As Citroën’s SM turns 50, we trace an unlikely inspiration.
During a cocktail party at the French consulate in Detroit in 1960 – it is not known if any Ferrero Rochers were served – Citroën president Pierre Bercot met a man by the name of Henry de Ségur Lauve. Present as an interpreter because of his excellent command of both French and English, de Ségur Lauve was soon engaged in animated conversation with Bercot as the Citroën boss discovered that the Franco-American had considerable previous experience in car design.
A curiosity from the early 1990s. It could only hail from Japan.
Of all the Japanese carmakers, Nissan was perhaps the most prolific and it must be said, daring of the purveyors of retro-flavoured designs. The Pike Factory cars, BE 1/ Pao/ S-Cargo and Figaro were not only highly successful halo cars wihin the Japanese domestic market, but lent the brand a degree of cachet which had perhaps previously eluded them. Having been once perceived as purveyors of mediocrity, Nissan now were on the very cusp of cool. Continue reading “JDM Oddities – 1994 Nissan Rasheen”
On one hand the formal limousine has always been a potent marker of social superiority, yet simultaneously a place within which to shield oneself from an often hostile plebeian gaze. After all nobody purchases, borrows or otherwise purloins a luxury saloon with the notion of hiding one’s ego from the madding crowd, one’s average plutocrat hardly being of the shrinking violet tendency.
This makes the design of the limousine something of a delicate balancing act. Serious enough to suggest material attainment, elegant enough to establish aesthetic discernment, yet sufficiently opulent to Continue reading “Ascendant Class”
There is no such thing as coincidence, we are told. Bruno Vijverman (and a certain Mr. Cruyff) beg to differ.
Similarity in looks is a fact which has been associated with the car industry almost since the very beginning and has sparked many a discussion. The factors causing some cars to Continue reading “Coincidence Is Logical”
A recent piece of mine mentioned Škoda having a sense of fun with their ghost car prototype from their EGV department. Then I found this. Škoda does have an odd way of giving names to their vehicles; the journalists of the car world (and occasionally those outside it) make mirth mightily with these monikers. There’s no point in naming these magazines or authors as we try to avoid such trivia at Driven to Write. My position is to Continue reading “Yellow Car-ster”
If you roam the streets at night, don’t be too surprised by what you encounter.
We have, on a number of occasions brought to light the manner in which the nocturnal streetscape can alter one’s perceptions, especially when it comes to the appreciation of automotive design. In some cases this can bring nuances to bear which might not have been as apparent in daylight. On the other hand, the fluorescent glare of street lighting can render a car in a manner somewhat less becoming.
Armed with only a bun for sustenance, Andrew Miles indulges in a spot of colour watching. His observations are below.
The supermarket can be an eminently dissonant place. A necessary evil; something of an endurance. But all is not lost, for as our usual café haunt was closed for refurbishment and as we had to visit the supermarket, we decided to invest in their facilities before commencing the weekly event of overfilling a metal trolley.
Luckily, this branch of J. Sainsbury’s is placed on stilts, so one parks underneath and the travellator moves you upwards bypassing the café which swiftly became my haven and inspiration for this little observation.
The FIAT Uno was one of the biggest selling and most significant cars of the 1980s. Then, it was such a common sight that one barely took note. Now, it’s invisible just because so few remain. Out of sight, out of mind; does anyone care anymore about the Uno?
A peek under the cover at Mladá Boleslav’s design process.
Car companies are rarely known for the philanthropy, charity work or comedy. Surely those who work within must see forms of any (or hopefully all) of these at some point. Making cars though is a serious business; livelihoods and reputations are at stake and those stakes are high. Thank goodness then for a small window opening into what is normally the most secretive of worlds – that of the prototype.
In this concluding piece, we consider the Lybra’s appearance and ponder its ultimate fate.
