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.
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.
Driven to Write ponders lost hopes with Jaguar’s 2003 R-D6 concept.
Most concept cars are created to invite a dialogue with the customer about the future, or at the very least, nudge them towards one the manufacturer has already committed to. However, in the case of the concepts prepared under the design leadership of Ian Callum, it was a little more akin to forensic research. With Jaguar’s styling atrophied under the weight of over two decades of introspection, it became a case of asking: ‘what would Sir William Lyons have done?’ Continue reading “Theme: Concepts – The Sir William Test”