Colin Chapman Museum and Education Centre Newsletter February 2015

Newsletter – Number 51

  1. Save Lotus!
  2. Lotus City car concept
  3. Art of Lightness Museums worth visiting
  4. Questions from our readers
  5. Consultancy and or Manufacture
  6. Seven sales to the sunset
  7. Pop art Lotus
  8. Collectables
  9. Youtube

All previous articles relating to these are held on the website.

Update to Save Lotus!

Following much objection by many readers of the newsletter, we are pleased to announce that the application for demolition was refused. Please see below for the summary of the planners’ decision.

The proposed development would result in the demolition of Locally Listed Building which is a non-designated heritage of historic significance, the proposal is therefore considered to be contrary to London Plan Policy 7.8, Local Plan Policy SP12, Saved Haringey Unitary Development Plan Policy CSV6 and the NPPF.

The external storage proposed alongside Tottenham Lane are considered to result in a poor quality design which would not respond to the local context or take the opportunities available for improving the character and quality of the area contrary to Policies 3.4 and 3.5 of the London Plan 2011 and supporting guidance, Policy SP11 of the Haringey Local Plan 2013, Saved Policy UD3 of the Haringey Unitary Development Plan 2006, and The NPPF.

The proposed development would result in the unjustified loss of a non-designated heritage asset (Locally Listed Building of historic significance which is considered to be contrary to London Plan Policy 7.8, Local Plan Policy SP12, Saved Haringey Unitary Development Plan Policy CSV6 and the NPPF.

1. Save Lotus!

Anyone interested in local history, Lotus Cars or F1 may wish to know about a recent planning application to demolish the site where Lotus racing Cars began in Tottenham Lane in 1953

Planning Application No. http://opn8.co.uk/lotusN8

HGY/2015/0311I have just submitted my own objection (below) and urge others to look at the application and make their own comments to the application.


I wish to state that I object to the application to demolish existing buildings on site at 11 Tottenham Lane N8 next to what was The Railway Hotel and the original home to Colin Chapman’s Lotus Motor Car Racing Company Factory.

Although the address of the application is stated as 11 Tottenham Lane it does include what is listed at http://www.haringey.gov.uk/sites/haringeygovuk/files/register_of_lo… as No. 7 Tottenham Lane, the site of Lotus cars in the 1950s.

In 1984, with the agreement of Haringey Council, Club Lotus erected a memorial plaque on one of the original Lotus office buildings.

In 2004 Haringey Council added 7 Tottenham Lane to its Register of Local Listed Buildings.

Yet on the application, by a person in Yorkshire, with seemingly no local connection, interest or knowledge to demolish many buildings on this historic site (now Jewson’s Builders yard) seems to make no mention of Colin Chapman, Lotus cars, listed building status or the plaque.

No mention is made of plans to even relocate the plaque.

I am very concerned that yet again one of Hornsey’s remaining buildings of historic interest and importance will disappear with the collusion of Haringey Council’s Planning Department and Committee.

We are currently seeing our historic bathhouse frontage being demolished with no attempt by the council to protect it despite concerns by local residents.

I am particularly upset by the potential loss of this site as Hornsey Village – A Walk which I co-wrote was only published in August 2014 (by Hornsey Historical Society, of which I am a member) where the historic importance of the site was highlighted on page 21 as follows:-

This was originally The Railway Hotel, a country inn with a spacious tea garden, adjacent to Great Northern Railway, which opened in 1850, with Hornsey as the first station out of London. The Railway Hotel was later managed by the father of Colin Chapman who established the Lotus Engineering Company here in 1951 and developed Lotus sports cars. These motor racing, award-winning cars were built behind the pub until 1959 when the company moved to Cheshunt. A plaque commemorating Chapman and the Lotus Company is on the building to the right of the entrance to Jewson’s builders yard.

A photo of the plaque can be seen at http://colinchapmanmuseum.org.uk/

To find that one of the featured sites will be gone in less than a year after publication is shocking.

I wonder if this would be allowed to happen elsewhere in the borough other than Hornsey?

Is the council aware that this is a locally listed building?

Why has the owner not been made to refer to the listed status and the plaque in the application?

I hope the council do not permit such desecration of our historic past and lack of respect for Colin Chapman, a man of recognised national importance.

I strongly object to this planning application

Thank you John Douglas for this

Hi, I have taking with the organisers of the Hornsey carnival, which runs an annual parade through Hornsey & Crouch End. I have suggested that it needs more elements relating to Hornsey’s history, the number one being the birth of Lotus cars. So I am looking for any local Lotus owners (old Lotus’ rather than new) who would be interested in joining the parade from 2-4pm, Sat 4th July 2015. It may also serve as a rallying point to stop Jewsons knocking down the old showroom.

Chris Arnold (son of Graham Arnold) 07778 05 66 86

Thank you Chris Arnold and Lesley Ramm

2. Lotus City Car Concept


3. The Art of Lightness – Museums worth visiting

MUSEUM REVIEW: Forthcoming Exhibition: “Lotus –The Art of Lightness”

161 Museum Drive
Hershey, PA 17033

Phone: 717.566.7100
Fax: 717.566.7300

Email: info@AACAMuseum.org


Recently the A&R reviewed the exhibition entitled “The Amazing Bugattis” and questioned why there had been no significant museum exhibition devoted to Colin Chapman and Lotus.

We are now pleased to acknowledge that the AACA Museum is holding a substantial exhibition this year.

The editors have examined the proposal [see below] and this exhibition contains the seeds of great potential and it’s highly recommended. We hope to obtain early visitor feedback.

The AACA Museum: Origin and Objectives

The AACA museum is the product of the Antique Automobile Club of America. It’s believed that this club was formed by enthusiasts in 1935.Its members include active collectors.

Their museum is based in Pennsylvania, USA.The museum seems a repository of vehicles members have donated loaned or the museum acquired. In addition the museum houses an extensive library. It’s believed that the museum is run as a non for profit organization.

The museum charts the evolution of transport in America with especial reference to American marques.Exhibits extend over a period of eight decades; and each example is set in a visual background context[ check out website]

Although possibly little known in Europe the museum has an excellent permanent collection and holds possibly two or more themed exhibitions per year

Declared Mission [from website]

The AACA Museum is dedicated to the preservation and presentation of motor vehicle history in a manner that provides for the education and entertainment of our guests.

Our goal is to deliver a world class automotive experience through innovative and interactive exhibits that appeal to all ages and illustrate the historical evolution and potential future impacts of one of the most culturally defining innovations of modern times.

As noted the museum as an extensive, deep and through integrated library of reference works. [See website/ on line catalogue]

Lotus: The Art of Lightness

January 24 – April 26, 2015


Image courtesy of Michael Furman.

Lotus and the genius of Colin Chapman have been at the forefront of racing technology and automotive design since 1948.  Colin Chapman’s philosophy of light weight and efficiency of design resulted in  7 Formula 1 World Championships as well as wins at Le Mans, and Indianapolis, saloon car racing and the World Rally Championship.  Chapman’s mantras of simplification, light weight and the least amount of parts effectively deployed that went into his racing car design were directly translated into Lotus’ road cars and produced iconic machines such as the Seven, Elan, Esprit, and Elise. The rest of the automotive world is finally realizing that horsepower makes you fast in the straights, but light weight makes you faster everywhere – and more fuel efficient to boot!

For over 60 years Lotus has continued to produce class-leading  sports cars and are a globally respected automotive engineering consultancy, working with many of the world’s most prestigious car manufacturers.

