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Jaguar design boss admits X-Type was a mistake

History has a way of repeating itself, especially in the auto industry. When Jaguar was owned by Ford, the British brand attempted to field a competitor for the BMW 3 Series, called the X-Type. Based on the bones of a Ford Mondeo, it aped the styling of Jaguar's flagship model, the XJ, while borrowing liberally from the Ford parts bin. That was 2001.
Now, in 2013, Jaguar is planning a new 3 Series challenger based on the platform previewed by the C-X17 Concept, while Ford is attempting to take the latest Mondeo upmarket. The moves have both brands recognizing where, why, and how the X-Type failed. "It didn't look mature or powerful or anything. It was just a car," Jaguar's current head of advanced design, Julian Thomson, told PistonHeads. Basing the X-Type on a front-drive car while giving it styling that was meant for a rear-driver lead to proportions that "were plainly wrong," Thomson told PH. Ford's European head of quality, Gunnar Herrmann, added that the X-Type was "a fake Jaguar, because every piece I touch is Ford."
For what it's worth, the X-Type's successor in the segment will sport rear-drive, with plenty of input from Ian Callum. Thomson described the new model, which would challenge the 3 Series as having, "Big wheels right to the ends of the car, low bonnet, short overhangs, very low cabins." Sounds good to us.

New car market raining on convertibles' parade

Whether fitted with soft or hard folding lids, today's droptops are better than ever for year-round motoring. Advancements in power top mechanisms, sealing, aerodynamics, structural rigidity, rollover safety and creature comforts like heated and cooled seats mean that modern convertibles are more versatile and better to drive than ever before. Yet the segment's sales took a dive during the recession and haven't come back, Automotive News reports.
Part of that is because automakers are looking at today's more sensible buyers and simply not developing as many new models, and that lack of fresh iron is curbing sales. AN cites R.L. Polk data which notes that only about one percent of new vehicles registered in the US last year had tops that folded. Back in 2009, it was 1.4 percent, and it was 2 percent in 2006. All-in, some 151,636 convertibles were registered in 2012. That's more units more than were registered in each of the past three years, but the market has also grown as the economy has picked up speed, and as a percentage of new vehicles purchased, convertible sales are lagging.
Thus far in 2013, the Ford Mustang is America's top-selling convertible, with 6,421 units registered through the end of April, followed by its rival, the Chevrolet Camaro, at 4,751 units. The Volkswagen Beetle isn't far behind, with 4,305, but from that point, it's a steep drop off to the fourth-place Mercedes-Benz SL-Class and its 2,380 sales.

Detroit automakers mulling helping DIA avoid bankruptcy looting

It's not really a secret that the city of Detroit is in lots and lots of trouble. Even with an emergency manager working to guide it through bankruptcy, a number of the city's institutions remain in very serious danger. One of the most notable is the Detroit Institute of Arts, a 658,000-square-foot behemoth of art that counts works from Van Gogh, Picasso, Gauguin and Rembrandt (not to mention a version of Rodin's iconic "The Thinker," shown above) as part of its permanent collection.
Throughout the bankruptcy, the DIA has been under threat, with art enthusiasts, historians and fans of the museum concerned that its expansive collection - valued between $454 and $867 million by Christie's - could be sold by the city to help square its $18.5-billion debt.
Now, though, Detroit's hometown automakers could be set to step up and help save the renowned museum. According to a report from The Detroit News, the charitable arms of General Motors, Ford and Chrysler could be set to donate $25 million as part of a DIA-initiated campaign, called the "grand bargain." As part of the deal, the DIA would seek $100 million in corporate donations as part of a larger attempt at putting together an $816-million package that would be paid to city pension funds over 20 years. Such a move would protect the city's art collection from being sold off.