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!”
In 1997, then Tory Party MP, Ann Widdecombe was asked whether she would endorse former Home Secretary, Michael Howard’s bid to become the leader of the UK Conservatives. She refused, stating in the House of Commons that there was “something of the night about him.”
It was a nice line in waspish put-downs and one which is believed to have scuppered Howard’s leadership ambitions, but given Ms. Widdecombe’s reactionary and somewhat unpleasant views on, well, just about everything really, there was a strong whiff of pot and kettle about it. In reality however, the phrase probably served both politicians’ purposes – Howard later going on to Continue reading “They Roam At Night”
A keenly anticipated visual encounter ensues. Your correspondent comes away impressed.
The products of Hiroshima are not without their exponents upon the pages of Driven to Write – we have both editorially and in the submissions from our contributors been rather generous in our praise both of the previous generation 3 model and its shapely new replacement.
On the surface of things, Mazda appears to have taken a noticeable step forward with this car, moving closer to the upmarket German makes, both in aspiration and overall desirability – especially now as the latter move towards an ever more attention-seeking and repellent visual palette. But up to now, the new 3 existed for me only in the occasional fleeting glance and in static two dimensional form.
As we know however, there is no substitute for a three-dimensional viewpoint and yesterday evening, I received my first clear sighting of Mazda’s latest C-segment midliner in natural evening light. Time to Continue reading “The Surface of Things”
Outside of the Driven To Write bubble, a number of new cars were launched over the past few weeks. Time to do a bit of catching up.
The Audi Q3 Sportback is Ingolstadt’s take on the BMW X4. It features all the overwrought details that can be expected from a Marc Lichte-era Audi, including the token overly accentuated ‘shoulders’ above the wheels. Continue reading “The Beat Goes On”
Reflecting upon the 75’s younger, leerier brother.
The Rover 75 is one of those cars which will probably form the basis of reflection and examination for decades to come. On paper at least, perhaps the most comprehensively realised Rover Group product of all, yet it proved to be a flawed product, courtesy of its problematic K-Series power units and what transpired to be a somewhat quixotic marketing proposition.
A nice pair of Bristols? We go in search of shutline nirvana – by air and by road.
Earlier in the week, we spent a fair amount of time examining shutlines and the lengths to which some carmakers will go to engineer solutions to the issues left by the stylists, not to mention the depths to which the marketing team will descend to cast them in the best possible light.
A timeless flight may be drawing to a close as Rocketman, via China’s Great Wall, finally comes home. Well, maybe…
The word icon is often bandied about and for the most part misplaced, but in the case of the original team-Issigonis BMC Mini, it is probaly a justifiable one. Of course, like most people or objects who have this soubriquet thrust upon them, the Mini’s iconography came about over time and in no small part from a combination of factors: motor racing successes, becoming symbolic of an entire epoch and a certain comedy motion picture filmed amid the streets of Turin. Continue reading “Summer Re-issue : Rocket’s Tale”
The Porsche Boxster we ultimately received in 1997 was quite unlike the Porsche Boxster we were promised in 1993.
Porsche has become so synonymous with success over the past two decades, it’s easy to forget that the erstwhile sports car maker form Stuttgart Zuffenhausen was on the brink of bankruptcy more than once.
On one such occasion, in the early 1990s – amid a significant recession, on top of internal issues (such as poor productivity and ageing products) – the powers that be at Dr. Ing. h.c. F. Porsche AG decided that the then-current range of products overstretched the company’s resources and therefore wouldn’t be replaced like-for-like.
Today, we’re pleased to introduce DTW reader, Bruno Vijverman, who poses a question which has been bothering him of late.
Bill Mitchell considered the 1965 GM cars to be his best work. And he may very well have been correct: The already beautiful Buick Riviera’s styling was cleaned up with the hidden headlights it was always supposed to have, the Chevrolet Corvair was restyled in a faintly Italianate fashion, while the regular Chevrolets had a more dynamic and flowing look if compared to the somewhat boxy 1964 models.
The same could be said of the other full-size offerings from Oldsmobile, Buick and especially Pontiac. The GM flagship Cadillac was of course also fully restyled for 1965, and is generally regarded as a handsome, and in view of the era and fashion, relatively uncluttered and cleanly styled car.