So much for the underpinnings. The dealers’ main worry had been the styling, which had been a fraught process throughout. At the start of the project, proposals from the Enrico Fumia-led Centro Stile, Leonardo Fioravanti, and the I.DE.A consultancy had been evaluated. Team Fumia’s 1992 design was thematically similar to – if visually richer than – the outgoing Dedra, also marrying obvious cues from the forthcoming 1995 Y supermini. Elements of the design also reflected the Fessia era, but in a broadly contemporary manner. Overall, it was an attractive proposal, somewhat reminiscent of Peugeot’s subsequent 406, if perhaps a little derivative in certain respects. Continue reading “Tilting the Scales (3)”
A mysterious city car concept, allegedly created by Tata Motors, may possibly be the final creation of one of the titans of automotive design. Or could it?
Officially, Marcello Gandini didn’t exactly bow out on a high note. The Stola S86 Diamante’s appearance was challenging for all the wrong reasons: Unveiled in 2005, his second design for Stola looked both clumsy, old-fashioned and rather unaccomplished – one could even be led to say: unprofessional. It marked the final time a car designed by the great Gandini was publicly unveiled.
As an end note to a career that had resulted in shapes which changed the craft of automotive design forever, the Stola S86 Diamante’s sole saving grace was its ability to Continue reading “Tata Enigma”
Great news everyone; it’s pantomime season and who better to kick off this most joyous of entertainments than Tesla?
I’m sorry to sound rather curmudgeonly. I actually like pantomime. It’s as much for the adults as the kids with a little innuendo, some (not so) subtle jokes and plenty of genuine laughs. As for the season, well, the curmudgeon levels within me-rise. As age creeps ever on I see less appeal in Christmas and more irritation.
All through the year, we get dragged into things we don’t wish to deal with yet somehow in December, everything has to be completed before the 25th, as though the world may Continue reading “He’s Behind You!”
French designer, Tristan Auer reimagines Citroën’s CX Prestige, delivering something unique and rather special.
The Hôtel de Crillon on the Place de la Concorde has been something of a Paris institution, at least for those well-heeled enough to stay there, since it opened to the public in 1907. The neoclassical 18th century palace – one of a matching pair situated at the famous Paris landmark – was built in 1758 and through its history, saw its fair share of drama, not least of which was its use by the post-revolutionary French government as a place to Continue reading “You Shall Go to the Ball”
When it comes to matters of symmetry, DTW takes the centre ground.
Back in the early days of Driven to Write, when life was more innocent and we hadn’t entirely lost the run of ourselves, we had both the time and the inclination to exercise our more whimsical thoughts, impressions and observations, at length.
Today’s Sunday sermon comes as something of a compare and contrast. Admittedly it also lays itself open to accusations of shooting fish in a barrel, but I’m prepared to take that risk. Here at Driven to Write, we have something of a soft spot for underdogs. However, some are more equal than others, and in the case of Lexus and in particular, the flagship LC 500, its continued lack of appeal to European eyes is mystifying.
In the year to June, the LC posted perhaps the greatest sales drop (58.5%) of any make or model across Europe. Which is proof, if proof were required that people’s taste is in their… well, perhaps you ought to Continue reading “Sublime to Ridiculous”
In 1995, Honda displayed two distinct and distinctive roadster concepts. Did they make the right choice?
In 1995, Pininfarina, in conjunction with Honda – who enjoyed a long-term relationship with the carrozzeria, presented Argento Vivo, a purely conceptual two-seater roadster. Designed very much in the classic idiom, Argento Vivo (as the name suggested) employed aluminium for its extruded substructure and its upper body cladding – the resultant weight loss intended to allow for the use of smaller-capacity engines than might otherwise be considered.
There was little meaningful correlation between them it seems, (although there were reports of Pininfarina putting Argento Vivo into small-scale production), but the very same year, Honda themselves debuted a two-seat concept at that year’s Tokyo motor show, dubbed the Honda Sports Study Model (SSM for short). A more determinably ‘Japanese’, modernist and conclusively less romantic shape than that that of the Italians, SSM was created at the carmaker’s Wako Design Centre near Tokyo; Honda stating that it showcased “the company at its innovative best applying state of art solutions to Continue reading “Quicksilver”
The Jaguar iconography was founded upon a small number of significant characteristics, but of these, visual appeal was perhaps the most crucial – and certainly the most obvious. For any car design to succeed in the marketplace, and to do so for an extended period of time, this appeal must be apparent, not only from the outset, but be capable of being maintained throughout a lengthy production run.