This exhibit will feature a variety of Lotus models both road and race throughout that 60 year history.

Exhibits: Proposed Content:

1956 Mark VI – Kyle, Irena and Colin Kaulback – Bethel, PA

1958 Lotus Eleven (Series II), Brainard Parker – Annapolis, MD

1959 Elite (Type 14) – Joe Marchione – Absecon, NJ
1959 Type 18 – Jerry Morici -Clifton, NJ
1962 Type 22 – Jerry Morici – Clifton, NJ
1962 Seven S2 – Gary and Sandy David – Macedonia, OH
1963 Type 23
1964 Elan S1 (Type 26) – Greg Moore  – Merchantville, NJ

1965 Lotus 23 Twin Cam – Brainard Parker – Annapolis, MD
1966 Lotus Cortina (Type 28) – Gary and Sandy David –  Macedonia, OH
1967 Europa S1B (Type46) – Bob Fogle – Woodbury, CT
1969 Elan S4 Coupe Rolling Chassis (Type 36) – Clark Lance – Long Valley, NJ
1970 Type 61MX – Kyle, Irena and Colin Kaulback – Bethel, PA
1971 Type 69 – Kyle, Irena and Colin Kaulback – Bethel, PA
1972 Europa Twin Cam (Type74) – Kyle, Irena and Colin Kaulback – Bethel, PA
1972 Elan Sprint (Type 45) – Dee and Kenny Mance – New York, NY
1979 Esprit S2 (World Championship Commemorative Edition) – Art Mason – Macungie, PA
1984 Type 95T – Barber Museum – Birmingham, AL
1987 Esprit Turbo (Type 82) – Gordon M. Biehl, Jr
1991 Elan (Type 100) – Ted Taylor – Haddon Heights, NJ

1992 Type 108 – Barber Museum – Birmingham, AL
1996 Type 110 – Kyle, Irena and Colin Kaulback – Bethel, PA

1997 Esprit V8 CART-PPG Indycar World Series Pace Car (Type 82) – Dale Murray – Mt Joy PA
2009 Exige S260 (Type 117) – Jon Walton – Newark, DE
2014 Evora S (Type 122)- Lotus Cars USA

Lotus engineered:
1981 DeLorean DMC12 – Justin and Rachel Mettee – Glen Rock, PA
1985 Sinclair C5 – Barber Museum – Birmingham, AL
1993 Corvette ZR1 – Dave Nagler – Chester, NY
Lotus Ultralight Aircraft Engine -Barber Museum  -Birmingham, AL
Type 23 spaceframe chassis -Barber Museum – Birmingham, AL
Lotus Wobbly Web Wheel

Exhibition Potential

The A&R editors having studied the background of the AACA Museum and proposed consent of the forthcoming exhibition .They consider it to be exciting ambitious courageous and inspiring. It’s inspired that a wide selection of cars are being assembled and displayed under a serious intellectual focus.

The exhibition is evidently well supported and organized as evidenced by the span and quality of proposed exhibits and examples of Chapman’s industrial Design.

The editors believe this exhibition has the potential to interpret and indeed illustrate to visitors that the “Art and Lightness” of Chapman design contained many of the following aspects:-

  • Art of the aesthetic and sculptural excellence of his designs
  • The art and conceptual creativity of Chapman and his design/engineering colleagues
  • That art and lightness are the primary functions of mechanical efficiency and sustainability
  • Art and lightness contributed to the competition success
  • Art and lightness forge connectivity with flight and aerodynamics
  • The Art and aesthetic of Chapman’s designs have been enshrined in Fine Art and Film
  • Lightness remains a core competency of Lotus platforms

We are particularly pleased that an American Museum is hosting this innovative exhibition as it also celebrates the bond of cultures and shares common interest with American motorsport Indianapolis, Can-Am and Ford along with famous American racing drivers that have made Lotus famous internationally.

Conclusion and Legacy

The editors believe this exhibition is overdue and commend the curator, trustees and supports for mounting this exhibition.In it we see conviction, integrity and foresight. We sincerely hope the exhibition will receive international publicity and resultant attendance. Further we hope there will be thorough publcity through various media not least internet, TV and magazine. The organizers might like to produce a CD or TV documentary as spin off .It deserves it not often for various reasons, not least that such groupings cannot be easily assembled in one place.

The editors believe this will be significant event and possibly the watershed that might provoke the reassessment, revision of Chapman’s and Lotus achievement. We wish the museum and its exhibition every success along with attendance. We look forward to reviews ad would hope to publish them.

In the meanwhile we pledge all our support.

“Lotus: The Art of Lightness” has all the potential to be the Light Fantastic and possibly more important Light and the end of the tunnel!!


The Proposed CCM&EC

The proposed museum believes that commercial considerations are both necessary and complementary with its educational objectives.

For these reasons our Business Plan includes provision for promoting products and services which share Chapman’s ideals of mechanical efficiency and sustainability. In addition we propose merchandising that explain and interprets the social and cultural context of Chapman’s designs in period. It’s suggested there will be catalogue for on line purchasing.

The editor recommends that Museums sharing common denominator ought to have formal links and shared archive and exhibits. With the possibility that visitors also share similar tastes and interests then it would make commercial sense to share some overlapping merchandising with resultant economies of purchasing.

Not only is it proposed to present our own dedicated interpretative exhibitions but to work collaboratively with all museum wishing to use Chapman inspired design to extend automotive, design and cultural appreciation.

4. Question (can you help?)…This time a thank you

We frequently get asked from around the world quite amazing questions , so far we have used a limited group to try and answer them, not always successfully.

So we now put them on our website and see if any “friends” know the answer.

Still many unanswered questions on our website  can you help?.


Wanted to tell you I used one of your engineering articles as a reference for a paper I wrote as part of my exams. Gained top marks.

Many thanks Jed (USA)

5. Consultancy and or Manufacture: Case Study 1.SUV’s-Reaching the Summit or Over the Hill?


This article if about Chapman’s /Lotus’ attitude to consultancy, market research, potential new products and customers. To draw real and meaningful parallels we seek to explore how modern day Lotus might develop a SUV platform range and capitalize on its significant design strengths and image.

A&R articles and neither linear or nostalgia driven.

The editors seek to interpret Colin Chapman’s design engineering achievements during his life time as well as explaining their continuing relevance in the present and how they might be adopted in the future. Of course of equal importance is the entrepreneurial aspect of successful car production and marketing. In fact there is little published about Chapman’s market research but an attempt will be made to assess this. It is extremely relevant to assessing how Lotus might develop a successful SUV or other specialist product range.

To this end the editors read widely around the subject and study trends, developments and societal impacts within the motor industry with specific reference to the specialist sector.

We attempt to bring our subscribers a combination of critical thought provoking, analytical challenging interpretations of the Chapman design philosophy. It’s also intended that as far as possible that the subjects dissected can be converted into equally entertaining, educational and interpretative exhibitions.

Motor manufacture and design and developments in the 21C cannot be undertaken without reference to geo-politics, globalization, corporatism and multinational manufacture and we compare/ contrast this with the Chapman era.

Inspiration and sources for this article came from the following:-

  • Lotus consulting its track record from Chapman era to present
  • Reading books [see references below]
  • Magazine /newspaper articles
  • Example or case histories particularly with reference to Britain and in particular Land Rover

In this piece there is some advantage to looking back to go forward. We will attempt to explain the Chapman /Lotus mystique, the philosophy of lightness and how this might crystalized into a successful profitable product range.