I also like the 1965 Cadillac. Apart from one thing: the weird trajectory of the shutline between the front and the rear door on the four-door models. Since this caught my eye I cannot Continue reading “Unsightly Shutline Syndrome”
A timely reminder of a fine but forgotten Honda concept leads your correspondent into a bout of fruitless hand-wringing.
Before continuing, I am impelled to point out that I deserve no credit for highlighting this vehicle once more. It was fellow scribe, R. Herriott (currently en vacances) who first brought the Honda Gear to our attention during DTW’s formative months in 2014. I should also make clear that it is purely coincidental (if convenient) that this piece appears the same week that Honda invited journalists to sample its forthcoming electric-drive E model.
Just how resilient is a strong brand? BMW are in the process of finding out.
Supposed elitism is one of the car industry’s preferred counter-arguments/excuses. When challenging a particular product, particularly with regards to its design, one is quickly dismissed as a snob, out of touch with what ‘the market’ really wants by those who conceived that product. Any criticism is therefore at best a matter of ‘personal taste’ or, at worst, highly patronising.
The secretive nature of a car designer’s job makes it very difficult to give credit whereit’sdue, to the point that actual authors of celebrated design icons often remain unknown, even among enthusiasts.
This sad, age-old state of affairs is particularly unfair in the case of Federico Formenti, quite possibly the greatest car designer you’ve never heard of. While the mention of the name “Carrozzeria Touring” is likely to send most car enthusiast’s minds fantasizing about graceful, elegant mid-20th Century cars, it’s far less likely said enthusiast will know that those timeless beauties were mostly designed by one man.
More than two decades ago, two proud nameplates in the process of losing their lustre joined forces to create a splendid concept car perfectly in tune with its time.
During the mid-’90s, car buyers and enthusiasts were in an unashamedly romantic mood. Roadsters and coupés were the kind of niche models devised not just to polish a marque’s image, but to actually sell and earn money. Peugeot’s splendid (Pininfarina-designed and built) 406 Coupé being a particularly resonant example of this phenomenon.
In those days, Lancia not only offered a full range of models, but the marque’s image hadn’t been tainted quite beyond repair either. The recently launched Kappa executive saloon and second-generation Delta hatchback may have constituted the first steps of Fiat Auto CEO, Paolo Cantarella’s ambition to Continue reading “Denied: Lancia Kayak (1995)”
The history of Maserati’s Quattroporte model line is as intriguing as it is diverse.
To most people with an interest in automobiles, the Maserati Quattroporte needs no explanation. The moniker itself may be even older than that of the Mercedes S-class, yet longevity serves, at best, as half an explanation for the strength of the Quattroporte nameplate. Particularly as, in time honoured Italian fashion, there’s little continuity and wildly varying flair to Maserati’s successive four-door super saloons. Yet ‘a Quattroporte’ always remained a statement car. For one reason or another.
Driven to Write is pleased to welcome a new contributor from the world of automotive design, Matteo Licata. Today, he talks interiors.
When interviewed on the subject, most design directors will often say something along these lines: “…Of course Interior Design is very important to us, as the interior is where our Customers spend most of their time…” Yet, inside the design studio walls, the truth can be rather different. I’ll get back there later. I’ve been a car designer for the best part of a decade, and I’ve spent most of that time designing interiors. Not that I wanted to.
Nobody actually does.
Let me explain: Automotive design awareness has never been more widespread, and there never has been as many design academies around the world. Yet to Continue reading “Inferior Design”
The BMW X2 has managed to attract my attention and it’s not due to the colour.
At BMW’s UK website the firm has a set of features it wishes us to be aware of. “With its athletic shoulder line and gently sloping roof line, the dynamic styling of the BMW X2 has a coupé-like character that will definitely grab attention,” they tell us.
Well, yes but at the same time as they have elected to mess with the Hofmeister kink (it doesn’t really have one), they have added a badge to make up for the diminished clarity of the car’s identity. “For true distinction, the BMW emblem has been repositioned next to the Hofmeister kink on the C pillar. Just another case of breaking the rules.” The old saying goes that you should be able to Continue reading “Seduce Me With Meringues And Marchpane, Oh Creature Of The Noon”
The 1999 C215 Mercedes CL redefines the term ‘back of an envelope design’.
Like most major carmakers, Mercedes-Benz design under Bruno Sacco’s leadership at Stuttgart-Sindelfingen assigned individual design teams to specific product lines. However, it was policy that all members of the styling team, irrespective of discipline could submit proposals for consideration whenever a new model was in gestation.
