Driven to Write ponders lost hopes with Jaguar’s 2003 R-D6 concept.
Most concept cars are created to invite a dialogue with the customer about the future, or at the very least, nudge them towards one the manufacturer has already committed to. However, in the case of the concepts prepared under the design leadership of Ian Callum, it was a little more akin to forensic research. With Jaguar’s styling atrophied under the weight of over two decades of introspection, it became a case of asking: ‘what would Sir William Lyons have done?’
‘The Sir William test’ is applied by marque aficionados whenever a new Jaguar production car or concept arrives on the scene but when Jaguar’s Advanced Design studio debuted the R-D6 at the Frankfurt motor show in 2003, it was one the design passed with aplomb. An evolution of themes embodied in the 2001 R-Coupe, the Matthew Beaven-styled R-D6 was a dramatic departure from the luxury coupé norm and an entirely fresh concept for a latter-day Jaguar.
A four-seat coupé combining (relatively) compact dimensions, short overhangs and the sort of poised and planted stance that had been missing from Jaguar designs for decades. The voluptuous shoulders and cropped tail suggested the E-type without being obvious about it, even if the so-called ‘coffin-lid’ hatch was a straight lift from the fabled Sixties icon.
In short, and to coin Jaguar’s own advertising – R-D6 was gorgeous. Coupled with an interior style as far removed from Jaguar’s traditional gin palace environment as was then deemed possible, here was a Jaguar that spoke of an edgier, more contemporary aesthetic, one that suggested exactly where Inspector Morse could go take a running jump.
It was an open goal for Jaguar – none of its rivals were producing anything even remotely similar and had it been possible to put a version into production, it would have undoubtedly have become as transformative a model line as Audi’s 1998 TT model.
However, by 2003 Jaguar was (inevitably) making huge losses and furthermore, their Ford paymasters lacked the stomach (or creative vision to bankroll such an unproven and risky niche model. Besides, they had yet to be convinced that Jaguar’s retro stance required recalibration, so R-D6 was as much a statement to them as to the wider public.
Since taking control of the name from the Ford Motor Company, Jaguar’s current JLR masters (F-Type apart), have elected to concentrate upon the core range. This is an expedient course of action given Jaguar’s current volumes and profitability, but it’s worth pointing out that the cars from Jaguar’s back catalogue that enthusiasts revere were anything but mainstream.
What the marque lacks is a model that can really ignite people’s passion. To do this there is a necessity to take risks, but there appears to be little appetite at JLR for that. Perhaps R-D6’s moment has passed anyway. When you see the likes of Audi, on the back of a positive reception for the TT Sportback at the recent Paris show admit they’ll probably realise it as a crossover, you know where the market is heading.
It’s likely then that this is the closest we’ll get to seeing a production R-D6. Yes, it’s a terrible pity, but it recognises how much the market has shifted in the eleven years since the concept first emerged.
But returning for a moment to the subject of Sir William, for him, art always came a close second to business. Therefore, had he believed the model he needed was a crossover, he’d have moved heaven and earth to make one. That’s worth remembering when Jaguar launches its own version of the breed.
Meanwhile, those of a more romantic bent will continue to stare longingly at R-D6 while pondering vain hopes – and perhaps shed the occasional tear.