Fortunately, in Sir William Lyons, Jaguar had an arbiter of form, line, proportion and more importantly still, taste, which gave the carmaker a significant edge over both domestic and non-domestic rivals. However if Lyons had been a chef, he would have been one who had himself never cooked a meal, yet could still Continue reading “Altered State”
Once dominated by the twin pillars of Bertone and Pininfarina, the leading Italian car-design consultancies found their hegemony (and profitability) threatened by the dramatic arrival during the early 1970s of a precocious interloper by the name of Giorgetto Giugiaro. His ItalDesign consultancy quickly established itself as a formidable adversary, capable of delivering turnkey projects in both product design and engineering.
A decade or so later, and seemingly just as abruptly, another significant player entered the field. By the tail end of the 1980s, the Institute of Development in Automotive Engineering (I.D.E.A) was going head to head with the big-hitting Italian carrozzeiri, having gained the patronage of Fiat with perhaps the largest and most ambitious vehicle programme in its history. Yet they appeared to have arrived from nowhere. Continue reading “The Big Idea”
I am no expert when it comes to the subject of car design, lacking as I do the in-depth knowledge, training, vocabulary, or indeed, ‘eye’ to interrogate or illuminate a car’s form in a truly meaningful manner – mercifully, others upon these pages are better placed to do just that.
Not wishing for one moment to hasten the demise of our favoured personal transport, we must take into account the future. With planners believing we’re all to live in mega cities and have no need to own or run a car, we seek out alternatives and as is so often the way, we must look to the past to see the future.
In March 1972, the last of the UK’s once huge trolley bus network was hooked down from the frog* in Bradford, West Yorkshire. Neighbouring Leeds toyed with resurrecting such a wild idea in the early 2000’s but came to nought. A sixty year fling with this curious hybrid (that ironically had started in Bradford), of an omnibus and a railed, electrified tram was deemed non-standard and the spiders web of must-be-followed grid was removed, never to Continue reading “The Quiet Revolution”
A great deal of attention is paid to the exterior of cars though the interior is where we spend our time as drivers and passengers. For the 604 Peugeot had, for at least some of the time, the services of Paul Bracq. In the 60s he oversaw some of Mercedes-Benz’s finest vehicle exteriors, the ones that people think of when they think of a Mercedes (our image of these cars is four decades out of date). They are chromed, formal, upright, solid and faultless.
We’ve all experienced it at some point in our lives, have we not? You want something so badly, you feel there’s almost no privation you wouldn’t endure to obtain it. Rationality be damned; even to the point of detriment, just as long as you Continue reading “The Cost of Entry”
Deep breath. I don’t think the 604’s styling has been given this level of consideration before.
Peugeot had a long standing relationship with carrozzeria Pininfarina, who prepared the basic design of the the 604. As was typical for Pininfarina, the design owed as much to other work they had done as it did to the character of their actual clients’ cars.
The exterior design was by what we might call the school of Paulo Martin, designer of the Fiat 130 coupé and Rolls-Royce Camargue. The record is not clear on the matter of authorship but a clear affinity among these cars can be seen in the angularity of the surface transitions and the flatness of the panels. Continue reading “An afternoon like dusk – The 604 story, Pt. 6”
Music history has frequently been littered with the broken wreckage of bands who blasted into the public consciousness with an precocious debut, only to lose it with the follow-up. Artists such as the Stone Roses, The Sugarcubes, Franz Ferdinand and perhaps most notoriously, 80’s pop sensation, Terence Trent D’Arby all followed their well-reviewed debuts with what were varying degrees of disappointing to disastrous.
