The turn of the century saw the Blue Oval vainly attempting to revisit its late ’50s heyday. But the past steadfastly remains a foreign country.
The 1984 Grammy-winning Don Henley single, Boys of Summer is a meditation on reminiscence and regret. It plays on the slick US West Coast values of the author’s Eagles heyday, subverting its MOR sheen to underline the more mature themes of ageing and loss.
Looking back to the past can be instructive, indeed for some of us, it’s a virtual necessity. However, true folly lies in attempts to recreate it.
By the tail-end of the ’90s, the retro fashion in vehicle styling, which could be said to have originated in Japan, had made it across the Pacific. In many ways however, retro had been as much a home-grown US phenomenon, given that throughout the previous decade the music and fashions of the past had been ruthlessly mined for entertainment and revenue generating purposes, so for it to morph into product design wasn’t all that much of a leap.
The Blue Oval’s retro beginnings could perhaps be traced to the 1998 Jaguar X200 S-Type, a car design which under pressure from senior Ford executives, not to mention the Ford’s styling Vice President, Jack Telnack, suggested a Dearborn Glass House vision of Olde Albion. As cover versions of much-loved standards go, it was neither Whitley, nor Michigan’s finest hour.
Furthermore, it also heralded a rather muted critical reception to the first of Ford’s state of the art luxury car platforms. In conjunction with their UK trophy wife, Ford developed a rear-drive platform for their D/E segment, dubbed DEW98. Designed to underpin both S-Type and the following year’s Lincoln LS, both cars shared floorpans, suspensions and basic engine designs, although the Ford V6 and Whitley-designed V8 engines fitted to the Lincoln are believed to have differed notably in detail.
The Lincoln LS was pitched as a ‘sports saloon’ aimed at German import rivals, but positioned as a slightly cheaper offering to the Castle Bromwich nostalgia-fest. But Ford are believed to have had further plans for DEW98, intending it to form the basis for a whole slew of cars.
In 1999, Jac Nasser assumed the top job at Dearborn. The Australian had ambitious and transformative plans to make the Blue Oval a luxury car powerhouse and the appointment of former BMW R&D chief, Wolfgang Reizle to lead the Premier Automotive Division illustrated how much business Nasser meant.
1999 also saw the departure of Jack Telnack, who in the run-up to his retirement is believed to have overseen the creation of a retro-styled Ford Thunderbird concept, heavily based on the 1957 classic, which was previewed in concept form in 2000.
Sanctioned for production, it employed a modified version of the DEW98 platform, Lincoln LS chassis and powertrain – even the dashboard was the same. Launched the following year with expectations as high as its ambitious sticker price, after a strong first year with over 30,000 sold, sales slumped dramatically before being axed in 2005 with around 68,000 made in total.
Retrospectively of course, it’s possible to see the T-Bird as a bit of a novelty, one which would by consequence only enjoy the briefest of moment in the sun. We’re all geniuses in hindsight of course, but given the moves afoot at Wolfgang Reizle’s PAG headquarters in London and at Gerry McGovern’s Lincoln studio in California, was Ford perhaps a little too hasty?
Following his 1999 appointment, McGovern oversaw a series of Lincoln concepts which prefigured what would ultimately prove to be an impossible future. Making its show debut in 2004, but likely to have been created some time before, the MK X concept was an elegant two-seater grand turismo convertible in the classic idiom.
Incorporating styling themes from previous McGovern helmed designs, Marek Reichman’s glamourous lines, fine detailing and upmarket positioning retrospectively suggests a more lucrative use of the DEW98 platform than the flash in the pan T-Bird. One with arguably greater potential longevity and relevance in the market as well.
But equally, it’s possible to look at Reichman and Mc Govern’s proposals as simply another form of revisionism, if better executed and more elegantly realised.
The DEW98 platform was deemed unfit for purpose by Wolfgang Reizle, who had it expensively updated for 2002. According to chronicler, Hilton Holloway, Reitze had, prior to his departure, insisted upon development of a totally new bespoke platform for the PAG group, something Ford beancounters baulked at. Holloway even went as far as to suggest this informed the German’s decision to walk away.
However, given that DEW98 could be both stretched and shortened, it’s difficult to understand why it would not have sufficed, especially following its extensive revamp. Furthermore, it would surely have been more expedient from a tooling amortisation perspective to have continued using it for Lincoln’s offerings, rather than gifting it entirely to Coventry.
In the eponymous song, Henley encounters a new Cadillac Seville emblazoned with the ‘Dead Head’ emblem of legendary rock band, Grateful Dead, a metaphor for how the survivors of the ’60s counterculture grew up, sold out and got rich. Dreams get betrayed he seems to be saying, and whether one views Ford’s PAG dream in that manner, or that it was simply hostage to the myriad of crises that saw Jac Nasser ousted in 2001, it all ended in failure and regret.
But as Mr. Henley points out, you can never look back, and certainly Messrs, Mc Govern, Reichman and Reitze have left this period well behind them. After all, history is littered with the corpses of the politically naïve, the foolish or the downright unlucky. We may never quite know the machinations that took place within the Ford Motor Company during the immediate post-millennial period, but what we can say with some certainty is that we’ve seen the last of the boys of summer.