The sight of a Maestro parked outside a churchyard in a small English village might once have been as common as the prayer books the car’s putative churchwarden owner would distribute amongst the darkening pews, yet here in September of 2018, it strikes a rather more rarefied note.
In the previous instalment, we outlined how BL, under the driving ambition of Michael Edwardes, got in step with Honda, to collaborate on a new model. This time, we focus on the car itself and the choice of manufacturing plant, which took on almost as much significance.
“According to Ian Forster, the men from Honda, who have been worried by problems with ‘orange peel’ in the paintwork of their own cars, are learning to minimise it by adopting BL’s techniques.” Steve Cropley, Editor, Car Magazine.
The choice of model for Project Bounty, it seems, was largely determined by Honda. Hattori Yoshi (Car, November 1980) explains, “But why did BL pick the Ballade? Well, they didn’t. The fact is that BL picked Honda as being the Japanese company with the most compatible technology and went cap in hand in search for a car – any car – to help them keep going.
In the first of a series of articles about a car already surprisingly well (or not so well) referenced in Driven to Write, S.V. Robinson discusses the political and industrial shenanigans that presaged the Triumph Acclaim, sired by Project Bounty.
“Would the Government be prepared to throw away this pioneering agreement between a British and a Japanese motor company, which might encourage wider moves to transplant the benefit of Japanese technology and efficiency to Britain?” Sir Michael Edwardes, ‘Back from the Brink’.
As a car, the Triumph Acclaim can claim little of note that is ground breaking. It is a car that, infamously, was not conceived as a Triumph. More subtly, by the time Acclaim came to be, Triumph itself was a brand without a range of cars, just a single model, built in Morris’s Cowley factory to design, engineering and production specifications developed in Tokyo.