Business, Cars, Fashion

When is a Mini not a Mini?

Mini Cooper

Image by Alexas_Fotos from Pixabay

When it’s a Maxi and the Maxi was not a nice car.

I am not a person suited to the original Austin Mini, I have travelled in one, in the passenger seat and my knees were up round my ears. The car that is still referred to as the “New” Mini is a bit more my, er, size. I can’t stand the thing though, it’s not a Mini and I’m not the only person who has said this over the years.

Born of the trend for cool and “authentic” retro cars it is a product of fashion as opposed to the original which influenced fashion; a small, low cost, simple car, accessible to everyone (unless you’re as tall as me) yet something so essentially cool (in it’s original, sixties sense of not trying too hard to just be) that it was popular with celebrities too. Like the Fiat 500 it was small, cheeky and fun to drive, so I’m told. The new car is bigger, more expensive – a product aimed at, rather than adopted by, the fashionistas, the hipsters, hence the price tag. The size increase of course was due to car makers obsession with the idea that “people want more space” for stuff, more cup-holders, more cubbyholes, more drawers and more speakers, as such it is a pastiche as is the “New” Beetle. The coupe version looks ridiculous but the biggest travesty is the Mini Countryman which is comparatively huge, probably bigger than a Morris Minor Traveller, on the outside at least, less Countryman more Country Estate.  Even the headlights, angled backwards make it look like a mini that’s been in a very stiff gale.

Fiat fared better with the 500, it at least looks like it’s as small as the original though it still can’t really be called a “people’s car” any more and certainly can’t be fixed with parts from a local corner shop. My own car is half-way to a retro design, Citroen took the general shape of a 2CV for their retro effort but left out the pod headlights and the suspension suitable for ploughed fields – though that might have been useful, with the state of our potholed roads today…

There have been other such cars over the years but many of them, in my opinion, show that some things just can’t be improved on and the past is often best left where it belongs.

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Architecture, Cars, Design, Health, Jubilee Britain, Meta, Psychology, Tech, Transport, Typography

Old is the New… New

Alfa Romeo Duetto

Alfa Romeo Duetto (Photo credit: lewong2000)

It seems that the more we step forward into the blinding light of our techno future the more people seem to be looking back.  Retro is still with us and is increasingly seen as a mainstream design choice.  As I see it the reasons are varied and often depend on the product.

For some the appeal of retro design comes from the feeling that designs from the fifties and sixties were crafted with more care and solidity, with metal rather than plastic, with levers and cranks that moved with a reassuring smoothness, clicked and whirred precisely giving a sense that they’d last forever and that you were getting what you paid for.  Such is the case with cameras such as Digital Leica rangefinders that remain true to their film predecessors’ styling and construction; Fujifilm’s X100, X1 and X-Pro1 cameras which are also built from metals and leather patterned plastic; and my favourite the Olympus OM-D E-M5 digital system camera which from most angles looks as solid, sleek and minimalist as the old OM series cameras – it’s only round the back that you see the array of buttons and the large screen that betray it’s 21st Century innards.  It is true that these cameras are relatively expensive and for many that will be the reason they’ll buy them but there is also another reason for products like these: to look longingly at what is often perceived as a better time in society as well as manufacturing.

Many retro products aim squarely at a time before bling when cool meant understated presence, celebrities and celebrity photographers used Leicas, drove E-type Jags and Alfa Duettos – the latter cars also currently being reborn with new century tech and tweaked, sharper lines to again bridge the gap between the past and the future.  There are hints of the rejection of overt showiness and loud celeb culture beginning to emerge.  In fashion and advertising the likes of TV shows such as Mad Men are having an effect for the same reason.  Stella Artois’ current campaigns have an obvious fifties-sixties style to associate the brand with what is seen as classic cool.

Instagram and Hipstamatic photos flood daily into Facebook and while the low-fi style of these is fun and interesting too many of the people taking the shots take the whole thing too seriously telling people that their pictures are more “authentic” because they look like old photos taken with film cameras, this kind of retro though is not strictly accurate though as film hasn’t had the kind of graininess and vignetting applied by these apps for most of the last fifty years, unless you had a really cheap camera, like the ones that you can now buy imitations of to deliberately get the poor quality – because it looks cool, of course.

So retro is either a desire to emulate a seemingly better time before our throwaway society and our transient carbon-copy celebrities, or it’s a fad to show how unconventional you are, or it’s a way to say how well off and tasteful you are, or it’s a case of designers taking cues from a time where form and function both mattered and subtlety had more impact than in-your-face showiness to create something truly stylish and often beautiful.

To create the future it is often useful to reference the past, both for its mistakes and its triumphs.

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