Subscribers might like to see A&R articles:-

  • Minimalism and the Motorcar
  • Lotus the Performance Saloons
  • Lotus Elite and Elise Design Studies

Lotus Consulting

Chapman and his engineering colleagues developed consultancy as an income stream, as a fund to contribute towards racing and to diversify or as a hedge against dependency /over specialization .It has been very successful. The achievements and reputation of Lotus engineers have ensured a flow of commissions .It’s very possible that there are more Lotus designed engineering solutions in the world’s cars than we realize.

The editors believe in varying degrees Chapman and Lotus may have made engineering contributions to some of the following list of vehicles:-

Lotus consulting and co-production /developed vehicles:-
Date Marque Model Details
Ford Cortina I&II
Rover 3500 Vitesse
Kia Sportage
Lotus Carlton
Isuzu Piazza
Chevrolet Corvette ZR1
M.G. Metro Turbo
Talbot-Sunb’ Lotus
Vauxhall Corsa
Vauxhall Tigra
Daewoo Leganza

Of course Lotus has undertaken reseach in other areas our subscribers are likely to be familiar with this .If not a paragraph in David Hodges “Lotus-The Legend [see both Lotus innovations and Collaboration] is a good introduction.


The Isuzu badge that makes a clear reference to Lotus

In the models listed the A&R has written articles and quote sources that explain the extent of the involvement .In particular the A&R have studied the Ford Cortina and Vauxhall Carlton [ see article Performance Saloons]

Despite research the editors have been unable to establish the exact work undertaken on the Isuzu.

This might have merely been a form of badge engineering in order to raise the desirability and exclusiveness of the product for which a licence was bought.[ see quotation below justifying assessment] Alternatively the model might have been passed to Lotus in order that significant measureable improvements could be adopted. These would be expected to be detected by road testers and possibly attributed to Lotus thus improving the product and marketability.

As we develop below the SUV has undergone significant evolution and subtle changes of emphasis, which are likely to continue into the future. 

The diagram below is taken from the Vauxhall Monteray Owners Handbook. This is believed to have been a rebadged version of the Isuzu Bighorn. The editors speculate if Lotus undertook improvements to handling?


 The Lotus Elise: Consultancy and Symbiotic Manufacture

Subscribers do not need to be reminded about the phenomenal success and reputation of the Elise. Its success might be attributed to its concept, aesthetics, performance, affordability, value for money Vis competitors and timing i.e. societal /cultural/ demographic factors. Many have attributed the Elise success to the fact it did not suffer from corporate committee design or long procrastination or protracted development. In fact many restrictions worked in its favour giving the concept an originality integrity and authority of assurance and correct first time stamp.

Lotus role in consultancy possibly had a sophisticated symbiotic interrelationship with the Elise. It’s possible that the lessons and theory Lotus engineers learnt were mutated into highly innovative new product that successfully extended and updated the design and manufacturing practice that Chapman had initiated. Lotus comprises two essential divisions of car manufacturer and engineering consultancy. It’s possibly these are linked through a beneficial spiral. Consultancy feeding and inspiring Lotus products the success of which wins research commissions etc.

In a later chapter we will explore the nature of this relationship with regard to potential new products such a SUV.

Chapman and Lotus Market Research

Lotus cars both competition and road are known for the innovation and lightness. Many have been sold in volume but not all have been a success and Lotus have lurched through some extremely difficult times often on the brink.

Producing a product for the market is never easy. It requires considerable expensive research, an element of risk assessment [even gamble] and foresight.

During the Chapman era it’s possible that market research and product development contained some of the following:-

  • Producing and racing cars who’s success generated demand
  • The continued production of same until replaced by new range or peer intervention [Lotus history demonstrates both]
  • Chapman was aware of opposition and some models were designed to compete against these
  • Chapman’s possibly idealistically believed he could create superior products at competitive prices to match mass production rivals. He was also sole owner and took responsibility for both product specification and sales success
  • During the 1970’s Chapman was aware the public’s expectation and sophistication were changing and he took the Lotus up market
  • Chapman possibly studied and predicted emerging technologies and markets and tried to align existing skill and competency with these. The best examples are the motor boats and micro lights

Chapman possibly considered his instincts and superior products were sufficient and cost effective in relation to demand and production volumes. The editors consider in the 21C this cannot be totally adequate. This is due to legislation and complex socio-economic, geo-political conditions impacting on demand entwined with demographics. As a result products must be planned in detail especially as development costs and safety and a host of restrictive legislation impact on product viability. Aspects of Chapman’s marketing is outlined by Read in his book [see A&R articles on the Lotus Seven]

We will explore the factors that might need analysis in more detail in relation to a new SUV

During the same Chapman period saw Linsay Campbell undertake sales and marketing for the Mini. [See Golding “Mini”].Campbell set out to analyses and rationalize the Mini mystique and this she reported in 1977 to Leyland Cars, in her assessment of Mini buyer types she breaks down the pattern into gender age, occupation category and age group. The simplified result concluded:-

Gender           Occupation Category          Percentage

Female           Secretary                               10 percent

Male               Middle manager                   10

Male               Worker                                   10

Female           Housewife                             15

Female           Retired gentry                       20

Male               Low skilled                            10

Male               Retired gentry                       20

Female           Self-employed / second job            05

Campbell also used statistics to indicate buying patterns e.g. in 1977 45 percent of owners were prepared to buy another Mini or Leyland car. She also deducted that the age of car ownership had come down and the percentage of female owners had increased. No doubt further analysis would reveal socio-economic and demographic factors relating to women in the labour market, income, skills and general emancipation through the 1960’s [see A&R articles on Lotus Design Decades and Carnaby Street]

The editors appreciate these figures are dated but they illustrate an extremely important point with regard to profiling audience.

This has become more important over time and more sophisticated. Later in this article we will suggest the profiling and projections that may be needed with regard to a future SUV or crossover vehicle.

SUV’s from the net


According to the Merriam-Webster dictionary, a “sport utility vehicle” is “a rugged automotive vehicle similar to a station wagon but built on a light-truck chassis”. The “SUV” term is defined as “a large vehicle that is designed to be used on rough surfaces but that is often used on city roads or highways.” The “SUV” acronym is still used to describe nearly anything with available all-wheel drive and raised ground clearance.

A sport utility vehicle or suburban utility vehicle (SUV) is a vehicle similar to a station wagon or estate car, usually equipped with four-wheel drive for on- or off-road ability. Some SUVs include the towing capacity of a pickup truck with the passenger-carrying space of a minivan or large sedan.
Popular in the late-1990s and early–mid-2000s, SUVs sales temporarily declined due to high oil prices and a declining economy. The traditional truck-based SUV is gradually being supplanted by the crossover SUV, which uses an automobile platform for lighter weight and better fuel efficiency, as a response to much of the criticism of sport utility vehicles. By 2010, SUV sales around the world were growing, in spite of high gas prices.


Although designs vary, SUVs have historically been mid-size passenger vehicles with a body-on-frame chassis similar to that found on light trucks. Early SUVs were mostly two-door models, and were available with removable tops. However, consumer demand pushed the SUV market towards four doors, by 2002 all full-size two-door SUVs were gone from the market. Two-door SUVs were mostly carry-over models, and their sales were not viable enough to warrant a redesign at the end of their design cycle. The Jeep Wrangler remained as a compact two-door body style, although it was also joined by a four-door variant starting with the 2007 model year, the Wrangler Unlimited.[13] The number of two-door SUV models increased in the 2010s with the release of the Range Rover Evoque and the Nissan Murano convertible, although both vehicles are unibody.

