Autocar magazine has released a list of the top 100 British cars, as voted for by its readers. But how exhaustive and/or authoritative is it, and what is a British car anyway?
The original BMC Mini has topped a poll of the 100 best-ever British cars, as voted by Autocar readers. This isn’t really much of a surprise. After all, Issigonis’s baby was a truly revolutionary car that transcended class, becoming a much loved icon and as much of an emblem of national automobility as the Citroën 2CV, Volkswagen Beetle, Fiat Nuova 500 and Ford Mustang.
That the Mini should be followed in the poll by the McLaren F1, Jaguar E-type and Range Rover (surely the original Rangie, rather than it’s current, somewhat bling, iteration?) is also unsurprising, as they too are all automotive icons in their own way. After that, things get a bit muddier.
Nissan Qashqai. Subaru Impreza. Honda Jazz. Renault Megane. All make the list, but are hardly ‘British’ nameplates, although the Qashqai and the Jazz are built in Sunderland and Swindon respectively. On that basis, surely the iconic Citroën DS qualifies, built as it was in Slough for a time in the 1950s/60s.
Number 5 in the list is the Yamaha MOTIV.e. The ‘what’, you ask? Well, the Yamaha MOTIV.e is only a concept at the moment, developed by Gordon Murray Design in Surrey, though one which promises to revolutionise the car manufacturing process. A great British car? It could certainly be a great British engineering success story. But it isn’t just yet.
So what constitutes a British car? One that’s built here? Designed here? Engineered here? Maybe it’s wood and leather interiors, or some intangible ‘other’ – an underdog-ness perhaps, or a stiff-upper-lip-ness?
I think that two quotes can help provide the answer to this question. Noted academic John Urry from Lancaster University has previously described the car as “the quintessential manufactured object”, while writer and former Design Museum director Stephen Bayley noted in his 1986 book Sex, Drink and Fast Cars that “more than any other manufactured product, the car enshrines and projects the values of the culture that created it”.
This would suggest that what makes ‘a car’ is the time, the outlook, the prevailing zeitgeist of where and by whom it was created, whether this pertains to a car’s inspiration, engineering or manufacture – all qualities exemplified by national automotive icons like the Beetle, Fiat 500, Ford Mustang and, yes, the Mini.
A globalised and interconnected world, however, aided and abetted by car manufacturers’ predilections for platform-sharing and badge engineering, necessarily makes it harder to define the national identity of a car, as the ‘time’ and the ‘place’ of a car become less distinct. Would a BMW Mini be any less British if it was manufactured abroad? Is the Citroën C3 Picasso any less French for being manufactured in Slovakia? Was the last generation Fiat Panda any less Italian for being made in Poland or, for that matter, any less ‘Panda’ for sharing a platform, its underpinnings, with the current Fiat 500 and Ford Ka? Does any of this matter?
My PhD concerns how we ‘consume’ the car as avatar, artefact, icon and experience, and I would contend that only we can answer the question of what a car ‘is’, and decide how a car answers back to us (or not, as the case may be), based on our own nature, our own essence, our own affect. Whether a particular car is attractive, desirable, offensive, or even nothing at all, only we know.
This means that, in addition to the observations above, what also makes ‘a car’ is the time, the outlook, the prevailing zeitgeist in which a car is regarded and consumed, and by whom. How we answer the question of what a car is can be manifest in surveys such as the Autocar best of British poll. Yet there are some who claim that the meaning of such ballots can be baseless or even arbitrary.
They may have a point. After all, the meaning of a car is very much negotiated and contested, and can change over time; memories and reputations of cars can be both trashed and rehabilitated. However, it is because of this negotiation and contestation that these polls can also provide a snapshot of the national automotive psyche.
As for the Autocar top 100 itself, I’m just rather chuffed that the Triumph 1300 made the list, beating the Triumph Dolomite Sprint in the process. Although I would like to know what happened to the Austin Metro…