These would be whittled down to a shortlist, the favoured proposals then going forward to be produced in scale model form. A further evaluation would see this being reduced to a final shortlist of three, which would Continue reading “Pushing the Envelope”
Imagine a thrilling Toyota Corolla. It existed, under another name.
In order to get any doubts out of the way this article is about the 2001-2004 WiLL Vs which Toyota designed, produced and marketed under the Will brand name. In order to clarify somewhat, various Japanese companies cooperated to sell their products through a channel aimed at younger buyers and they named this umbrella brand “WiLL“. As well as the cars, the Will brand covered beer, stationary, tourism, sweets and consumer electonics. Wouldn’t you love to Continue reading “Would They, Could They?”
Another stylistic dud from the pen of Marcello Gandini, the technically advanced 1974 Maserati Quattroporte expired at birth. We chart its brief life.
When the Maserati Quattroporte was introduced in 1963 it became the first Modenese four door super-berlina, offering well-heeled customers the space and practicality of a sedan with the dynamism and vivid performance of a grand turismo. In 1969 however, production of the model ceased, with close to 800 built – a commercial success by Casa del Tridente standards.
A significant cultural shift was taking place at Viale Ciro Menotti by this time – Automobiles Citroën having acquired control of the Modenese carmaker the previous year. With work quickly progressing on a new sub-3.0 litre V6 engine for the double chevron’s forthcoming grand turismo, Maserati engineering chief, Ing. Giulio Alfieri seemingly took a long hard look at Quai de Javel technology, in particular Citroën’s decision to Continue reading “Porte de Javel”
There roam quite a lot of Peugeot 3008 and 308s in my area and generally in Denmark. They have made me think about brightwork and Mercedes.
I read recently that Peugeot is climbing up the estimation rankings of consumers in Europe. And I notice that in recent years Peugeot has not been afraid to sprinkle a little and sometimes a lot of brightwork magic on their cars. It seems to be optional but with a lot of uptake. If we think back to maybe ten years ago and further, this kind of thing did not feature much on their cars. It probably had to to with some kind of reticence regarding ostentation. Worthy as that might be, it led to some decent cars looking a lot less attractive than they could have been.
Marcello Gandini is rightly lauded as one of the great Italian car designers of the 20th century. However there is cause to suspect that he may have been allergic to cats.
The life of a design consultant is fraught with reversals. All that time spent scouting for commissions, late night oil expended preparing and revising proposals only to receive the thanks, but no-thanks brush-off from the prospective client.
For the Italian car design houses, this had become a way of life – some you win, some you lose. This was certainly the state of affairs in late 1973, when Jaguar’s then Managing Director, Geoffrey Robinson requested carrozzeria Bertone (along with rivals, Ital Design) to Continue reading “Genus Felidae”
Ian Callum has left Jaguar design. Time to reflect on his achievements.
After years of turmoil, suffering from an ill-fated growth strategy and management oblivious to the marque’s inherent qualities and character, Jaguar all of a sudden found itself with a new chief designer, whose main task was to Continue reading “End Of Line”
During a pleasant, early morning walk in Amsterdam, a surprise first viewing.
Apologies for the poor level of just-about-everything about the photos, but, I came across my first DS3 Crossback whilst on a recent work trip to Amsterdam and felt a compulsion to record the event on my phone. I am always terribly self-conscious when taking street-photos of other people’s cars like this, so I got it over with as soon as I could, resulting in this rather sorry gathering of pictures.
Historically, long production runs had been something of a holy writ at Trollhätten. As an independent company, Saab’s engineering integrity, coupled with well-judged updates and their slightly left of centre appeal meant the frequently cash-strapped carmaker could eke out model lines long after rival offerings had succumbed to the inevitable. Continue reading “Botched : 2008 Saab 9.5”
Seven fat years: from 1993 to 1997 Fiat sold the Coupé Fiat as nobody calls it. As if that was not enough Fiat also sold the cheaper Barchetta, which had a good ten year year run. Glory days indeed.
We’ll discuss the Coupé today. If the body slashes down the side of the car get the most attention, and deservedly so, this view shows another form of design discipline in operation. The whole lot seems to be defined by very few lines: the outline, the dark trapezoids of the of lamps, grille aperture and the front screen and not much else.
A close shave with the lesser-spotted Citroen Saxo-BIC® edition.