Most SUVs are designed with an engine compartment, a combined passenger and cargo compartment, and no dedicated trunk such as in a station wagon body. Most mid-size and full-size SUVs have three rows of seats with a cargo area directly behind the last row of seats. Cargo barriers are often fitted to the cargo area to protect the vehicles occupants from injury from unsecured cargo in the event of sudden deceleration or collision.
SUVs are known for high ground clearance, upright, boxy body, and high H-point. This can make them more likely to roll over due to their high center of gravity. Bodies of SUVs have recently become more aerodynamic, but the sheer size and weight keeps their fuel economy poor.

SUV: Brief History: A British Perspective
The editors have gained insights into this subject from Robson”Land Rover “and other reference books listed below.

Modern SUV’s are considered a derivative or evolutionary trend growing out of utility vechicles.These in turn are fundamentally a product of the Jeep, although from the birth of motor transport people and manufacturers have built vehicles suitable for exploration or military applications e.g. Citroen.. The Jeep was an American designed and manufactured for general purpose work that provided such sterling service in nearly every theatre of war during 1939-1945. Possibly the great success of the Jeep can be attributed to the specification it was allocated [which incidentally is not well documented]. Some of its requirements were:

  • Transport 600 lbs.- increased to 800 lbs. [ 272-363 kg]
  • Transport soldiers and casualties
  • Transport ammunition, supplies, petrol and medical supplies
  • To perform overall role that possibly included reconnaissance and scout car

The achievements are so well known there is no need to repeat them here.

The Jeep inspired the Land Rover. It was the right product and the right time in the right place. After the Second World War nations required extensive reconstruction. Men had been lost and labour availability reduced. War time innovations had possibly driven up productivity and yields in agriculture and on plantations etc. Women had performed responsible jobs. Many had learnt to drive. The Land Rover had the potential to bridge and deliver with reserves of durability and reliability.

However success was function of a beneficial spiral that included:-

  • Military applications
  • British Empire where conditions required the rugged Land Rover and other nations had a demand for industrialization /mechanization of agriculture to increase output. The era was one of oil exploration of oil and other minerals including forestry
  • New Government agencies and activities in rebuilding and reconstruction or nationalization where contracts for volume purchase would follow
  • Rover had plant and
  • Skilled personnel
  • Demand could be harmonized with other resources/factors of production
  • Minimal capital investment was required
  • The economic conditions in Britain were difficult but there was no real competition and few imports
  • The Land Rover was considered a commercial vehicle and attracted no tax [i.e. making it an attractive proposition

There was a down side but this could significantly be turned to advantage. Of course post war Britain was suffering austerity and particularly steel shortages. However the Land Rover a utility outdoor vehicles often used and stored without shelter in the most extreme climatic conditions would benefit from an aluminium body. This would be lighter, corrosion resistant and when designed in very elementary body forms easy to work, repair or replace.

The Land Rover was to be a multi-purpose vehicle capable of being a substitute to the tractor or at least complementary .Having qualities of the car it might allow a farers wife to drive and therefore increase productivity on the farm. The editors believe that the Land Rover was more heavily influenced by the Jeep than credited and that Jeep applications as well as technology/specification influenced its design /role etc.

It had the capacity to:

  • Plough
  • Haul logs or tree trunks
  • Carry livestock
  • Drive complementary machinery via power take-off
  • Deliver traction on hostile surfaces and weather conditions
  • To be generally more versatile than tractor
  • Capacity to tow trailer etc.

The Land Rover and other utility vehicles had no pretention other than practicality. It was almost by definition:-

  • Rugged and hard wearing
  • Large
  • Sparse
  • Noisy
  • Uncomfortable
  • In order to deliver the workhorse outcomes they were physically large, powerful and sacrificed fuel consumption and engine emissions to do so

Some motoring critics believe that the Land Rover gave birth to the modern SUV during the 1970’s.The Land Rover was the benchmark for 4X4 and had held this position almost since inception and it helped usher in the Range Rover in 1970.It was possibly not predicted that the utility vehicle would become a status symbol and life style accessory; however this was the case and is evidenced by the Range Rover HSE and Vouge, Sport etc. .Some critics have suggested the mutation into the Range Rover created a new class of vehicle –the luxury SUV.The development of the Range Rover has been in part attributed to a desire to compete in the American market; possibly in the station wagon arena where possibly Jeep had already pushed boundaries.

Other manufacturers and nations had also requirement for utility vehicles from America to Europe and the Far East. They would respond to the opportunity [our list above] and indicates how competitive the market has become.

Once the market was established there was competition to retain and improve the product.in 1989 the Land Rover Discovery was launched to critical acclaim. Gradually a mutation was taking place where style and presence triumphed over function.

For the serious student or bibliography provides extended analysis of the world’s SUV manufacturers and products. For a contemporary perspective the editors list some of the most recent:

SUV’s: the Market Place

Manufacturer Model Name
Subaru Forester
Toyota 4 Runner
Kia Sorento
Subaru XV Crossover
Jeep Wrangler/Wagoner
Hyundai Santa Fe
Jeep XJ Cherokee
Dodge Durango
Toyota Land Cruiser

Land Rover

Land Rover



Range Rover









Land Rover







ToyotaGrand Cherokee




ML- Class



















The Isuzu Lotus Edition

As stated above we are not sure how much reengineering Lotus undertook on the Isuzu Bighorn.

However it does set an important precedent for the future.

5 6

Engineering v Market Research

In this section the editors debate the relationship between market research, product development and engineering. All are extremely dynamic and there is requirement to maintain an optimum across all disciplines. This is easier said than done.

The editors contend that good as an engineering solution might be it might be a commercial failure if not correctly specified, financed and marketed.

In the Chapman era of course product development was relatively cheaper, faster possibly due to simpler products /requirement for less coordination /greater personal accountability / risk taking and possibly without so much changing legislation [although through the 1970s it was changing]

Modern Lotus [see official website] comprises Automotive Engineering Consultancy and Manufacture. They possess 4 core engineering competencies:-

  • Lightweight architecture
  • Efficient performance
  • Electrical and electrical integration
  • Driving dynamics

The editors are unsure if they undertake their own market research .If not they might be at a disadvantage and reliant upon the quality of the brief they are handed. Even so finance and volumes still play an important role in product success,

The editors consider the role of market research invaluable and believe it’s worth detailing the discipline in some detail. We include some descriptions/ definitions of Market research from the net. Subscribers might like also to study concepts and management of product development.

“Market and marketing research

There are two main types of market research – quantitative research and qualitative research. Quantitative research focuses on coming up with numbers: for example, what percentage of the population buys a particular product. It is gathered using surveys and questionnaires. You can do simple quantitative research yourself by talking to your customers. More in-depth quantitative research can be used to identify markets and understand customer profiles – vital if you’re launching a new product.

Qualitative research gets behind the facts and figures to find out how people feel about products and what prompts them to spend. Researchers use questionnaires and focus groups to gather this intelligence, while interpreting the results is a skilled job.

You can also do desk research with existing surveys and business reports. Much information is available online and from industry organisations, and some of it is free. This information provides data on market size, sales trends, customer profiles and competitor activity. Your customer records also provide a wealth of information, such as purchasing trends.

For forecasting, it can help you assess key trends to anticipate how the market may change. This is a vital step towards identifying new market segments, developing new products and choosing your target market.

