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All ideas and comments were analysed and several reports were produced on how users imagined the car of the future. Tags were available so that people could categorise their ideas.
However, the aim of the project was not to collect ideas for production, but rather to understand how people relate to cars.

When developing the project together with the public, it was necessary to ensure that the expectations and needs of consumers were understood. Therefore, adequately representing the public's wishes and developing the prototype in a coherent manner were the main challenges throughout the project.

The designers set aside 21 themes that would be the skeleton for the next belarus phone data stage and each theme was opened to individual discussion for ten days to clarify the path that the designers and engineers should follow. To receive consistent suggestions, Fiat continued to stimulate the flow of ideas by providing references, through images and texts, on what was feasible.

The previous stage had gathered insights into generating a desirable car for the future, regardless of technical feasibility. But at the concept design stage, Fiat wanted to concentrate on designing a viable prototype to exhibit at the 2010 edition of the São Paulo Motor Show.

Internet users were invited to vote for their favourite. In order to appeal to the largest number of consumers, the designers decided to adopt the most voted version, but with some elements from the second place.

The open innovation process did not stop when the designers started building the prototype. Throughout this stage, Fiat continued to cultivate dialogue and encourage people to make choices. Options were put on the Fiat Mio platform to be voted on by users. But the process was now geared towards perfecting a proposal, rather than generating alternatives.

The modeling process began by digitally sculpting the car in 3D. The modelers received that model and created an initial metal structure, which served as a skeleton.

Then it was off to the machine, where an offset print on polystyrene foam formed a structure that was manually covered in clay. A milling machine corrected the format, bringing it closer to the virtual model.

After that came more manual work with designers checking line by line the proportion, volume and distance, and making manual adjustments where necessary.

For the car's interior, a similar clay model was made, where the designers could sit, touch, feel and decide what needed to be modified. As these manual adjustments were made on clay models, they now needed to be translated back into the virtual world.

A digital camera took photos so that the original virtual model could be adapted to the manual modifications made to the clay model. This new document was then used to generate the final model, which was laminated in fiberglass and resin.