Captured: The Process of Recreating An Icon
Ian Cameron (left), Chris Bangle (center), and team study Phantom design in early days.
By Gunnar Heinrich | IMG Rolls-Royce
REINVENTING the world’s most celebrated marque from whole cloth – or clay – must have been daunting.
Consider this photograph taken back in 1999.
Set in the wake of the VW/BMW/Bentley debacle, under a shroud of secrecy, we see the Rolls-Royce super saloon’s an early iteration of the super saloon that would dominate the luxurious 2000s. Standing left of center is a pensive Ian Cameron, ex. BMW Z8 designer, in what must have been a moment of clear tension.
He’s recasting the look of Rolls-Royce. Wearing a salmon colored tie, his hands are in his pocket and he’s waiting for feedback.
BMW Group Chief Designer Chris Bangle sits, fixated, at center stage. The action of the designers clearly revolving around his every glance; studying for possible imperfections and awaiting his verdict. His gaze appears thoughtful and heavy.
Truth to be told, in this early hour no one seems quite satisfied – and for good reason. The Rolls-Royce Phantom’s not quite there yet.
They wanted it the chariot to be big and bold. And by sheer dimension, we get a sense that it will be grand from the scaled down model.
But those bulbous front fenders channel too much of the 1950s. They practically mirror the Silver Cloud. Too retro and they clash with the tight, edginess in the rear quarter panels.
The doors, themselves, aren’t quite there either. The line of the rear door cuts too abruptly above the wheel well (like the current Bentley Mulsanne). And there’s a sense that by the exaggerated length of the front door, they may have entertained the front doors opening coach-style and having the rear doors open in the standard fashion.
The trunk isn’t nearly long enough in context with the length of the bonnet and the roof line seems a tad too short in stature.
What does appear in proportion and appropriate, but was inevitably downsized to meet EU pedestrian regulations, was a tall Spirit of Ecstasy. The current emblem, is about one third the size it should be atop that grand grille.
We see that other designs wait for consideration beneath white drapes. One of those might well have been today’s Phantom.
About the Author: Gunnar Heinrich is publisher of Automobiles De Luxe online and is executive producer of the Automobiles De Luxe Television series on PBS member station CPTV.
Distiller | Sep 10, 2009 | Reply
He looks like Mr.Bean here
In any case he managed to create an instantly identifiable design language that is neither nondescript-insipid like Maybach, nor unbalanced and awkwardly retro like Bentley.
I have a feeling though, as if he had more freedom with the Ghost, after the principal line proved successful with the Phantom …
G | Sep 10, 2009 | Reply
A very serious Mr Bean.
Good point re: Bentley. They executed the Continental GT brilliantly, then lost the plot a little on the Flying Spur and now have gone off the deep end with the Mulsanne. By contrast, the Ghost looks sensible, reserved and the Mulsanne flashy and avantgarde.
Brad Starcevich | Sep 10, 2009 | Reply
I get excited just looking at that clay model. The “bulbous fenders” do it for me, but then, I’m so hopelessly in love with the R-Rs of the 50′s and 60′s, any commentary that I might render on “the new stuff” should be automatically rejected. I’ll take the flashy, avantegarde Mulsanne over the more sensible Ghost in a heartbeat. One buys a R-R or Bentley because of some emotional attachment. I own a Prius because it’s sensible. Believe me, I understand the need for sensible cars, but God, I’m so ready for something new that’s really outstandingly gorgeous. I think the Phantom locked within that clay model may just have been it.
Great post, Gunnar.
Best,
Brad
Gunnar | Sep 10, 2009 | Reply
Brad,
“Sensible” + Prius?
I think the term I was really looking for was “reserved”. So, substitute “reserved” for “sensible”.
As for glorious excess – I believe in it! And none do it better than the Silver Cloud
Best,
G