Market research needs to be a regular planned part of your marketing. Even if you are an established business, you need to stay in touch with your customers’ needs as well as market trends and your competitors. It measures the effectiveness of your own marketing, giving you information about attitudes to everything from packaging and advertising to brand name awareness.”

The editors would venture that some specific market research and profiling specific to the development of a new SUV ought to contain some of the following with the proviso.

Nb all projections linked to time of launch and reasonable period into life expectancy

  • Owner profile including gender , occupation income, family size and demographics
  • Prevailing culture taste and fashion
  • Legislation in consuming nations and geo-political tends
  • Petrol, insurance and running costs
  • Costs of materials ,labour etc. associated with manufacture assembly
  • Manufacturing bases /bases and export
  • Flexible platforms, interchangeability  component deployment and economies of scale through range
  • Celebrity ownership and indetification with mass markets
  • Risk assessment/SWOT analysis
  • Product placement and marketing
  • Competitor intentions
  • Resale values/trade in factors
  • Related cultural and hobby aspects such as caravanning and holiday destinations

All the above are not easy to answer or construct, equally important and even more allusive are aspects of multinationals and mergers. The reason for this relates to loyalties between manufacturer and market place/ nations. A good product and its company can be bought and exploited successfully but equally a competitor can be eliminated by merger. The motor industry is littered with examples.

An extremely important role and one not easily defined or allocated is to whom or which discipline conducts and interprets market research. Some would argue this is primarily the role of designers. Against the impossibility of making the predictions listed above the designers may be allowed to use hunch and instinct and under certain circumstances this may be valid. There are instances that the design makes the market, or determines taste. Resources and timescales possibly also determine outcomes. The shorter distance into the future the easier the exercise. A form of design risk assessment and or SWAT might include a platform architecture that permits an easy alteration of the bodywork.

Future Niche Markets

The editors are aware of the dynamics within the motor industry and degrees of cross pollination and differentiation that are taking part. We therefore include a brief outline from the net

A crossover (or CUV: crossover utility vehicle) is a vehicle built on a car platform and combining, in highly variable degrees, features of a sport utility vehicle (SUV) with features from a passenger vehicle, especially those of a station wagon or hatchback.

Using the unibody construction typical of passenger vehicles instead of the body-on-frame platform used in light trucks and the original SUVs, the crossover combines SUV design features such as tall interior packaging, high H-point seating, high center of gravity, high ground-clearance or all-wheel-drive capability — with design features from an automobile such as a passenger vehicle’s platform, independent rear suspension, car-like handling and superior fuel economy.

A crossover may borrow features from a station wagon or hatchback, such as the two-box design of a shared passenger/cargo volume with rear access via a third or fifth door, a liftgate — and flexibility to allow configurations that favor either passenger or cargo volume, e.g., fold-down rear seats.

Crossovers are offered with front wheel drive, rear wheel drive or all-wheel drive configurations. Crossovers are typically designed for only light off-road capability, if any at all.[1]

Jaguar F-Pace SUV/Crossover

As the editors were completing this article Jaguar announced their new F-Pace.
Their designers and managers have said this about the product [Quoted from “Telegraph”
“Ian Callum, Jaguar’s director of design, said: “We received such an overwhelmingly positive response to the C-X17 concept car last year that we just had to make it a reality.

“The Jaguar F-Pace, inspired by the F-Type, represents a perfectly judged balance of performance, style and practicality. It offers a unique combination of Jaguar sports car inspired exterior design, fused beautifully with a thoroughly practical and spacious luxury interior. The F-Pace is our family sports car.”

Speaking at the Detroit motor show, Andy Goss, Jaguar Land Rover global sales director, said: “In 2015 we will celebrate Jaguar’s 80th year. We have started it by announcing our first performance crossover which we consider to be the ultimate practical sports car – a car that builds on the marque’s founding ideals of Grace, Pace and Space to become one of the most innovative Jaguars we’ve ever developed.

“The F-Pace has now begun its engineering and development testing programme ahead of the new model going on sale in 2016.”

A Future Lotus SUV?

The editors consider that Lotus might be able to develop a SUV.There might be questions if they do this on behalf of a manufacturer or under their own brand name.

The editors believe and will try to substantiate why they believe this is possible.

Before any design exercise it’s possibly necessary for Lotus to have a thorough review of its structure and might like to examine itself in relation to any new product and its:-

  • Size
  • Role
  • Costs
  • Contribution
  • Location
  • Value for money vis in-house design /R&D/marketing teams
  • Perception of brand

Both in our study of Lotus and other manufactures particularly our focus on SUV’s there needs to be an optimization across so many disciplines that are not easy to achieve. In the Chapman era speed and flexibility were a function of a relatively small organization and output. However we know the impact of change and the risks and cultural changes that occur as a result of growth and bureaucracy that accompanies legislation.

Should Lotus consider persuing   SUV option it might be necessary first to decide the optimum grouping or matrix of resources. There is no easy quick fix formula as at various stages in history large and small organizations have possessed advantage. In this intensely complicated world with seismic geo-political shifts impacting on globalization the editors cannot offer any simplistic solutions. Possibly a significant question might be to ask what ought we comprise Vis product or services and align accordingly.

The editors believe that Lotus might be capable of developing a successful SUV.

Lotus can capitalize on what is believed to be anticipated needs embracing

  • Light weight potentially aluminium chassis
  • High performance
  • Handling
  • Sustainability, energy efficient, recyclable, cleaner with eco-friendly credentials
  • Cheap to manufacture
  • Safety for driver, passenger and pedestrian

What it would find difficult to overcome is perceptions relating to brand image [many positive aspects particularly racing] but whether the brand values could embrace ruggedness and reparability. The main manufacturers have to advantage of economy of scale, cross subsidization, shared platforms and interchangeable componentry on a global shared multinational organizational scale.

The editors further believe that a Lotus SUV would also incorporate these industry experts’ predictions:-

Chapman has said:-

“The modern SUV is the result of car owners trying to satisfy both male and female notions of “commanding” with their four-wheel drive and high riding stance,,,,,,,,happily for car makers impending legislation aimed at protecting pedestrians in collisions also calls for a relatively high –albeit protrusion free –frontal area. So cars have become visually bulkier, less svelte and need to employ ever more surface design trick to lay on character”

Fiala observed:-

“Japanese customers have a liking for models with higher performance and extra equipment, such as the Bighorn special Edition by Lotus or the Irmscher S&R”

Clive Birch quoted in “Moving Forward”

We have to find new routes to individual mobility……. The car may be king, but it’s not a city beast and the focus is on the journey-how to travel swiftly, safely…………”

The editors believe that Lotus could produce a highly differentiated product both capable yet green within the new direction the SUV is taking .A machine with shared values where green represents responsible environmental holistic design that also without compromise delivers performance. The concept would be distinctive externally and, internally and with regard to sustainability and possibly most significantly costs in use. Furthermore the editors believe this might have mass appeal in the merging eastern markets .A Lotus SUV would be able to embrace competition where its brand heritage could be used and its experience incorporated. The traditional SUV competition includes events like the Dakar, Camel Trophy and Rallies.

Some markets might not be able to comprehend the brand making such a diametric change of class yet we have seen Lotus is steeped in lightness [ sustainability] and competition and is therefore in many respects well placed to create a credible new SUV for a new world and geo-political conditions. Many of the world’s most successful cars were not at the luxury end but conceived for the masses See A&R article Minimalism and the Motorcar] in times of world economic crisis and when populations were expanding and inexpensive personal transport was needed.