We owe the existence of the gorgeous Giulietta Sprint Speciale to the racing career it never actually got.
From the moment the Giulietta Sprint was unveiled in 1954, it was clear that its technical specification made it a phenomenal contender for class wins in both circuit and road racing.
Alfa Romeo knew this well, and in 1956 the Sprint Veloce was born: power from the 1290cc twin-cam four was up to 90HP, while bonnet and doors (which got Perspex sliding windows) were aluminium instead of steel. Nevertheless, Portello was considering a Giulietta variant aimed even more explicitly towards motor racing, based on the short-wheelbase platform made for the Giulietta Spider.
A rare encounter prematurely cut short. Sorry about that.
I’m aiming to keep this brief, given that it’s Sunday and I’m nominally on holiday. A two week sojourn on Spain’s Mediterranean coastline is hardly anyone’s concept of a mortifying act and let’s face it, there are plenty of other, more pleasant diversions to be found around these parts.
Consequently, it’s probably just as well that I am driven to write, because otherwise you, dear readers would stand a better than even chance of facing an empty page today. But my duty to DTW, as I trust you appreciate, is absolute.
But to the subject at hand. One of the more diverting aspects of places such as this are the areas of diversity and digression – and the automotive end of the spectrum is no different. The Southern European markets have long diverged from their Northern neighbours, although needless to say, a growing and regrettable conformity is starting to Continue reading “A Line Foreshortened”
A brake (or should that be a break?) from the norm for the Lion of Belfort.
The idea of the three-door shooting brake estate probably originated in the US (the 1955 Chevrolet Nomad being a prime example), but it was popularised – if such a term can be considered appropriate for such a rarefied product – by Ason Martin’s 1965 DB5; itself initially a one-off, built for AML’s chairman, David Brown, and later produced in miniscule numbers at owners’ behest by the Harold Radford coachworks.
In 1968, the Reliant Scimitar GTE also employed a shooting brake silhouette to positive effect, which not only proved transformative for the carmaker’s profile and reputation, but also gained them patronage from the British Royal family. Continue reading “The Riviera Set”
I have spent 4/5ths of my life growing up with the MPV. Over 40 years, we have seen some memorable cars. In the main, they have stood out for either their styling (the pioneering, TGV-aping Espace, the ovoid Xsara Picasso, the lovably grotesque Multipla, to name a few), or the innovation of their packaging – the latter really being the point and purpose of the genre.
We have had MPVs which have front seats that can turn around to face passengers in the rear to create a mobile meeting space. Rear seats which can fold, tumble, be removed entirely, or disappear into the rear floor. There have been five seaters which enable the middle rear perch to Continue reading “The New Untouchables (2)”
On DTW, we have touched upon the slow and largely un-mourned death of the MPV recently, but a small footnote in Autocropley caught my eye and leads me to consider how things got so bad for the ‘people carrier’.
Forgive me Father, for I have sinned. I have owned two MPVs in the last 20 years, both of which served me well – in one case, as I have written before, all too well. Both were purchased to carry my family and their stuff around in their day-to-day lives without taking up too much space on the road or on our driveway.
Interestingly, when it finally came to finding a replacement for our Xsara Picasso, I bit the bullet and bought a considerably longer estate car (Octavia). I did this mainly on the basis that I wanted a larger boot, but, if I am honest, I think a narcissistic piece of me couldn’t Continue reading “The New Untouchables (1)”
Nobody quite realised at the time, but 1959 would mark peak-tailfin – this styling device falling out of fashion almost as abruptly as it emerged. But while the tailfin’s retreat would be particularly rapid in its country of origin, the European industry, having been slower to adapt in the first instance, was equally tardy in abandoning it.