In 1944, two Frenchmen, Marcel Bich and Édouard Buffard set up a business in Clichy to produce writing instruments. In the post-war era, the company prospered and having adapted László Biró’s original design for a ballpoint pen, Bich introduced the mass-produced BIC Cristal in December 1950, quickly becoming a stationary cupboard essential. Such was its impact, commercial success and design influence that in 2001 a BIC Cristal pen was added to the permanent collection of the Department of Architecture and Design at New York’s Museum of Modern Art.
In 1973 the company introduced a range of disposable lighters, while two years later BIC launched the one-piece razor. Three staple products; perfect realisations of product design, made in their millions every year, reliable, ubiquitous and disposable. Yet each were masterpieces in their own right, eminently fit for their purpose, used and thoughtlessly discarded by millions around the world every day. Continue reading “Nib of the Matter”
To the casual viewer, it’s probably fair to say that the DTW offices are a rather sparse affair, lacking as they do much in the way of space, comfort or ambience – especially since our Editor-At-Large accidentally set the place alight a few months back. However, there is one item which not only survived the conflagration, but remains hard-won and much fought over. The Driven to Write hobby horse.
Earlier in the week, one of our readers appeared to take exception to our coverage of the newly refreshed Audi A4. I assume the individual in question perceived an element of prejudice on our part, a certain doing-down of the Teutonic big-three, or perhaps a labouring of a point previously made. But in the absence of clarification, one cannot be certain.
Unusually for the company, BMW’s large coupés have traditionally been rather fickle creatures.
The success of the German car industry is founded upon consistency and evolution. BMW is no exception, as exemplified by its core 3 and 5 series models, which have rarely deviated from the proven and tested formulae.
While other BMW models haven’t been as consistent and successful what with the 7 series never quite recovering from the after effects of the very disruptive E65 generation, it’s the brand’s large coupés that have been by far the most systematically unsteady. Continue reading “What’s It Going To Be Then, Eh?”
On the surface of things, the facelifted Audi A4 is an entirely predictable product action, but what it symbolises could be far more momentous.
It’s highly probable that the design director role at any prestigious OEM carmaker comes with a reasonably well-remunerated package of monetary benefits. This being so, we can take a wild guess that Audi’s Marc Lichte is not therefore on tuppence ha’penny wages.
The money must be, one supposes, some consolation, because there certainly cannot be much by way of creative satisfaction Mr Lichte could derive from masterminding Ingolstadt’s current design direction. At this point of course, we really ought to Continue reading “Empty Gesture”
Sometimes what you are looking for is not far from the front of your face. I have often bemoaned the lack of a modern equivalent of Lancia’s Spartan but high-quality interiors. It was under my nose, so to speak.
I wasn’t paying attention, was I? While in Scotland recently I had the time to take a look at the dashboard and interior of a Range Rover Evoque. They have only been on sale for eight years now so it was maybe a bit much to expect I’d get to Continue reading “If So, Then Yes”
We continue our look at the spring 1969 debutants, contemplating heady matters of gestalt.
The rather Lancia Beta-like profile rendering from the early stages of BMC’s ADO14 project shows considerable promise. Too short in the nose, probably at Issigonis’ prompting, but otherwise elegant in spite of the ‘carry-over’ 1800 doors. So what went wrong along the road to BLMC’s five-door fiasco? Continue reading “128 vs Maxi Part 2 : Function over Form”
Surprisingly, yet inevitably, the most original interpretation of modern luxury doesn’t come from Germany – but South Korea: The rather stupendous Genesis Mint.
Creating a ‘premium’ car brand is no walk in the park. It takes decades, unique flair, racing success (Jaguar), billions and a great many wise product decisions (BMW, Audi) to achieve this. Anything less than boundless commitment to the cause is bound to fail (Infiniti, Acura). It was therefore a brave/reckless choice, courtesy of Hyundai, to try and Continue reading “The Lamb Lies Down On Broadway”
A Shanghai Surprise for your Sunday deliberations.
Earlier this week, our German correspondent offered his considered views upon the stylistic progress of the Chinese auto industry, as evidenced by some highly credible concept cars shown at the recent Shanghai show. What’s clear from his report is that China’s carmakers, with some assistance from Western design professionals, are making significant aesthetic strides and that in this arena at least, the so-called developed world’s carmakers have little to feel complacent about.
The standard of many domestic concept cars at Shanghai would have put any European or North American motor show to shame, and while we have yet to Continue reading “Match Not Found”