The editors would suggest that Colin Chapman was a man of extraordinary vision even futuristic and able to extrapolate technologies and materials. For most of its existence Lotus has lead and determined .Therefore the editors conclude that with the thorough and creative integration along with some luck it can make the lights align and like Rover before it can demonstrate the same foresight and innovation

Scale Models and Brochures in the A&R Collection

The editors believe scale models and brochures provide a convieient source of inspiration to designers with their ability to be easily studied and held. A model provides a stimulating means of comparing form and function and the manner in which objectives are realized and packaged.

The A&R have many examples of Land Rover models in the collection at various scales. It is considered that the Series 1 Land Rover is an excellent starting point for any designer of a SUV.In particular we hold a very nicely detailed 1/43rd scale Mk.1, 80” [HUE 166] Full model review on request.

The materials of the A&R are at the disposal of subscribers and should a user wish or be involved in any project please ask if items are needed.

The Proposed CCM&EC

The proposed museum believes that commercial considerations are both necessary and complementary with its educational objectives.

For these reasons our Business Plan includes provision for promoting products and services which share Chapman’s ideals of mechanical efficiency and sustainability. In addition we propose merchandising that explain and interprets the social and cultural context of Chapman’s designs in period. It’s suggested there will be catalogue for on line purchasing.

In particular we propose holding a series of interpretative, education based exhibitions exploring marketing, demand, design and development past present and future. By this means it’s hoped to equip engineer designers with inspiration and trends and the means to see these in the flesh. In the process it’s possible to demonstrate that Chapman’s principles of lightness apply equally well outside sports cars and racing.

It’s hoped that the proposed CCM&EC will have links with off road driving experiences in order that visitors might be able to compare contrast the differing driving experiences but also appreciate the core principles behind each.


In this article we hope to demonstrate that Chapman’s and Lotus dedication to lightness has underscored sustainability and performance. These qualities are important in motoring transport in a responsible world concerned about resources. Furthermore light efficient vehicles are democratic and allow a higher proportion of the world’s population to own an affordable vehicle and feel they are stake holder’s .Should the CCM&EC come into existence its education and exhibition policy would focus in part on the wider societal role to which it could positively contribute. Sir David King has said generally of the future transport challenge but perhaps just as applicable to individual vehicles like a Lotus SUV:-

“The transport challenge of the next fifty years will be to use technology to deliver infrastructure that will stimulate economic growth, support social cohesion and be environmentally sustainable” [nb quoted in Evenden]

If anybody can Lotus Can!


Britain’s Favorite Cars of the Decades.Leonard.Parragon.2014.

ISBN: 9781472364098

Land Rover Series 1 to Freelander.Robson.2006.

ISBN: 186126903X

The Land Rover Experience.Sheppard.Land Rover 1994.

ISBN: 0951449346

Range Rover 2nd Generation.Taylor.Crowood.2004.

ISBN: 1861266235

Range Rover 1970-1992. [Clark]Brooklands.

ISBN: 185520150X

Four Wheel Drive Vechicles.Fiala.Rebo

ISBN: 9036616980

4 Wheel Drive.MacNamara.Hamlyn.1985.

ISBN: 1844251152

Mini: Thirty Years On.Golding.Osprey.1979.

ISBN: 0850459257

Moving Forward: New Directions in Transport Design.Evenden.V&A

ISBN: 978185774913


SUV: The World’s Greatest Sports Utility Vechicles.Chapman.Merrell.2005.

ISBN: ISBN 10: 1858942748 / ISBN 13: 9781858942742

Please note the editors of the A&R attempt to give the broadest spectrum of references but not all are available for consultation in an article. However by noting their existence it may assist students in their research.

*Items in italics non A&R library books.

6. Seven Sales to the Sunset

Chapman’s Catalogue: Car Sales Brochures, Advertisements and Promotional Photography for the Lotus Seven. A model history in sales material.


In this series we analyze sales brochures and their impact on potential purchasers. Along the way we examine the social trends of the eras in which the products emerged to see how technology, culture and the individual responded to and shaped product design.

The Seven is iconic and needs little introduction. In this piece we can trace its evolution through sales material from enthusiasts car through the non-conformist  / insubordinate to the style conscious and statement grabbing finale version of the Hippies of the late 1960’s early 1970’s.

The Seven was very significant at many levels including

  • Its phenomenal performance and David and Goliath prowess
  • Its reputation on and off the track
  • Its economic importance to Lotus
  • As a yardstick of measuring customer sophistication and expectation
  • How it was to be “translated” and interpreted to an international audience as a car so steeped in “Britishness”

Subscribers might like to see A&R features:-

  • Introductory article on Lotus sales brochures and several categories published to date
  • Seven scale model reviews
  • Seven an aesthetic /design study
  • Lotus chassis design
  • Jaguar anniversary article comparing and contrasting Jaguar E Type and Lotus Seven performance
  • The Prisoner
  • Lotus Seven Series 4:Study in Value Engineering
  • Tony Weale’s Lotus Seven Book review

The Lotus Seven Concept and Purpose

The seven was initially conceived primarily as replacement for the Mk.VI which had proved attractive and commercially viable providing a dual purpose road/ competition car primarily for the self-builder. For a more in-depth specification and development history see A&R article Seven Aesthetics.

The Seven provided income and employment for the work force when not engaged on the pure competition cars. Evidence from ex employers inform that it was not the most profitable of lines but it did provide extraordinary reputation and kept the name of Lotus in the forefront of enthusiast’s minds. It contributed significantly to mystique and was reasonably affordable. Subscribers are invited to see A&R on Value engineering: The Seven S4 in order to establish the interface between technology cost, profit and production.

Equally examination of cultural trends will assist in understanding how changes in client base impacted on product. The Seven went through a considerable transition and this possibly mirrors the social and technological revolution that over took Britain in the 1950’s and 1960’s.

Types of Lotus Seven Advertising

The editors have identified and hold in the library copies of factory brochures along with copies of magazine adverts. It’s not practical to display all [but can on request] Additional complementary information is available in the reference works mentioned.

The magazine adverts were placed in the motoring press where they would be read by enthusiasts and possible club racer.

The factory brochures although stark as the car were professional .It’s possible they were designed deliberately brief with dramatic colours and imager as a reflection of the product.


We have touched apron the profile of customers in our brief analysis of the Seven concept. The customer probingly changed during the life of the Seven as a function of the changes in British society in the post war era.

Austerity was replaced by degrees of affluence. The youth market increased. During the 1950’s Britain was still manufacturing and high etch industries in aviation, motoring and nuclear energy and machine tools etc. These industries generated employment for engineers and craft skills. Apprenticeships were still available. As Britain went through a transition service industries and welfare occupations expanded and management became better paid and the preferential career path. Those with the skills and inclination to self-build would decrease.Modern saloons many from Japan offered comparative performance accompanied by comfort.

The Seven needed to adapt and it’s interesting to see how Chapman and his colleagues adapted to these changes. We set out some of the responses along with our description of the Seven S4 adverts.

Presentation and the Offer

In the late 1950’s early 1960’s the sales staff at Lotus comprised Robin Read, Ron Richardson, and Peter Warr. They were assisted by Derek Birdsall and Robin provided text. Later Graham Arnold and Mike Warner would make significant contributions [see S4 below]

Derek Jolly and his female companion contributed photography/ concept for several adverts including black and white Series 1 below.

The early Lotus sales brochures were ambitious and attractive, they demonstrate Chapman’s aesthetic sensitivity as applied to marketing as like his overall philosophy it was high quality.