Of course, it’s worth reminding ourselves of motor industry lead-times – the period between styling sign-off and job-one. Certainly, when Ford’s UK arm conceived the 105E-series Anglia, nobody could possibly Continue reading “Fin de Siècle”
As Suzuki prepares more Kei car retro-conceptual joy for Tokyo, we dip into their toybox. Gosh it’s fluffy in there…
Scribed within the official automotive aficionado manual, [chapter 37, paragraph 8, subclause 14.7] is the injunction that both interest and enthusiasm for that unique Japanese phenomenon, the keijidōsha, or light vehicle is a prerequisite for full and unfettered admission.
Here at DTW, we’re not exactly slavish in our fealty to motor-enthusiast norms, tropes or mores, so it would, you might imagine be in our purview to take a less than conventional position on the subject. Believe me, we tried, but faced with such an unrelenting tsunami of Kwaii, it takes a very firm resolve indeed not to Continue reading “Kei Car Compendium – 2005 Suzuki LC Concept”
A chic city car concept from Renault: Denied again.
For mainstream European carmakers, despite the diminutive profit margins they typically engender, small cars have always been big business. But finding a recipe that is equally acceptable to pan-European palates is no minor matter. The ongoing mission to come up with the required blend of practicality, utility, style and indulgence at a price that would attract the urbanite and rural dweller alike might just be the toughest gig in car design. Continue reading “Metropolitian Glide”
Matteo Licata presents an acerbic critique of how automotive design is being taught.
Looking back at my ten-year stint as a designer and my various collaborations with academies, I’ve come to realize just how much has gone wrong in how the discipline is taught. Have you tried to Google “Behance Car Design Sketch” lately? Please open a new tab and do it. Look carefully at these sketches: do you see realistic, well-detailed wheels, can you see any suspension clearance? Do you see a usable glass area? I bet you don’t. Continue reading “The Problem With Design Academies”
Concluding our examination of the 1961 Lincoln Continental’s domestic design influence.
The first major change for the Continental: to silence criticism of its comparatively somewhat stingy rear legroom once and for all, the wheelbase was increased by three inches (from 123 to 126 inches).
The overall appearance of the Continental was unchanged however. Other alterations were a slightly altered roofline/DLO and the replacement of the previously curved side glass with flat glazing. This was a cost-cutting decision which was not universally liked by the press as it was seen as a step backward. The buying public obviously could live with it because sales increased by 20% over the previous year. Continue reading “Continental Congress (Part two)”
Supersize becomes rightsize – how the 1961 Lincoln Continental subtly altered US luxury car design.
The 1961 Lincoln Continental is almost universally regarded as one of the finest car designs ever to come from the USA. Daringly sparse of embellishment and relatively compact (by the standards of the day at least); smoothly geometrical and slab-sided, it marked a breakaway from fins, complicated shapes, panoramic windshields, gaudy colour schemes and superfluous decoration.
This accomplishment would alas prove to be only temporary, as witnessed by the majority of American cars (Lincoln included), that would follow over the next decade. Nevertheless, the 1961 Continental was such an influential design–gamechanger that its competitors Cadillac and Imperial reacted swiftly to Continue reading “Continental Congress (Part one)”
Ingolstadt presents ‘the off-roader of the future’. What fresh hell is this?
There has been, I’m reliably informed, a discernible atmosphere of fin de siècle about this year’s Frankfurt motor show; in the curiously underpopulated halls, the appearance of evident cost-cutting amongst some of the larger OEMs, not to mention a marked bi-polarity in the semantics being proffered, particularly by the home team.
But while the metaphorical (and to some eyes, actual) barbarians mass outside the gates, inside the bacchanal continues unabated – at least in some quarters. Volkswagen came to Continue reading “Infra Dignitatem”
When maestro Giorgetto shuffled the deck in 1973, he certainly got his money’s worth.
The Ital Design Asso di Picche (Ace of Spades) concept emerged during what can perhaps be described as Giorgetto Giugiaro’s purple patch, when the maestro could barely put a stylistic foot wrong. An expressive styling study for a close-coupled four seater coupé, in this instance created in conjunction with both Audi and Karmann, it made its public debut at the Frankfurt motor show in 1973. Continue reading “Aces High”
There are some injustices one can never quite get over.
