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?
Not long did these two cars directly compete in the showrooms. Only in 1976 could one choose between a new, cramped 5.3 litre V12 2+2 or a new, cramped 2+2 with a 7.2 litre V8.
The two cars show how differently the same basic concept can be executed (Bristol and Ferrari are another two): the GT. The West Bromwich bolide benefitted from Touring’s neatly considered styling while Brown’s Lane’s leaper resulted from a tortuous process involving a number of hands (almost a Burkean contract between designers dead, designers living and designers yet to be). While the Jensen attained a homogenous look, the Jaguar resembles three very different ideas uneasily blended together.
Two of the most distinctive cars of their time; bitter rivals, yet with much in common. Driven to Write counts the ways.
They couldn’t have looked more different, yet the fates of the Porsche 928 and Jaguar XJ-S were intrinsically bound. One seemed more like a car from the Cinzano era, the other from the future, yet both shared a purpose, appealed to the same customer base and lived out similar career paths – misunderstood and derided by those who didn’t expect their preconceived notions to be so roundly challenged.
The advertising copy was unequivocal: “10th September 1975: A black day for Modena, Stuttgart and Milan”. It didn’t quite work out like that, but 40 years late, the jury’s finally in on the XJ-S.
On this day 40 years ago, the Jaguar XJ-S was launched to the press, and while knives were mostly sheathed, the sense of bewilderment was palpable. Because the one aspect of the XJ-S few critics ever truly got their heads around was its styling. For the entirety of its career, the car’s appearance was derided by the automotive media, certain they were as right as Jaguar were wrong. Test after test of Jaguar’s flagship told of a brilliantly developed grande routière whose road behaviour, effortless performance and uncanny mechanical refinement was from the very top-drawer but was let down by its polarising appearance. Continue reading “Welcome to the Machine: 1975 Jaguar XJ-S”
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)”