In terms of prose and style, Porsche’s advertising certainly couldn’t keep up with the modernism of the company’s flagship GT. Yet the Swabian virtues persisted.
Given the amounts of thought, devotion and creativity that went into the creation of Porsche’s landmark 928 coupé, it comes as a bit of a surprise that the ’78 vintage brochure of the car isn’t terribly advanced in terms of layout or prose.
The overwhelming sense is one of pride and Swabian thoroughness, with just a hint of ’70s glamour and cosmopolitan flair added. Double pages are devoted to the 928’s being awarded ‘Car Of The Year’, obviously, as well as its design and engineering development process.
Pun-tastic name aside, the new monster from Ingolstadt mainly serves to expose the car industry’s ignorance towards the social properties of the automobile.
It’s difficult to determine where to start with the Audi Q8. How about the name? Yes, there may be a ton of planet-saving batteries hidden underneath its gargantuan sheetmetal somewhere, but still: just the car’s appearance and its onomatopoeic, mineral oil-related name set a rather strange tone.
Being the quintessential British stalwart car, the Jaguar XJ serves as a poignant illustration of what constituted ‘the good life’ through the ages.
Germany has the Golf and S-class, Britain’s got the Jaguar XJ. A car that has been part of the automotive landscape for decades, all the while being adapted (to differing levels to success) to changes in tastes and demographic.
When two of the most prominent car designers recently left their posts, each left a ‘legacy’ awkward SUV model behind. Coincidence?
Most commentators were astonished when Luc Donckerwolke, one of the most high-profile design directors at Volkswagen Group, decided to leave the German giant behind and join Hyundai’s nascent Genesis brand. Was it the allure of receiving the call of his former boss, Peter Schreyer, that made him leave his post as Bentley’s chief designer and depart for South Korea? Or was it simply a matter of giant paycheques changing hands?
Jaguar’s XJ6 saloon was a landmark car. Its marketing did it justice.
Collecting brochures is, in the grander scheme of things, a rather sad pastime. One goes to great lengths to get one’s hands onto something that was supposed to have, at best, a short-term effect and be forgotten immediately afterwards.
If you think idiosyncratic coachbuilder Zagato is a peculiar kind of company, prepare yourself for the multi-facetted oddness of Rayton Fissore
As there are so many uncertainties about this particularly unusual automotive enterprise, let’s start with the verified facts. This company actually did exist. And while this may seem like a given, this very fact needs to be established, as so much about this business remains shrouded in mystery. Continue reading “Bevy of Strangeness: Rayton Fissore”
People who love both cars and films love car movies, right? It’s not quite as simple as that, though.
A life without films and cars would be a terrifying prospect to me. I’d have to spend whatever spare time I’ve got cooking and eating, both of which are pastimes with inherent limits in terms of the worthiness of their pursuit. Continue reading “Theme: Film – Undriven”
There may be more famous examples of car casting – yet no other automobile has ever played as poignant a role, in the real world as in the movie realm, as a black Mercedes 450SL.
The name of the man we actually need to thank/blame for the 1980s as we know them isn’t Ronald Reagan, but Ferdinando Scarfiotti.
Even without grotesquely overstating the cultural importance of the movies, few would argue about the value placed on style and glamour during the decade that gave us the power breakfast, braces and big hair/shoulder pads/mobile phones.
Jaguar used to be renowned for their warm and inviting cabins. No longer.
Jaguar’s current stream of new models is testament to the enormous sums being spent on reinvigorating the brand – unfortunately, the new car’s interiors make every effort to appear as though they were lowest on the list of priorities. A new family of combustion engines doesn’t come cheap. Neither does an all-new aluminium platform. But is that enough to explain quite why the cabins of Jaguar’s new-from-scratch XE, XF and F-pace models are so blatantly disappointing? Continue reading “Entering the Plastic Age”
Far from being the worst offspring of the late Sacco/Peter Pfeiffer era at Mercedes-Benz, the CL-coupé (C215) still exhibits a very poignant reminder of what went wrong at Untertürkheim during this particular period of time.Its proportions are actually very pleasing indeed (unlike those of its immediate predecessor), yet the CL is utterly let down by its detailing. Continue reading “Mind the Gap!”