Read states and the editors agree that the Series 1 Seven brochures of the 1958/59 era were “little masterpieces of graphic design”. He provided the text.

Lotus were keen to connect with their racing heritage and many brochures also depicted their racing cars or typically John Bolster cornering a Seven hard on track.

The Seven was presented in a different manner to other Lotus models………….

Non Brochure Advertising

Chapman was adept at using the motoring press along with advertisements numerous articles and road tests were published. Subscribers can see examples of those quoted in or Jaguar anniversary article, other prominent magazines featuring Lotus were:-

  • Small Car [see below]
  • Motor Sport [ see below]
  • Sports Car Illustrated
  • Autosport , where John Bolster was an enthusiastic supporter
  • Lotus frequently featured in official Road Test Reports by Motor etc.

Brochures Featured [from the A&R library]

  • Seven Series 1
  • Seven Series 2 –black and white 1 page magazine advertisement
  • “The New Exciting Super Seven” factory sales brochure
  • “The Ultimate Seven” single page magazine advertisement
  • “Count 7” sales coupon and word play ; magazine advertisement
  • “Small Car” integrated sales package

Analysis of Sales Brochures for:                                               

  1. Visual imagery, content and message / marketing of the brochure
  2. Examine briefly the social/historical context where appropriate:

See Lotus Design Decades.

  1. Examine the model in context [note technical information invariably contained within brochure itself]

Question does this brochure succeed?


Costs, Sales and Objective Assessment

Robin Read’s book provides excellent insights into marketing strategy within Lotus in the late 1950’s early 1960’s.He also includes some general budgets.

Read was assisted by Derek Birdsall, Ian McLeod, Ron Richardson, Peter Warr.

Subscribers might note that the later S4 was developed with input from Mike Warner and Graham Arnold and details of the commercial sales specification are provided with marketing images below.

Production Numbers from the Lotus Book

S1       1957/60          242

S2       1960/68          1350 approx.

S3       1968/70          350 approx.

S4       1969/72          625

Lotus were exporting to America [Jay Chamberlain Automotive] [see Robin Reads and comments re S4 are pertinent] and to Australia.

It would be good research to examine the quantities of brochures printed and their cost of design and manufacture along with the fees paid for magazine adverts. This would help in conjunction with production numbers help establish the success of the marketing strategy. It would be only partially successful as much of sales is likely as result of reputation and test drives.

Cultural Trends through the 1950’s & 1960’s

These are worthy of study and impact on all car manufacturers. The 1960’s were significant for their consumerism and British designers leading the world particularly in fashion. It was an era when feminism emerged and gender roles showed early signs of blurring. Britain was also world leader in motorsport and Lotus gained World Championship status in FI.

The editors refer subscribers to our Design Decades Series and Carnaby Street and the Ela where a more comprehensive analysis and description of the era is set out. These pieces will enable subscribers to interpret the era in context and understand the forces social, economic, cultural and technological that impacted on design and consumption.

[The bibliographies provided are considered most useful for an in-depth examination] 

Series 1 Brochure: “Lotus 7 The Built it Yourself Sports Car

This brochure would have accompanied the launch of the Seven from the late 1950’s.

This dramatic eye catching paper brochure measures 8.5” x 5.5” [220mm x 140mm] is folded and printed on both sides. It features a car registered UOW 429 and 7 TMT. The information immediately calls attention to method of self-building and the avoidance of tax and hence to the value for money to be achieved. Race results are prominent. It also offers and strong visual invitation suggesting the professionalism of the product “This how you buy your Lotus Seven” The brochure continues by explaining the stages of build. An information panel set out the specifications .These include weight at 18 to 896 lbs. The editors find it interesting that the advertises inform that the engine option is easily upgraded offering further value for money and resale value at later date and as budget improves, The brochure also establishes the romantic connection with a young couple posed in the car.

The offer concludes with the invitation to inspect a car at your local Lotus Centre where credit facilities are available.

8 7

The Series 2:”The Outstanding Compact Sports Car. Magazine Advertisement

The photographic image for this advert is believed to have been taken by Derek Jolly [Lotus importer to Australia.]The lady may have been his wife/girlfriend.

The editors consider this quite a significant advertisement. The image is 7” x 10” .It is very simple and elegant. The black and white has gradations and possesses a powerful image combined with stark printed message,

The car significantly appears to be driven by a young woman wearing a scarf in the open car. The car is captured in motion approaching but taken from a deliberately low angle accentuating the low build of the Seven but also the enormous canopy of the sky above. This imagery in some respects foreshadows the iconography of the Prisoner early sequence.

The sales pitch is totally minimized placing great emphasis and registration of impact with its suggestivity of driving pleasure and the open road. The female driver also having connotations of modernity, sophistication, safety, freedom and equality.

The editors cannot say if this was intentional but if so a very advanced ambitious and stereotyping mould breaking concept it  was. Head on in your face.

Robin Read has an advertisement in his book of the Seven S2 again by Jolly at it too is extremely atmospheric with the car seen in elevation on a beach with a large panorama of sea and sky. Offered at £399 it was without engine and gearbox. The appeal being to the enthusiast self-builder possibly with a damaged or salvaged engine etc.


The Exciting New Lotus Super Seven 1500

This is a factory brochure in an approximate A4 size. Printed in black and white on both sides.

This has always been one of the editor’s favourite brochures. It epitomizes the essence of Chapman design philosophy. The brochure is simple elegant powerful graphic and providing the invitation to performance driving. Ownership accompanied by a statement of extreme uncompromised Spartan functionalism.

The Super Seven is photographed from the rear roof down providing the ease of entry and immediacy of escape. The photograph captures the essence of the Seven with its minimalism slightly set off with the least brightwork.The minimalism speaks volumes of this being a race car equipped with least possible features to make it road legal.

The Super Seven is posed to accentuate its low proportions and sporting low center of gravity, ground clearance etc. It offers an attractive package and the price of £585 chimes with an affordability [but it ought to be noted this is in kit form and our price relativity articles will indicate this was not cheap in period]

The reverse is typed statement without additional photographs. It informs of the specification, prices and optional extras.

The editors feel is was superb piece of cost effective advertising as stark and purposeful as the machine itself.

11 10

The Ultimate Lotus Seven: TNG 7G

This simple single page magazine advert in black and white was direct and forceful. Stark and sparse and functional as the Seven itself. Note the joint marketing with reference to Caterham Cars and Lotus.

The car featured was the Holbay tuned 1600 version. It’s believed that this was approximately £300 more. It appeared on the Lotus stand at the 1969 Earls court Motor Show, it’s believed it was painted red.

The A&R does not have any brochures of the Series 3 but these did exist and the Lotus book /Collectables show several examples.

Count 7

This small advert appeared In Motor Sport in 1970.It was at a time when the kit car was really in decline and there was severe competition from performance salons turnkey.

This catchy small coupon advert worked on word play successfully and was reinforced with the 0-100mph in 24 hours.


Small Car

Small Car

This magazine was launched in 1962 as Small Car and Mini Owner incorporating Sporting Driver. It was published by Prism and had a reputation for innovation including a feminist perspective .It also used top level journalists such as LJK Setright.

The editor was George Bishop along with women’s editor Kay Christansen.Themagazine had a female focus as noted [significant for the era] and had a regular feature devoted to women in motorsport.