The rationale behind this series of articles on the former Jaguar design director’s creative legacy has been to evaluate what was achieved, while not shying away from justifiable criticism. Because we can probably agree that Ian Callum’s Jaguar-related back-catalogue is a somewhat uneven one. Part of this can be ascribed to factors outside of his control, but not all.
At the Frankfurt motor show, those manufacturer-representatives in attendance, have it would appear, spent the obligatory press days smiling through clenched teeth. Boldly proffering their very latest in hybrid combustion and in a few notable cases, pure-EV offerings, the combined European, Far Eastern and in a few cases, North American carmakers are nevertheless casting anxious skywards glances towards a rapidly darkening vista.
“Lasting beauty that moves”: It’s a little bit clunky, would you not agree? But given Mercedes’ previous track record in the much-abused arena of tag-lineage, I have read worse. This week, at the Frankfurt motor show, the World’s oldest carmaker debuted a styling prototype for what is likely to be the most advanced electric vehicle to be made by an established manufacturer, and given that this is DTW, you might expect me to give it and its creators a bit of a drubbing.
Ingolstadt’s smallest crossover is very much a ‘statement design’ – it just so happens that the statement isn’t very clear.
There’s two angles from which to approach the Audi Q2’s appearance: As the final straw of Wolfgang Egger’s ultimately lacklustre tenure as the brand’s chief designer, or as the first dawn of a new era of ‘assertive’ design from Ingolstadt.
The cabin is quite obviously ‘old school Audi’, in that most of the materials used are of above-average quality, with switchgear, displays et al laid out rather diligently. Or, in other words: There isn’t much wrong with the Q2’s interior.
The exterior, however, is terribly confusing. The graphics manage the rare feat of being bold and convoluted at once. The car’s overall stance aims to be far more imposing than the its dimensions would suggest – yet the meek track widths (incidentally, and most intriguingly, shared with a great many recent German ‘premium’ models) make this attempt appear rather futile. Continue reading “AUTOpsy: Audi Q2 (2018)”
When the S-Type went under Ian Callum’s knife in 2004, the result was a visual success, although only a qualified one.
The 1999 (X200) S-Type was a car which was initially received with an element of enthusiasm from the buying public, but what appeal it had, quickly faded. There were a number of reasons for this – one being the early cars’ frightful cabin ambience and issues with driveline refinement. The other unsurprisingly was its external appearance, which rather screamed its ‘committee design’ gestation.
Certainly, during the post-millennium era, it had become obvious both to Jaguar and to their Ford masters that the creative execution was the wrong one, but with the carmaker committed to additional and expensive model programmes, there wasn’t the money available for a change in course. 2002 did see a series of revisions, most of which were aimed at improving the chassis and interior, but a more comprehensive revision was scheduled for 2004.
Our correspondent’s mission for Myristica fragrans is interrupted by something shiny and yellow.
Gulp. Sharp intake of breath. No, not because talking to the salesman makes me nervous but my first design review for this erstwhile design-centric website.
If you have yet to see my takes on design, prepare to be deflated. I like what I see. Well, sometimes. Then again, sometimes I’m horrified by what’s presented in front of me. But this particular instance I liked; a lot. An errand into town forced me past the row of car dealerships that inhabit the fringes of town. Virtually every make is available in a three mile corridor and if you can’t Continue reading “Nut Job”
An early statement of intent, the 2001 R-Coupé marked the beginning of a new design era at Jaguar.
By the time Ian Callum had settled into his position as Jaguar’s stylistic leader, the bulk of the turmoil which had characterised the previous decade had abated. Under Ford’s Premier Automotive Group umbrella, Jaguar had been in receipt of significant investment, both in terms of plant, production processes but most noticeably in new product. But given that each of the forthcoming production Jaguars had been stylistically finalised prior to his arrival at Whitley, Callum could only Continue reading “Callum’s Cats : Jaguar R-Coupé (2001)”
Given its pedigree, the ‘lost’ Aston Martin DBS(C), designed by none other than Carrozzeria Touring, should be an unsung masterpiece. Yet it isn’t.
