This isn’t about the Opel Insignia though the words came from a review of the car. It’s about what kind of lives automotive journalists lead. It’s about language.
“The previous Insignia fulfilled the purpose of getting you from A to B in a well-equipped and reasonably comfortable manner…” wrote Car magazine the other day. What could they possibly mean***? Continue reading “Princess and the Pea”
Driventowrite leaves no corner of the automotive world unexamined. Today we look a bit at paint, Mazda paint, Toyota paint, Opel paint…
Mazda presented their new colour in November, ending their press release with the memorable line: “colour is an element of form”.
Soul Red Crystal is a development of an existing Mazda colour, Soul Red that “balances vibrant energy and vividness with clear depth and gloss.” So, it’s rich and shiny. Mazda estimate that it has 20 percent higher colour saturation and 50 percent more depth”. I don’t know how the depth is estimated. There is no insight here. There might be some here.
Ah, this is a tricky one. It´s like trying to understand your family.
I’m not British but the British have loomed large in the culture of the Irish, and “Ireland” is written on the front of my passport. British cars once dominated the Irish car market and now Germans and Japanese predominate. The interplay of convoluted historical strands influenced the character of British cars. In sketching all this can I do so without being too kind or too critical? Continue reading “Theme: Values – Britain”
Here is a Silver Shadow with the glass compartment divider.
This car has caused me to reflect on the “shoebox” theme of many 60s cars. The gross form is very simple. All the interest is in the proportions and the detailing. In the middle is the medium level of the design where little deviates from the engineering minimum of large boxes for the engine, passenger cell and the boot. Rolls Royce could rely on opulent materials and lustrous finish to carry the argument that this could be called the world’s best car. Apart from those it’s quite simply a formal oblong on wheels, one with impeccable proportions, repeated to great effect on Vickers’ last Rolls, the Seraph, which also revived the rich and voluptuous radii that characterise the minor transitions of the Shadow that the Spur eschewed, making it all too much like an English Caprice. That car’s panels had a crudeness suited to Detroit production standards inappropriate for the marque.
The car here had cloth seats which are ideal for this class of car.
I’ve previously mentioned my fickleness regarding cars. In the morning I fancy a luxury barge, by the afternoon I want a beach buggy. Here is something that fills both criteria, a hunting car built for the King of Morocco by the ever resourceful Sbarro.
Almost three decades ago, a couple of cheapskate film producers believed they could whisk the quintessential American superhero to Buckinghamshire and people wouldn’t notice. Now Daimler AG is following their example.
Back in the late 1970s, Menahem Golan and Yoram Globus were the undisputed moguls of Israeli cinema, thanks mainly to the success of their Lemon Popsicle series of raunchy comedies. By the early 1980s, they wanted to enter the big leagues, which meant entering the US market, big time. Golan/Globus invested serious amounts of money in order Continue reading “Superman In Milton Keynes”
This post actually involves neither Ricardo Montalbán nor Benedict Cumberbatch. Instead, this is about a video presenting one of the few genuinely decadent motor cars on sale today, the Rolls-Royce Wraith.
Unlike certain motion picture formats concerning the automobile, this little film isn’t about a tarred-and-feathered Rolls-Royce that has to cross the Gobi desert before the egg on its motor block has been fried to a crisp. It simply tries to understand the appeal of the car in its most likely habitat. And appeal it does, in a sense I personally find somewhat perplexing in this day and age of oversaturation.
There is still a sense of luxury in existence that manages to astonish.
See for yourself whether you can find the point of something that one may consider tastefully excessive: