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”
Intended as the crowning glory of a newly-independent, never-more-glamorous Aston Martin, the One-77 turned out to symbolise something else entirely.
2007 must have been a year of triumph for Dr ing Ulrich Bez. Over the course of the previous seven years, the German engineer and Aston Martin managing director had turned an outdated, but well loved marque trading on past glories and an awful lot of goodwill into a serious prestige sports car brand. On top of that, he’d overseen the sale of the company from Ford to a consortium backed by Kuwaiti investors. Bez was now no mere executive henchman anymore. He was the true boss.
After having spent most of his career playing second fiddle (most notably to his direct superior at BMW, Wolfgang Reitzle, who’d also hired Bez to run Aston Martin during his brief stint in charge of Ford’s Premier Automotive Group), Bez had become the undisputed boss of not just any old business, but a company that had refused to Continue reading “Best Of The Bez”
A couple of experiences recently have got me thinking somewhat more philosophically over the last few days and I wondered what others thought?
First, I was reading a certain car related website where there was an update from a long term test of the latest Audi A8. It featured thoughts on the latest headlamp technology which had been fitted as an option on that model. It struck me how ‘clever’ the technology actually was, and then also the scale of investment in R&D and production engineering which must have gone into bringing it to market. The cost of the option left me open mouthed, £4,900. I mean, not so long ago, one could Continue reading “Too Much of a Good Thing?”
Thank you for your patience. Here now is the set of links connecting the 1964 Morris Monaco to the 1960 Aston Martin DB4GT Zagato.
BMC sold the Morris Six in Denmark as the Morris Monaco sometime between 1964 and 1976. You might be intrigued to know that a rear centre arm-rest only became available a month after sales began. More interesting than that is that Pininfarina were involved in mitigating Alex Issigonis’ design intentions. I suppose they tidied things here and there though there is still a very great deal wrong with the shape. For the next connection we must Continue reading “Connections: Solutions”
So goes the old saying anyway. In the year 2000 when we were supposed to be floating on hover-drones and wearing alufoil skinsuits, Porsche still had the engine in the back even if air cooling was out.
And BMW offered the 1950s-inspired Z8 while Aston pursued girth and heft with the Aston Martin Vantage Volante, a V12 topless GT. Where did the future actually go to? It is hard to be sure of if the three convertibles are comparable even if period reviews seemed to think so.
His argument rested on the idea that no design can optimise every aspect. The more complex the object the more likely this is to be the case. If we take a simple example of a knife, it’s a compromise because unavoidably the designer had to work within constraints of time and materials. The knife has to function but be affordable and attractive to enough people to make it an economically feasible proposition. The best knife can’t appeal to everyone. For some consumers the design is unacceptable – it remains unsold for reason of price or appearance. Continue reading “Theme: Compromise – The Paradox of Failure”
It’s not a Mondeo, I realised after 0.45 seconds. That someone sat in it may explain why I didn’t get any closer.
Aston Martin must choke when they see the Astony Mondeos that still ply the roads in moderate numbers. Aston Martin owners may feel there is no comparison – only an idiot of the first order would mistake a house-priced car for a nice-kitchen priced car. They delude themselves.
Aston planned to make the Rapide at Steyr in Graz, Austria but sales never met expectations. Ford knows why.
The same year Concorde entered service, Aston Martin introduced a roadgoing equivalent. But like the emblematic supersonic jetliner, the Lagonda embodied a future which ultimately failed to take flight.
Despite the fact that it didn’t run and wouldn’t actually enter production for another three years, the Lagonda’s thrilling sci-fi appearance caused a media sensation in the Autum of 1976 and probably saved Aston Martin’s bacon at a very difficult time. Because a year before, the Newport Pagnell-based car maker was in receivership, falling prey, like Jensen, Iso and Maserati to the fallout from the 1973 oil crisis coupled with the costs of adhering to ever-tightening safety and emissions regulations. Continue reading “Future Postponed – 1976 Aston Martin Lagonda”
Last month, in Vlissingen in the Netherlands, DTW came across a pram museum. They’ve got wheels, so we’ll write about them.
When I was a student designer, there was a clear difference between the straight from A level bunch, like me, and the ‘mature students’, some of whom were maybe just 3 or 4 years older than me, but who had seen a bit of life. That ‘bit of life’ might have been bumming around the world, or it might have been all that grown-up stuff like parenting, and those people could interest themselves in a project like designing a pram or a baby buggy in a way that I never could. By that, I don’t mean that my ambitions were only to draw ludicrously impractical sports cars – I was quite interested in doing something a bit more worthwhile, especially since, with the Arab Israeli Conflict, the activities of the Baader-Meinhof Group and, as the final nail, Showaddawaddy being near the top of the charts, it was clear that society as we knew it was coming to an end. No, my problem was that I could never really appreciate the difficulty in piloting a clumsy wheeled device with a screaming passenger through a crowded supermarket, since, although I’d read both On The Road and Nausea, I lacked any actual experience of the real problems of life. Continue reading “Caution, Live Cargo!”
Perplexing this: the market for very costly cars has been booming and Aston Martin have only racked up losses.
Automotive News report that ” a pre-tax loss of £127.9 million ($172.03 million) in 2015, the fifth consecutive year the company has failed to make a profit, as the number of cars it sold fell and as it invests in expansion”. It seems everyone likes Aston Martin but not enough people want to buy them. Hasn’t it always been like this? Continue reading “Costly Cars, Big Losses”
Autocar announced yesterday without any sense of embarrassment that the AMVZC shown as “a concept” last month will go into production largely unchanged.
What a remarkable sleight of hand, I feel. What has happened is that Aston Martin have shown a production car as a concept car, at the Villa d’Este concours. That has yielded a press-release and lots of coverage. A month later they are showing effectively the exact same car as a production car, with yet more coverage.
In this way AM have been able to avoid producing unconvincing and unfeasible trim as a disguise for a production car and get two bursts of coverage by the showing the same thing with two labels. If anyone can tell me where the difference lies between the “show car” and the production car then I’d be grateful. The entire exercise is quite cynical because, with one month between the “show car” and the “production car” it is clear that production was inevitable and there are no serious differences, no time need to evaluate demand or assess the reaction. Thus what has happened is that a production car has been presented as a show car, and I ask is this a first?
Since the Zagato is very striking and the sales are guaranteed, one wonders if this tricksy behavior is really necessary.
Ah, this is a tricky one. It´s like trying to understand your family.
I’m not British but the British have loomed large in the culture of the Irish, and “Ireland” is written on the front of my passport. British cars once dominated the Irish car market and now Germans and Japanese predominate. The interplay of convoluted historical strands influenced the character of British cars. In sketching all this can I do so without being too kind or too critical? Continue reading “Theme: Values – Britain”
As a car stylist, you’re only as good as your last design. Oh dear…
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.
Every so often, a concept car symbolises the crossing of an invisible line. Here’s one of them.
The Aston Martin DBX represents the best clue yet to the Gaydon-based marque’s future intentions. Aston Martin’s new CEO, Andy Palmer has stated a version of this car will be produced, telling the Telegraph last week; “The DBX is not an SUV, it’s an expression of a GT sports car; a DB crossing over into that usable space… it will be a five-door vehicle, and it won’t grow much bigger than the DBX.” Continue reading “A New frontier? Aston Martin’s DBX”
In a previous time, before an age where any jaded old hack and a few opinionated dilettantes could open a website at the flick of a keyboard, a knowledge of motoring history relied on the prodigious memory of chaps like Bill Boddy, piles of magazines in the attic and, of course, lots of books.