Allegro 3 arrived onto the market in Autumn 1979 and the BL marketing machine, amid the grinding of E-Series gears, stirred into life. “SuperVroom”, the promotional copy declared, and a nation held its breath. Or perhaps not. Amid the lexicon of advertising taglines, it was no exclamative for the ages. Indeed for most casual observers, it meant little and bore even less relation to the product being placed in front of them. But amid the siege mentality that permeated BL’s Bickenhill corporate fortress circa-1979, the marketing teams, much like their equivalents elsewhere in the organisation had to Continue reading “Vroom the Bell Tolls”
Sometimes, ideas for DTW contributions can come out of nowhere. While looking up some comparison data for a totally unrelated (automotive) subject, one of the brochures I consulted was of the 1993 Lincoln Continental. 1993 happens to be the year that I visited the USA for the first time – a car brochure exchange partner that I had been sending parcels back and forth with for years had invited me, and the fact that I was welcome to stay at his place in Indianapolis markedly softened the financial impact of the relatively expensive flight.
Three brochures for the X1/9 illustrate Fiat’s differing marketing approaches.
Editor’s note: This piece was first published on Driven to Write on march 1st, 2017.
Despite having an instantly recognisable house style, FIAT Auto’s 1970s brochures were often rather stark looking affairs. Studio shots, no background and just the facts. For an economy hatchback or suchlike, there was an element amount of logic to this approach, but for what many dubbed a Ferrari in miniature, it risked underselling what was at the time a unique proposition.
Conceived to replace the popular Fiat 850 Sport Spider, the 1972 X1/9 would prove long lived. Claimed figures vary but at least 160,000 were produced over a 17-year lifespan. The story goes that faced with the likelihood of FIAT taking production of the 850 Spider’s replacement in-house, Nuccio Bertone pushed for a mid-engined concept, ensuring that his business would Continue reading “Midship Triptych”
Recognised as perhaps the most significant commercial automotive illustrators of the modern era, Art Fitzpatrick and Van Kaufman made their names from evocative, highly stylised, yet beautifully wrought promotional illustrations for General Motors in the United States, and for the Pontiac marque in particular. But in addition, this gifted duo would also define a mode of expression, one few have equalled without accusation of parody or copy.
Towards the latter portion of their career, with their services no longer required in Detroit, Fitz and Van were commissioned by GM’s European division to Continue reading “Drawn Out”
Should you have been in the market to purchase a new vehicle in Berkshire just over thirty years ago, you had only to buy The Observer newspaper and locate the twenty eight page Motoring Supplement. From Section D’s headline (B and C dealing with sport and finance one guesses), matters boded well – readers being informed of the £552 million of joint Renault and Giugiaro money funnelled into project X53 – the 19.
Also included was a nicely written test report of the 1.8 litre 8-valve Passat GT (with 118bhp and sunroof as standard) and plenty of information regarding the impending arrival of the ‘F’ plate on August 1st 1988. I passed my driving test two days later and was fully charged to buy my first motor.
Well, here we are again – another winter of long shadows and dashed hopes. Amid what appears to be the worst festive movie sequel ever, we reach a brief pause in the narrative. A time to make sense of the past twelve months, to marshal our gains and to reflect upon our losses – at least until the storyline sweeps us off our feet and into the immense unknowable once more.
Although comfort-oriented big Citroëns such as the DS and CX would seem to be very suitable cars for the North American driving environment, the French manufacturer has never really been able to achieve any sustained or economically viable market penetration there. A too-thin dealer network, quality and durability levels unsuited to American driving conditions (in certain aspects), the idiosyncrasies inherent in their design concept and construction and a high price tag were the main impediments to their sales success.
The car that gave hope to BMW that independent, consistent success would materialise after a difficult post-war period.
As the 1950s drew to a close, BMW was in deep trouble. Only the tiny Isetta bubble car, built under license from Iso was a modest money maker. An enormous chasm gaped between the Isetta and the large, expensive 2600 and 3200 models, modernised versions of the 501/ 502 and by that time past their best.
Boredom helped me to discover them. In the early seventies, I needed to find a way to keep myself entertained during our monthly weekend visits to my grandmother who lived in a small village in rural Belgium. As there was not much to do for me there and no children of my age to play with, I resorted to wandering around the house; that is where I at some point discovered stacks of old magazines in an old wardrobe closet. Among them were old TV guides and home decoration magazines but also issues of Readers Digest, LIFE and National Geographic.