It sounds like the typical scenario that entails reverberating boos and pronounced hisses from enthusiasts’ quarters.
A much-loved maker of exotic sports cars hires the services of a well-respected carrozzeria to come up with the design for a new model. The carrozzeria in question had previously designed the very same car maker’s most popular models. Due to circumstances (mostly of the business-related variety), that new model is only created in one-off concept car form. Et voilà – the recipe for yet another automotive myth!
Concretely, the car in question is a model retrospectively dubbed Aston Martin DBSC. Originally, it was simply called DBS upon its unveiling at the Paris Motor Show of 1966 – and that’s only where it starts to Continue reading “The One That Got Away”
Peculiar and of dubious aesthetic merit though its products are, DS Automobiles’ output at least possesses one commendable trait.
It’s rather easy to ridicule DS Automobiles. After all, it’s yet another car brand created in vitro, whose main claim to fame is a name that references one of the greatest creations in automotive history, without paying any respects to it whatsoever.
Casting aside this truly overbearing issue though, paying some attention to the brand’s design proves to be rather more worthwhile than a first glance would suggest. Of course, DS’ range of cars has so far mostly set itself apart through a sheer overabundance of stylistic tropes, many of which are rather less than inspiring (shark fin b-pillars, double badges). However, amid all the cacophonous excess, there are some interesting details to be found. Continue reading “Pardon The French”
It’s never too late to learn Micra – in all its forms.
For a car that isn’t really in the business of setting people’s hearts aflutter, the Nissan Micra does garner a decent wordcount upon our pages. Now of course we can rationalise this on the basis that DTW is (perhaps to a fault), undogmatic in its judgements. [This, I accept, is a matter of debate]
But nonetheless, it’s indisputable that the entry-level Nissan is, in pretty much all of its iterations, a thoroughly decent and fit for purpose compact motor vehicle, if not one you might necessarily choose for the sheer love of the open road. But to condemn the Micra on this basis (especially these days), is to ignore the fact that it sits well within the class norms in just about any metric one cares to fling its way – after all, Nissan is far too astute a business to Continue reading “Small : Far Away”
In a series of articles, we examine former Jaguar Design Director, Ian Callum’s stylistic legacy, though some of the more notable designs he oversaw.
The immediate period following Ford’s takeover of the Jaguar marque was a pretty febrile time – for a whole host of reasons, but primarily for the schisms which took place as Blue Oval management took stock of what it had purchased. As the stark realisation dawned that $ billions would be required to Continue reading “Callum’s Cats”
Bruno Vijverman looks back at a time when not only were cars objects of wonder, but the buildings that housed them.
On my first trip to Tokyo, one of the must-visit locations would probably not have made much sense to the typical tourist, but it did to me, being not only a car lover but in particular a brochure collector: Toyota Amlux.
This huge flagship showroom, housed in an equally impressive building, showcased all Toyota’s cars over six floors. Each one employed a different
theme- for instance there was a floor with only SUV’s and one containing luxury cars.
The proud, if patchy tradition of the French grand tourisme didn’t quite end with the Citroën SM.
The French relationship to automotive luxury is similar to how Germans deal with fine food. Just as those stemming from east of the river Rhine tend to be more willing to spend a fortune on engine lubricants, rather than extra virgin olive oil, their more occidental counterparts usually gain more pleasure from visiting a fine auberge on a regular basis than a car showroom or garage. How he or she gets to said auberge is a secondary concern, too.
Yet, just as there are Germans who care deeply about fine food (Fritz Eichbauer being a particularly striking example of this), the French aren’t totally immune to the charms of decadent motoring either, as the erstwhile success of proud names like Bugatti or Facel proved. It was only some time after the war, and due in large part to stringent domestic luxury taxation, that the French GT found itself on the wane. Continue reading “Le roi est mort, vive le roi!”