Peculiar and of dubious aesthetic merit though its products are, DS Automobiles’ output at least possesses one commendable trait.
It’s rather easy to ridicule DS Automobiles. After all, it’s yet another car brand created in vitro, whose main claim to fame is a name that references one of the greatest creations in automotive history, without paying any respects to it whatsoever.
Casting aside this truly overbearing issue though, paying some attention to the brand’s design proves to be rather more worthwhile than a first glance would suggest. Of course, DS’ range of cars has so far mostly set itself apart through a sheer overabundance of stylistic tropes, many of which are rather less than inspiring (shark fin b-pillars, double badges). However, amid all the cacophonous excess, there are some interesting details to be found. Continue reading “Pardon The French”
The proud, if patchy tradition of the French grand tourisme didn’t quite end with the Citroën SM.
The French relationship to automotive luxury is similar to how Germans deal with fine food. Just as those stemming from east of the river Rhine tend to be more willing to spend a fortune on engine lubricants, rather than extra virgin olive oil, their more occidental counterparts usually gain more pleasure from visiting a fine auberge on a regular basis than a car showroom or garage. How he or she gets to said auberge is a secondary concern, too.
Yet, just as there are Germans who care deeply about fine food (Fritz Eichbauer being a particularly striking example of this), the French aren’t totally immune to the charms of decadent motoring either, as the erstwhile success of proud names like Bugatti or Facel proved. It was only some time after the war, and due in large part to stringent domestic luxury taxation, that the French GT found itself on the wane. Continue reading “Le roi est mort, vive le roi!”
The opposing polarities of the double chevron are unlikely ever to be satisfactorily reconciled, but was this any way to go about trying?
There are those content to view Citroën’s role as being that of the pre-Traction Avant era: fundamentally a purveyor of pragmatic, rather ordinary cars. The earthbound Goddess of course (temporarily) put paid to such notions and forms the boundary for an opposing camp who view Citroën’s descent from those Olympian heights as being somewhere between tragedy and outright crime. So if the car we’re gathered here to commemorate today falls into the former category, how should we view it, twenty years later? Continue reading “Opposite of Avant – 1997 Citroën Xsara”
It was no oil painting to start with, but the facelifted C5 was ghastly.
Dan Abramson’s 1994 Xanae concept signposted Citroën’s entry into the compact MPV sector, but additionally, its styling came to inspire an entire generation of production Citroën’s, each displaying an incremental diminution of creative execution. The Xanae’s conception was overseen by Art Blakeslee, drafted in from Talbot to preside over Citroën’s styling after the allegedly rancorous departure of Carl Olsen in 1986. Continue reading “Theme : Facelifts – Dîner pour Chiens”