“Ford builds a Passat!” was a typical reaction when the Mondeo Mk3 was unveiled in October 2000. Beneath its conservative Germanic skin was a well-engineered, competent and capable car.
The 1993 Ford Mondeo Mk1 was a transformational car for its maker. Its predecessor, the Sierra, for all its futuristic aero looks, was resolutely conventional and exemplified Ford’s tradition of producing (no more than) adequately engineered and carefully costed cars that sold on showroom appeal, value for money and low running costs. If one wanted to Continue reading “Ford Builds A Passat”
Ford has announced another turnaround plan. Five thousand jobs to go in Germany, others in the United Kingdom.
The news is reported here and here and, of course, here. “Some of the losses in Germany come from ending production of the C-Max minivan, one of the products Ford will stop making as it reduces its portfolio to more profitable models,” said the FT**.
Why are Ford hacking at the payrolls? Ford’s market share has declined roughly two percentage points of the EU market, from a little over 8% to just under six. That’s actually quite bad because it represents a 25 % drop in absolute terms. Only the fact the market grew a bit overall mitigates that decline.
After sighting a few dark and tatty examples I saw this conveniently clean and pale W-201 yesterday. Where’s quality hiding?
I asked this of a BMW 3-series (E-30) recently. Both came out the same year, 1982 (as did the Ford Sierra). So, presumably the cars gestated at the same time and without a large likelihood of designers and clay modellers migrating between studios. First let’s take a close look to find Ms. Quality… Continue reading “Can’t, and Will Anyway”
Ford’s aero banana skin: The blue oval’s shapely Cortina replacement caused ructions amid press and public. But also within Ford itself. We investigate.
The Sierra marked a fresh direction for the Blue Oval. The brainchild of Robert Lutz, Ford’s Eurocentric Director of operations, it was designed to take on the upper-middle class European marques in sophistication and appeal. Lutz wanted a more dynamic, technological image, especially in Germany, where the ancient Cortina and Taunus’ models were viewed as throwbacks. Continue reading “Sierra Shock”