In the Spring of 1973, English progressive rock band Pink Floyd released Dark Side of the Moon, their eighth studio LP and their most ambitious to date. With tracks which flowed seamlessly, replete with cinematic sound effects, soul choirs, disembodied voices and a song-set which dealt with issues of success, the march of time and mental illness, the conceptual double album became one of best selling, most critically acclaimed and best loved progressive rock LPs of the 20th century – still cited as an all-time classic.
Two years later, the band released their follow-up. Wish you Were Here continued many of the themes explored in the earlier recording, but in more developed form. Predominantly a tribute to founder-member Syd Barrett, who had had become estranged from the band following a mental breakdown in 1968, possibly related to drug use. Less acclaimed than Dark Side, it has for many years languished in its shadow, only latterly being hailed in its own right.
Officially introduced two days prior to the Floyd’s 1975 opus, Jaguar’s XJ-S was also a reprise of a much-loved original. In a similar manner, fans of sporting Jaguars, not to mention the gentlemen of the press were beside themselves in anticipation of how Browns Lane would Continue reading “Welcome to the Machine (Part One)”
Bertone’s Marcello Gandini had about as much luck with leaping cats as he did with prancing horses; this 1977 proposal being another in a long line of cars which could have been Citroëns. So much so, it ended up becoming one.
Over time, the Italian carrozzieri made numerous attempts to reimagine the work of Jaguar’s stylists, but with decidedly mixed results and limited success. Pininfarina, Ghia and Bertone had reconfigured various Jaguar models during the 1950s, while Michelotti also once rebodied a D-Type along radically different lines. But despite Jaguar’s Sir William Lyons maintaining both cordial relations and a weather eye on the major Italian styling studios, it took Bertone’s 1966 S-Type based FT concept to really capture his attention.
The first complete Bertone concept by senior designer, Marcello Gandini, the four-seater coupé was seriously evaluated at Browns Lane in both styling and engineering terms, with the Jaguar board that year exploring possible production. Gandini, like many within the Italian design community was keen to Continue reading “Gatto di Caprie”
The XJ-S is a car which tends to crop up with some frequency on Driven to Write. Why this is so is perhaps debatable, (okay, it’s often my fault) but I suspect that its fascination is not only a function of its controversial shape, but also stems from a belief that its styling came about without precedent. But no car is developed entirely in a vacuum, or is it?
Emboldeners of Jaguars are relatively few. Driven to Write profiles its foremost and longest-lived exponent – Arden Autombil.
In the German town of Kleve, close to the Dutch border, Jochen Arden founded his eponymous automotive business in 1976, trading in the usual Teutonic fare of VWs and MBs until 1982, when he took on a Jaguar franchise, prompting his initial forays into the arena of the aftermarket. By the early ’80s, Jaguar was painfully re-establishing themselves in the German market following years of stagnation under British Leyland when their cars came to be regarded by German motorists as being nice to look at, but really not fit for the purpose. Continue reading “Theme: Aftermarket – Stroking the Cat”
For any marque enthusiast, wheel design can be as evocative and redolent of its era as any design flourish or styling theme. To me at least, these wheels just scream Jaguar, in the same way wires did during the 1960s. I’ve habitually known them as the GKN Kent alloy, standard equipment on the original launch-spec Jaguar XJ-S and optional on XJ saloons over the ensuing decade and a half. The final XJ saloon that left the Browns Lane production line in 1992 was a Series 3 Daimler Double Six on ‘Kents‘. No other wheel design served Jaguar as long or suited the car as well. Continue reading “Theme: Wheels – The GKN Kent Alloy”
We convene the committee one final time and examine the defamation of the XJ-S.
Widely seen as the most outspoken and irreverent of the UK’s automotive titles, Car was the journal most automotive journalists and commentators looked to and emulated. It’s evident the ‘committee-design’ assertion emanated from this source, which illustrates that journalists are as prone to suggestion as anyone. The press subsequently appropriated this assertion which over time morphed into established fact. Car editor Mel Nichols made his views clear in October 1975, stating; Continue reading “XJ-S: Reconvening the Committee (Part 5)”
We take a more in-depth look at the Jaguar XJ-S’ styling.
The world fell in love with the E-Type, but what many fail to realise is that by the early ’70s, Jaguar’s sports car icon was virtually unmarketable, the curves everyone loved in 1961 now hopelessly out of fashion. Yet when Jaguar announced the XJ-S as lineal successor, traditionalists had apoplexy on the spot. But was it really that much of a departure?
The XJ-S marked a entirely fresh direction for Jaguar style. We examine its birthpangs.
Early in 1969, work on XJ27 began in earnest. Due to BLMC’s straitened finances, funding was limited to utilising a modified version of the existing XJ saloon substructure and hardware component set. Structurally and mechanically then, there would be few surprises. Stylistically however, Sayer had something far more radical in mind. Continue reading “XJ-S: Reconvening the Committee (Part 3)”
Two figures defined XJ-S’ aesthetics: we examine their methods.
Sir William Lyons not only founded Jaguar Cars but personally supervised all matters of styling. His approach involved working (alongside skilled technicians) from full-sized wooden and metal styling ‘bucks’ which once reviewed in natural light he would have modified until he arrived at a conclusion he was satisfied with. Continue reading “XJ-S: Reconvening the Committee (Part 2)”