Today, golden sneakers have taken over from monk-strap brogues.
Back in the olden days, my younger self used to indulge in the stiff upper lip, olde worlde charms of Knightsbridge’s crusty kind of wealth. As a young, car obsessed German boy, the illustrious parts of London used to be some kind of automotive mecca: Bentleys and Royces galore, not to mention vintage exotica (at a time when old cars were considered just that in Germany). There was a certain nonchalance even to that aloof chap that parked his Ferrari 456 halfway across a zebra crossing, just because that happened to be right in front of the café where he intended to have his breakfast. Not to mention all those gentlemen in double-breasted pinstriped suits, who always seemed to embody some kind of aristocratic calm. Continue reading “Knightsbridge, 2016”
It’s another round of musical chairs at the Italo-American car maker, with particularly resonant changes being brought to the company’s sartorial department.
In yet another surprising move, Fiat Chrysler Automobiles (FCA) CEO, Sergio Marchionne, has promoted Wichita-born Tripp Hardcrotch as Chief Knitwear Officer. Mr Hardcrotch will be in charge of organising clothing supply for all global subsidiaries, as well as devising a new sartorial structure for the company.
Driven to Write concludes its three-part meditation on the definitive latter-day Mercedes, the W126 S-Class.
Viewed with disinterest, it is surprisingly easy to come to this conclusion when judging the W126. Visually, it is far from stunning. Its vertical affinity, horizontal homogeneity-influenced styling (or rather: design) means it could easily be shrugged off as “just some Mercedes”. In terms of engineering, its focus on safety, solidity and efficiency also means it has never been at the forefront of performance data bragging contests, due to the lack of a V12 engine or an engine of almost ridiculous capacity at the top of the range. The W126 asks either for a conservative stance in the traditional sense of the word or an understanding of subtleties to be appreciated. Continue reading “First Of Its Kind/Last Of Its Kind: The Mercedes W126 – Part 3”
As the eighties progressed and those who could preferred to flaunt it, the W126 began to fall out of favour and, for the very first time, began to feel threatened.
The nature of the market during the late 1970s and early ‘80s played a crucial role in the unique process that lead to the W126’s creation. It is, for example, very hard to believe today’s clientele would accept a flagship modell with significantly reduced output figures compared with its predecessor – yet after a decade of fears of fuel shortages, even the most wealthy and conspicuously consuming of customers were willing to accept a certain amount of modesty.
The words may be different, but the tune is the same: despite a great many statements to the contrary, the message sent out by VAG management is still one steeped in technocratic arrogance. With the press already on the Volkswagen big guns’ heels, Matthias Müller et al will now have to face their second most powerful opponent: the mighty work council.
VAG is a special company, not just because it accommodates such a vast number of car brands (12) or because of the number of people it employs (almost 600.000). The most peculiar element of VAG is its ownership structure. For it is neither semi-state owned nor a family run business – or both at the same time, depending on one’s point of view. There are also ‘normal’ shareholders – what with the AG in VAG standing for Aktiengesellschaft (public limited company) – but it is obvious that one needs to have either the state of Lower Saxony or the mighty Porsche/Piëch clan standing behind oneself (or, ideally, both) if one intends to get things moving in Wolfsburg.
Close your eyes. And imagine a car designer who actually has something to say. Who doesn’t just repeat the marketing fluff as dictated by his employer’s PR people. Who understands that there’s a world beyond the automotive, and, simultaneously, a world the car, inadvertently or not, helps to shape. The man this is referring to is none other than one Christopher Edward Bangle.
The car that would come to be defined as the quintessential S-class actually was a deeply conservative vanguard of modern engineering. However, its legacy was not to last.
A black wreckage with blown-off bonnet and deflated tyres, lying across a cordoned-off street. This is how most Germans of a certain generation remember the Mercedes W126, the S-class model of the 1980s.
It isn’t unusual for a fashion designer to sprinkle a bit of his fairy dust onto the humble products of car manufacturers with the aim of creating both sales and prestige gains. What is more unusual is for a fashion designer to create a bespoke car for himself. Which is exactly what Karl Lagerfeld did – twice.
Typically, special editions of mass market cars are the domain of clothing or sports equipment brands. Usually, they consist of not much more than a particular colour/trim combination and a set of logo stickers. But there is one special edition from the 1990s that was so much more than that.
Aviation is a strange beast: those associated with its most heroic aspects – the pilots – are symbols of derring-do and globetrotting urbaneness. Yet those closer to its lesser aspects don’t lend themselves to such glamorous properties, least of all the ones lowest down the prestige hierarchy, albeit high up the enthusiasm order: the enthusiasts. Continue reading “Theme: Special -The Ford Ka Lufthansa Edition”
The demise and desecration of the idiosyncratic Swedish brand may be the source of an endless stream of stories. Yet more interesting is a less well-publicised aspect of the period when Saab was already taking its last breath: the cars that were not to be.
The very fact that Saab was a deeply mismanaged business would appear to be indisputable. And yet, at the very end of its existence, that other Swedish brand seemed to have developed a hitherto dormant will to survive. After having suffered the indignity of being bestowed with badge-engineered Subarus and Chevrolets, Saab appeared to be coming to its senses in terms of product development. The resultant 9-5 saloon and estate, as well as – to a lesser degree – the 9-4x SUV were the result of this push. Continue reading “Ghosts Of Saabs Unborn”
Once upon a time, there was a dashing Dane who, it appeared, could do no wrong when it came to creating sleek, elegant, timeless shapes for sophisticated sports cars. A mere decade later, little of this reputation remains intact – which also taints his past body of work.
I am writing this as someone who used to hold the talents of this particular designer in high regard. Despite my lack of enthusiasm for retro design, I registered an attention to detail in the BMW Z8 he helped penning that outweighed my reservations regarding the very concept of that BMW 507 pastiche. Moreover, the Aston Martin V8 Vantage and, in particular, DB9 models he was credited with were, plain and simple, the prettiest prestige cars of the decade. These designs formed my view that Henrik Fisker must rank among the very top of the car designers’ ilk, as a man who could
hold up the value of good old elegance in the vein of a Pininfarina, during a time when uncouthness reigned supreme.
The combination of Italy, twelve cylinders and pleasant company should not leave much space for any prosaic considerations, such as reliability and fuel economy. But worries have the habit of finding their way, regardless of cultural and geographical charms.
The troubles and subsequent changes at Volkswagen AG have led to an unforeseen departure. Walter de’ Silva, overall head of the entire group’s stylistic development and one of the most powerful men in this line of business, has chosen take early retirement, merely a few weeks after having become appointed president of Italdesign, Audi’s semi-independent design branch.
Few car manufacturers are as closely associated with their styling director as Jaguar is. Ian Callum, the current incumbent, is acting as both the premier brand ambassador, as well as in his main capacity of aesthetic pontiff. But even the prominent Scot will have to hand over reigns eventually. The question is: to whom?
What with all the kerfuffle regarding Ferdinand Piech’s stepping down from his post as leader of VAG’s board of directors this summer, it went by almost unnoticed that an era was ending at BMW, too.
Norbert Reithofer is not what one would call ‘showy’. He’s gifted with neither the shock-frosting stare of a Piech nor the gunslinging attitude of a Bob Lutz. Reithofer’s hint of a Bavarian accent and non-boisterous delivery were the most noteworthy elements of his public appearances.
So far, so unexceptional. In keeping with BMW traditions, the end of Reithofer’s tenure also wasn’t accompanied by bells and whistles – it’s as though the office of ‘A’, which is what the CEO of BMW is traditionally being referred to internally, is merely being rented out to another tenant (former head of production, Harald Krüger, to be precise). No Wolfsburgian sense of drama, no backstabbing – and no ‘the captain likes to remain on the bridge’ lament, as was performed by Reithofer’s immediate predecessor, Helmut Panke (who also had to leave his post on age grounds, but obviously failed to secure the BMW-owning Quandt family’s allegiance with this recalcitrancy), once he was asked to hand over reigns. Continue reading “‘A’ Departure”
Almost three decades ago, a couple of cheapskate film producers believed they could whisk the quintessential American superhero to Buckinghamshire and people wouldn’t notice. Now Daimler AG is following their example.