Cars – and drawing them in particular – were my main point of interest and the plentiful car advertisements in those old magazines in my grandmother’s house provided an excellent source of inspiration. The ones that made the biggest impression on me were those of Pontiac in the magazines of American origin, and the Opel advertisements in the other more recent publications.
“He who has not seen the road, at dawn, between its two rows of trees, all fresh, all alive, does not know what hope is.”
This phrase, translated from French by Georges Bernanos is but one of several accompanying the evocative images in the beautiful and highly sought-after Citroën DS Décapotable brochure. These poem fragments are also virtually the only words to be found in the booklet, which represented a hitherto unseen and fresh way of publicizing a car, thanks to the combined creative genius of artistic manager Robert Delpire and photographer William Klein.
Ten years have elapsed since actor, Russell Crowe was carrying out his contractual media duties on BBC’s Radio 4 to promote Ridley Scott’s feature film adaptation of Robin Hood. The notoriously thin-skinned Australian leading man, when challenged by the broadcaster’s Arts Correspondent, Dominic Lawson about the somewhat wonky Yorkshire accent in his portrayal of the folk hero (which critics characterised as sounding more akin to Irish), replied with the following immortal line; “You’ve got dead ears mate. You’ve seriously got dead ears if you think that’s an Irish accent.”
File under (Renault: B-segment: Good – not great). At least the ad-campaign was memorable.
Ask anyone about the 1990 Renault Clio and amongst those who remember it at all, most will cite the long-running UK advertising campaign, featuring the somewhat clichéd antics of comely young Nicole, getting the slip on her somewhat louche papa at their somewhat clichéd Provencal retreat. Meanwhile Papa, displaying equally duplicitous behaviour (all French men of course routinely have affairs), was fomenting assignations of his own.
Risible of course, but it played to cherished English preconceptions of French mores, and was instrumental in cementing brand-Clio in the minds of UK buyers. It worked too: the Clio proving a thirty year success story for the French carmaker, but the first-generation model, unlike its ad-campaign, was not what anyone would Continue reading “Oh Nicole!”
Hard to believe now, but the 1968 Escort required an explanation.
The 105E Anglia was not by any standards a bad car. In fact, it was rather a good one, especially by the reckoning of the time. It did however arrive at an inconvenient time. By this I mean a point when the tailfin was beginning its inexorable retreat into the history books, albeit one which would happen at considerably slower speed on this side of the Atlantic. Because not only did Europe arrive comparatively late to the tailfin party, it imbibed more sparingly and made its effects last longer; in same cases, well into the 1970s.
Car advertisements offer a snapshot of a different time. Welcome to a vision of Italy – mid-’70s style.
Today’s visual meditation rests upon that perennial DTW favourite, featuring press ads for two of the more indulgent offerings from Lancia’s abundant Beta family. These were expensively shot advertisements featuring high production values, and targeted at a discerning audience. During the 1970s, (before it all unravelled for them) Lancia’s UK importers spent a sizeable portion of their ad budget with publishers, Conde Nast, between full-page colour ads like these, and multi-page spreads made in conjunction with a fashion house(s) of choice.
“You can have anything you want in life if you dress for it.” Edith Head
The Mini received its third and most significant technical and bodyshell-related change in the Autumn of 1969. The Mark III Mini – and it was now simply that (with no marque-related branding whatsoever), lost the hydrolastic suspension fitted to it as a running revision in 1964, not to mention its more upmarket variants, in an effort to reduce costs (the Clubman was a separate model), but gained internal door hinges and winding windows, much to the disgust of the car’s now sidelined spiritus rector.
It would also be its last. All subsequent changes to the Mini (1980 A+ revisions notwithstanding), would be of the purely cosmetic variety. Such as in 1977, BL’s annus horriblis, and the year in which the Mini gained a matt black grille, larger rear lamp units, which included reversing lights, and cheerful striped fabric upholstery – on the Mini 1000 model at least. Stripes too were applied below the side windows. 850 versions however remained somewhat more austere, although the subsequent 1979 Mini City 850 would Continue reading “Strike a Pose”
It might seem like a lifetime ago, but it was only last September when Volkswagen unveiled its new logo at the Frankfurt Motor Show. The logo was launched in conjunction with the ID.3 EV and was intended to herald a new era for the company, where the wholesale electrification of its model range would take centre stage. Unspoken, but undoubtedly the case, was the hope that it would Continue reading “Flattening the Curve”