Half year European car sales data paints a somewhat uneven picture.
Originating in India, the popular board game of snakes and ladders was for decades a timeless children’s favourite – in the analogue era at least. Based on traditional morality tales and to some extent the concept of karma, the nature of the game was to move from the bottom of the board to the top via rolls of the dice, avoiding potential trapdoors along the way.
With data for the half-year to June now available, it could be stated that the current European car sales situation is of a similar haphazard nature. Last week, we looked at how the EV sector was performing, so today we cast our gaze upon the walking wounded and the not much longer for this world, courtesy of Automotive News, market trackers, JATO Dynamics and figures from Carsalesbase.com.
The first six months of 2019 has witnessed the continued bifurcation of the European auto market, with adoption of crossover and SUV formats reaching a new high of 36.1%, up from 33.2% over the same period last year. Needless to say, this comes at the expense of other sectors, but even within the SUV/CUV segment, a hollowing out of sorts also appears to be under way.
The obvious victims of the ongoing shift in customer behaviour continues to be the MPV, which is entering a new and now likely decisive phase – with both small and compact segments losing a third of their volume over the half-year – (Citroën’s Grand Picasso dropping by 41%). As their declining appeal accelerates, it would be an optimistic carmaker indeed who would Continue reading “Snakes and Ladders”
A 1951 art exhibition would change the way we viewed the automobile forever.
Since the Museum of Modern Art (MoMa) was founded in 1929, it has been a leading proponent of contemporary and modernist art, encompassing not only what is commonly known as fine arts, but architecture, product design, photography, film, installations and electronic media.
Perhaps the most influential host to the conversation around latter-day aesthetics, its current location, designed by architects, Philip Goodwin and Edward Stone in 1939 on New York’s West 53rd street has staged some of the most celebrated and controversial art exhibitions of the 20th century.
Among the numerous small obsessions nurtured, nay, incubated at DTW is a concern for brightwork. Here’s another example of the art:
The car is a BMW 425d, complete with the rather supernumerary, superfluous and unnecessary label in the rearmost sideglass. Isn’t that the kind of thing you’d expect of a lesser marque in the 1980s? (Prizes for finding the kind of thing I have in mind). We’ve reflected on brightwork here (very good) and here (interesting) here (shocking, frankly) and here (a bit technical but ultimately rewarding) but not here (more people need to read that one). At this point, readers might be wonder when we are going to Continue reading “Combing The Hair Underwater Again, Are We?”
The Frankfurt motor show is upon us again. Thoughts?
The official IAA image is frightening, isn’t it?
It seems like only about six months since the last one closed and, dear, oh, dear, here is another one. I went to Autocropley to have a gander at their list of launches and unveilingments. I can’t say much of it tickled my fancy. The Audi A7 is top of the list for alphabetical reasons and, if it is anything like the new A8, it’ll be a bit much on a too small plate.
The A7 is one of the nicest looking cars in production and the new A7 is not going down that path – as with all launches of replacement models and many new ones, the dial is being turned up to 11, especially in the grille department. The A8’s could be from an articulated truck apart from the quite astonishing amount of brightwork. The first A8 set a standard Audi have failed to Continue reading “A Camel Drowns By The Oasis”
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”
But it’s actually a veneer of stone made to look like a cafeteria counter-top.
Fatuously, the sales pitch makes a point of noting the stone is 200 million years old. Most stone is very old. 200 million years is nothing. You would have to be very ignorant of the age of the earth to feel 200 million years is a special number. I think the reasoning for stressing the age of the stone is derived from the world of vintage wines. Older vintages are indeed rarer. A 1970 is probably rarer than a 1980. A 1930 would be priceless and scarce. Continue reading “Bentley Recreate The Magic Of Formica”
My credentials to write about the cars of Ian Fleming are mixed.
In my favour, I had read the entire canon of 14 James Bond books by the time I was 14 and I am, more or less, the same age as the very first Bond book. Against that I’ve never read them since, and that was a long time ago, though it’s a sad reflection on the state of my mind how much I still remember.
Ian Fleming was an accomplished writer of children’s stories. Some people forget that he wrote Chitty-Chitty-Bang-Bang, but his best kid’s stories were the ones featuring Commander James Bond of the Secret Intelligence Service. At 14, I was so seduced that I anticipated a life of breakfasting on scrambled eggs, ham and plenty of strong, black coffee following on with a day’s light indulgence in cold-blooded violence, rounding off with lobster thermidor, a ‘49 Montrachet chilled to 37 degrees, fresh alpine strawberries and, later on …