Back in the late 1970s, Menahem Golan and Yoram Globus were the undisputed moguls of Israeli cinema, thanks mainly to the success of their Lemon Popsicle series of raunchy comedies. By the early 1980s, they wanted to enter the big leagues, which meant entering the US market, big time. Golan/Globus invested serious amounts of money in order Continue reading “Superman In Milton Keynes”
Now that even modest compact cars can be equipped with stitched leather look for almost every surface imaginable, the upper echelons have to up the cow skin ante – to, in some cases, dubious effect.
The recent troubles at Aston Martin have almost overshadowed an event that has become a bit of a rarity in recent times: the unveiling of a rather attractive car coming from Gaydon. The automobile in question, the Lagonda Taraf, is – Continue reading “Hideous Hides”
Having looked at the issues besetting the mighty Volkswagen AG (VAG) recently in Part 1 – which can be read here – we can now try and shed some light on the depth of the problems and likely solutions.
Today, the problem is that these cars are all on the verge of being replaced (or have already been replaced, in the Golf VI’s case). The new range taking their place will, even once the glitches related to MQB have been ironed out, not be as lucrative, with profit margins shrinking by as much as two thirds, compared with the Bernhard-era models. This should make future subsidising of models such as the Amarok pick-up (which is said to have a profit margin of -25%) with the Tiguan II’s yields considerably more difficult.Continue reading “Teutonic Displacement: Volkswagen Konzern (Part 2)”
Not just since Luca di Montezemolo’s dismissal have arguments about the merits and demerits of FCA CEO, Sergio Marchionne’s style of conducting business been rather heated. And now we are being presented with a particularly poignant case in point.
This post actually involves neither Ricardo Montalbán nor Benedict Cumberbatch. Instead, this is about a video presenting one of the few genuinely decadent motor cars on sale today, the Rolls-Royce Wraith.
Unlike certain motion picture formats concerning the automobile, this little film isn’t about a tarred-and-feathered Rolls-Royce that has to cross the Gobi desert before the egg on its motor block has been fried to a crisp. It simply tries to understand the appeal of the car in its most likely habitat. And appeal it does, in a sense I personally find somewhat perplexing in this day and age of oversaturation.
There is still a sense of luxury in existence that manages to astonish.
See for yourself whether you can find the point of something that one may consider tastefully excessive:
When only basic proportions are giving the game away
Plastic surgery may not be limited to people’s faces, but only on few – usually bizarre – occasions do the stylists tempering with flesh and bone go for a change of the entire body. However, in car design, the situation is presenting itself rather differently: the choice is between either just a facelift or the full Monty.
Today I had the chance to experience a car I consider to be among the most disappointing of recent years – the successor to the flawed yet glorious Quattroporte V. Gone is the lithe elegance of Ken Okuyama’s styling, making way for considerably more competitive technology, as well as simply gargantuan proportions.
It really is an ungainly-looking barge, trying to marry its enormous size with some stylistic nods to its predecessor. The result I’d consider something akin to Jaguar’s unfortunate X350 XJ – an ill-advised pastiche, borne by the misconception that certain cues are independent of scale and proportions. If I want a giant Maserati, I’d personally go for Giugiaro’s Mk III version instead, in all its Passat-on-steroids glory.
This being, unofficially, the Fiat/FCA themed month, I feel like shedding some light on Fiat’s current styling policy and the man responsible for it.
And when I say “shedding some light”, I actually mean pointing out all the dark and shadowy areas that currently make up Fiat’s styling. More questions will be asked than answered, inevitably.
Superficially, the reorganisation of Fiat’s different Centri Stile in the wake of the company’s Marchionnisation seems to have been a straightforward example of streamlining. And, unlike the most famous jumper lover’s financial and fiscal shenanigans, this move appears to be both easily graspable and logical. Continue reading “What Exactly Is Lorenzo Ramaciotti Doing?”
There are a great many conflicting facts and inconsistencies surrounding the deity Porsche’s successor to the 356 has turned into over the course of a few decades. Above all else, there is the incontestable fact that its basic layout, the core of its engineering, is of the idiosyncratic kind.
That in itself wouldn’t raise any eyebrows, but such eccentricity – despite oftentimes inviting critical acclaim, at least initially – usually excludes lasting success. That the 911 overcomes the usual reservations towards alien solutions may be due to two facts. Continue reading “Dial 911 For Cute”