Ten years ago, Volkswagen attempted to challenge the dominance of the Toyota Camry in the United States with a Passat developed specifically for that market. This is the story of the New Midsize Sedan.
For 22 of the past 23 years(1) and over five generations, the Toyota Camry has been the best-selling car in the United States. Over that time, a staggering total of over 9.6 million(2) Camrys were sold, an average of around 417,000 a year. It was a highly consistent seller too: the lowest annual sales total was 308,510 in 2011(3). The Camry successfully weathered the 2008-9 Global Financial Crisis and a simultaneous unintended acceleration controversy that turned out to be caused by ill-fitting floor mats.
Half year European car sales data paints a somewhat uneven picture.
Originating in India, the popular board game of snakes and ladders was for decades a timeless children’s favourite – in the analogue era at least. Based on traditional morality tales and to some extent the concept of karma, the nature of the game was to move from the bottom of the board to the top via rolls of the dice, avoiding potential trapdoors along the way.
With data for the half-year to June now available, it could be stated that the current European car sales situation is of a similar haphazard nature. Last week, we looked at how the EV sector was performing, so today we cast our gaze upon the walking wounded and the not much longer for this world, courtesy of Automotive News, market trackers, JATO Dynamics and figures from Carsalesbase.com.
The first six months of 2019 has witnessed the continued bifurcation of the European auto market, with adoption of crossover and SUV formats reaching a new high of 36.1%, up from 33.2% over the same period last year. Needless to say, this comes at the expense of other sectors, but even within the SUV/CUV segment, a hollowing out of sorts also appears to be under way.
The obvious victims of the ongoing shift in customer behaviour continues to be the MPV, which is entering a new and now likely decisive phase – with both small and compact segments losing a third of their volume over the half-year – (Citroën’s Grand Picasso dropping by 41%). As their declining appeal accelerates, it would be an optimistic carmaker indeed who would Continue reading “Snakes and Ladders”
Driven to Write loses an uneven struggle to frame a rather unremarkable automotive year.
Be it economically, politically, or indeed the arts, 1988 proved to be a year of transition. And while the UK music charts were increasingly dominated by the burgeoning counter-culture of dance music, some older orders remained stubbornly implacable.
Following his first solo album release in 1981, actor and former Genesis percussionist and lead singer, Phil Collins had become one of the World’s biggest grossing recording artists, amassing in the region of 150 million album sales. A large proportion of these came on the back of tracks like his chart-topping (across six countries) 1988 release – a cover of the 1965 Mindbenders’ single, Groovy Kind of Love, taken from the soundtrack of Buster, a sepia-toned UK made biopic of ‘Great Train Robber’, Buster Edwards, in which he also starred. Continue reading “Anniversary Waltz 1988 – A Groovy Kind of Love”
Volkswagen’s upmarket Passat derivative – was it misunderstood or simply misconceived?
If one was to plot the course of Volkswagen’s design heritage in purely aesthetic terms (if indeed such a thing were possible), it would be represented on a somewhat undulating graph, and it could be argued with some conviction that overall, the troughs have tended to outweigh the peaks. But automotive design is a cyclical discipline and all styling studios must move with, or at least reflect the times. Continue reading “Song to the Siren”
Sometimes my academic work overlaps with the kind of thing we do here at Driven to write. At the moment, I am immersed (again) in Gestalt Theory.
This is not the first time I have handled this topic. In January 2015 (happy days!) I used Gestalt theory to discuss why the 1993 Citroen Xantia’s graphics failed to be seen as the designer intended. This time the cases are not examples of failure but show how Gestalt theory can explain what is happening in the world of headlamp fashion trends style stuff.
From 1972 to 1984 the VW sold the Passat with the option of a 5-door as well as 2-door and five doors. Today it’s only sold as a saloon and estate. The Citroen XM came as a five-door hatchback and as a fabulously useful estate. Its predecessors and successors could only be had as saloons or estates.
All generations of the Seat Toledo, barring one have been hatchbacks. For 1999, the second generation Toledo astounded the world with its saloon format (except in Britain where it was a hatchback**). By 2004 the status quo ante resumed and remains so.
The other day we were talking about the Renault 16 which led us to the Renault 21 which…
…led me to look for one for sale. Finding one I noticed the unhappy design of the nose cone, the plastic mask around the headlamp and containing the upper grille aperture. Here (below) are some other cars which demonstrate an attempt at rethinking the way the front fascia was handled.
One of them really works – the Ford Sierra is utterly industrial design. And have you noticed the Dacia Duster uses the same concept but eschews the body-colour for the lamp panel? In fact the elegance of the concept is hidden by the Duster’s other fussy details.
Generally I prefer to avoid memoirs of car ownership except en passant. I will try to do so here when having a small look at the afterlife of the 1984 Buick Century.
The reason I am in any way concerned with a car like this is that for a year and a half I owned such a vehicle, almost exactly like the one in the main photo. It differed only in that it had plate sized-rust patches on both front doors.
Across the road from the bus-stop, there stood this VW Passat:
Around the C-pillar I saw a lot of what in the olden days we’d call BMW style. I reflect a lot on how BMW once did some of the work involved in epitomising German design, but it’s been a long time since this : Continue reading “A medley for Sunday”
Not the 1978 film directed by Werner von Fassbender, but the stuff that accumulates on the car.
Even if you leave a car in a nice dry underground carpark, dust eventually settles on a car’s bodywork. In urban areas the dust is a mixture of exhaust particulates, pollen and vegetable matter such as pollen and leaf fragments. We breathe this stuff in all the time.
During summer when the humidity is on the low side, this dust usually remains mobile. As winter settles in and air temperatures drop, the air moisture tends to Continue reading “Theme: Film – Grime”
Did you know that VW based the B3 (of which the B4 is a facelift) on the Golf platform?
And yet it’s bigger in all directions. That might explain why there are so many common parts. I took this photo as a contrast to the Mercedes W210 I showed recently. I’d planned to compose some thoughts on the junk charm of the B4 compared to the W210. This car is nicely tatty and the mismatched filler cap sets off the dreary metallic paint very well. I’d prefer if it was the B3 in a rich colour. Maybe that’s a bit contrived.
In the spirit of even-handedness, we feel we should present selected extracts of this disturbing counterview to the recent pieces we have published by Myles Gorfe.
SUNDAY 14 DECEMBER 2014 (12.45am) : Sunday lunch is in the oven and Myles has just come in from working on the Granada. The poor love looked so miserable. He spent all morning fitting a new part he bought on Ebay and it doesn’t work. He’s just popped up to his man-cave to order another.
SUNDAY 14 DECEMBER 2014 (3.45pm) : Oh well, that was Sunday lunch. The kids liked it anyway but Myles was a no-show. I’ve kept his warm. He’d promised to have a look at my Micra today but it looks like that won’t happen.Continue reading “Bridget Gorfe’s Diary”