martin ‘Aeroblade’ system channels air running from carefully crafted openings at the base of the C-pillar, through the rear of the car to generate downforce (with minimal drag) across a lateral vent on the trailing edge of the bootlid. A small flap rises at “high speed” when more stability is required. 

The interior is all business, with a simple instrument binnacle showcasing a central 12.0-inch digital speedo-within-tacho combination, flanked by configurable engine, performance and media read-outs on either side.

Aston has form with squared-off steering wheels and the DB11’s is flat on the bottom and decidedly straight on the sides, affording a clear view of the gauges without compromising purpose. A leather and Alcantara trim combination is (literally) a nice touch. 

The teardrop-shaped centre stack sits in a slightly recessed section (optionally) lined with ‘carbon-fibre twill’, while the form and function of the 8.0-inch multimedia screen at the top will be immediately familiar to current Mercedes-Benz drivers, as the system, including the console mounted rotary controller and touchpad, is sourced from the three-pointed-star brand.

A band of proudly illuminated buttons across the centre includes gear settings for the transmission and a winged stop-starter in the middle. Strange, then, that the plastic knobs on the adjustable air vents look and feel so cheap and bland. This a $400k-plus Aston Martin, where’s the knurled alloy? 

Other highlights include elegant sports seats trimmed in a combination of premium leather and Alcantara. Aston offers various levels of leather and our car’s black ‘Balmoral’ hide is taken from the top shelf.

The key accent colour inside and out on our test example was a screaming lime green, picking out the brake calipers, centre strips on the seats, and contrast stitching throughout the cabin. Sounds awful, looks amazing.  

The new-generation CLS has arrived looking slipperier than a cake of soap on the bottom of the bath. This model has always had svelte styling, but things have become even smoother with Benz’s design chief Gorden Wagener insisting more lines be removed in the creation of this latest version.

So, while there’s the familiar profile of that roof tapering down into the boot lid, the long rear overhang and that sliver of a window opening arching and turning down sharply at the rear, it's a more flowing design now that there are less edges to break it all up.

A new ‘shark nose’ grille opening, and broad bonnet adds a hunk of muscle car toughness to the CLS’s face. But it’s refined thuggery, with that single-louvered ‘diamond studded’ grille flanked by flush-mounted headlights. The tail-lights, too, are so contoured to the body around them they look painted on.

As CarsGuide senior editor Matt Campbell pointed out in his review of the CLS at the international launch, the car looks far better in the metal than it does in any photo.

The CLS is based on the E-Class, sharing its platform and technology, but it’s about 20mm longer (at 4988mm) end-to-end. That’s almost 50mm longer than the previous generation CLS, too. At just over 1.4m tall the CLS is low-slung but wide at 1.9m across (almost 2.1m including mirrors).

The CLS’s cabin mirrors that of the E-Class, too, with a sweeping dashboard which flows through into the doors, two large landscape displays for your instruments and media, an oversupply of air vents and some darn sexy lighting. It’s a luxurious, stylish, comfortable, but snug setting cocooned by padded leather and polished surfaces.

The Australian CLS has been fitted standard with the AMG interior and exterior packages.

You can pick from 11 colours – eight of which are no-cost options and include, 'Polar White', 'Obsidian Black', 'Iridium Silver', 'Citrine Brown', 'Graphite Grey' and 'Cavansite Blue'. Optional colours include 'Hyacinth Red' and 'Selenite Grey Magno'.