The August 1963 edition contained a strong representation and emphasis on the Lotus Seven:-

  • Bold strong front cover photograph below the mast head of the infamous factory demonstrator 8843 AR
  • 3 page article on the car
  • 1 page factory advertisement cross referencing with brochure detailed above “Exciting New ………£585”

 The Front Cover Imagery

The magazine promotes this issue with a bold startling attention grabbing head-on image of the Lotus Seven in close up. The view comprises a three quarter front view .It really works and complements the mast head. The photograph possibly taken with a telephoto lense captures the scarlet demonstrator accelerating towards the viewer with its Lucas headlamps prominent. The driver is possibly the heavily mustached magazine editor?

The image makes very clear the infamous demonstrator registration and the enamel Lotus badge prominent forward position on the bonnet.

This image alone is likely to have sold the issue .It also implies the content.

 The Main Article

This was written with a combination of jokes, irreverence and realism. They pulled no punches and were not impressed with build quality and reliability of the car provided for test.However they agreed the car provided considerably safety and the main ford mechanical components were practical and serviceable, they observed:

“The glass fibre wings flap about, the wheels graunch on the underside in hard cornering , the ride is hard , the thing is crude and unrefined ,So is moonshine brother , but it’s got a hell of a kick.”

A brief specification box was included with details of performance, fuel economy, weight etc.

Small Car provided a mixture of black and white plus colour images static and action shots.

Road testers are generally honest and objective. They have few allusions and although critical of aspects of the Seven warm to its charm and character and appreciate it will appeal to enthusiasts [see selection of reports in A&R article Jaguar anniversary]

The Seven is bought for its performance / driving experience, its dual use .its aesthetic and the self-image the owner wishes to project of themselves.

The Factory Advertisement contained within

This comprises a similar photograph used on the front cover. The demonstrator accelerates towards the vewer.The Lucas headlamps and Lotus badge prominent.

The photograph fills half the page approximately. Below in strong contrasting and with headline grabbing font is the strap line price of £585 [kit] elsewhere in this article we had noted the Seven was sold for even lower price when offered less engine and gearbox.


Seven Torque: The Seven Series 4

The Seven Series 4 was the last of the Lotus Seven Series. It’s understood that the last model left Hethel in late 1972.Although crititsed by traditionalists the S4 sold reasonably well and its possible approximately 600 units were retailed.

Two the Lotus staff involved in its development and marketing were Mike Warner and Graham Arnold [Sales Manager].He had joined Lotus in 1960. It’s probable that Warner saw an interacting matrix comprising:

  • A defined market /customer profile
  • Production costs
  • Volume at which costs could be held
  • Marketing strategy that would balance the equation of customer base/ acceptable price / competition against production costs volume

After an exercise in value engineering [examining accountancy procedures, overheads, and engineering achieved cost saving reductions] it was thought viable to slellthe S4 at greater profit and in larger numbers.C 1971 the S4 was retailing at approximately £1,000 in the UK but significantly the equivalent of £2,000 in the USA. [Export to the US was hampered by the transport costs, building /assembly on arrival and local taxes conspired against it]

Probably the marketing staff understood the era and British predominance and fashion through the 1960’s [see A&R “Carnaby Street and Design Decades 1960’s] They were probably also aware of the competition, the emergence of high performance, high quality reliable Japanese saloon imports and a younger audience that demanded more .However the Seven carried powerful connotations and it was hoped to exploit these to a wider audience.

Warner elected to market the S4 against a background of his appreciation of a shifting clientele now more likely to be fashion conscious e.g. London trend setters, designers and pop stars/ film stars and celebrities. To meet this clientele the S4 was offering a combination of traditionalism [continuity] with comfort and weather protection .The commercial belief within the industry being that of the nursery slope and that graduated model range retained customer loyalty and offered part exchange opportunities to upgrade when family commitments and income allowed.

The audience hat Warner identified is reflected in the brochure with its combination of Hippy sophistication and well heeled.

A complimentary advertisement was captioned “Lotus Motoring Starts Here” both contained the young female companion in mini skirt and the implication was the possession of style.

The Proposed CCM&EC

The proposed museum believes that commercial considerations are both necessary and complementary with its educational objectives.

For these reasons our Business Plan includes provision for promoting products and services which share Chapman’s ideals of mechanical efficiency and sustainability. In addition we propose merchandising that explain and interprets the social and cultural context of Chapman’s designs in period. It’s suggested there will be catalogue for on line purchasing.

In particular it’s proposed to retail sales brochures and memorabilia derived from them including posters, cards, calendars, postcards. The prosed museum has the potential to hold originals in archive, buy, sell and exchange brochures and undertake exhibitions that explore marketing of Chapman derived products.

The design of brochures also has a strong educational content and this will be exploited with direct and indirect learning opportunities and competitions.


As we have noted sales brochures are a function of communication and marketing.  As long as products and services are manufactured to some extend there remains a requirement to bring these to a targeted audience.

The design and presentation of sales materials is a dynamic subject .It requires understanding of psychology, the brand, the product, the customer and the prevailing culture. To some extent it also requires an appreciation of rivals. Brochures and other sales materials generate income but also have a cost. When commissioned these need to be balanced and the selection of consultants and the ability to grasp subtle sometimes sublime messages is an art.

Much of Chapman’s design mantra is technological but his racing programme would not have been possible without selling road cars and consultancy. Brochures played an important role .Therefore this exercise is particularly relevant and has educational overlaps for the creative and marketing professionals. Between the manufacturer, marketing professionals and customer are dynamic interfaces.


The Lotus Collectables Book.W.Taylor.Coterie.2000.

ISBN: 1902351010


ISBN: 1857781473

The Lotus and Caterham Seven.Coulter.MRP.1986

ISBN: 0947981063

Colin Chapman’s Lotus. Robin Read.Foulis.1989.

ISBN: 0854297030

Vintage Ad Gallery

Please note the editors of the A&R attempt to give the broadest spectrum of references but not all are available for consultation in an article. However by noting their existence it may assist students in their research.

*Items in italics non A&R library books.

7. Pop Art: Lotus 1 [“Oil on Canvass?” 45 x 56 inches] by Gerald Laing.


The significance of Colin Chapman extends well beyond engineering and motor racing. His achievements in these fields percolated out into popular culture. We have seen this in several forms and A&R articles listed below cover aspects pertinent to the 1960’s.

His success and products impacted on a generation and such was their aura and reputation that they have been recorded in art. The A&R has explored Lotus in motorsport art The power and association engendered by Lotus also impacted into Pop Art and this piece is devoted to a painting by Gerald Laing focusing exclusively on a Lotus Formula I racing car.

With the passage of time it’s easy to overlook the enormity of impact Colin Chapman and Lotus created.

The editors believe that the achievements of Chapman outside motor racing are culturally important and in many respects equal to his competition success. In this article we will explore the work and career of Gerald Laing and briefly the British Pop Artist and explain how and why Lotus became a focus.

Chapman’s and Lotus impact and fixation in human psyche is very significant with both cultural and financial value to the nation. This has possibly not always been fully realized or calculated.

Subscribers might like to see directly relevant and complementary A&R articles:-

  • Lotus Design Decades -!960’s
  • Lotus, Boutique Culture Carnaby Street and Mary Quant
  • The Avengers
  • Fine Art of Motor Sport: the work of motoring artists

Brief Introduction of Pop Art

Pop Art belongs to the post war period. Many will think that Pop Art and the Pop music of the 1960’s are synonymous. Although there are overlaps and some shared focus they are not necessarily interchangeable and pop art is not exclusively about record sleeve designs [ although Peter Blake /Jann Haworth and identified with Sgt.Pepper]

Pop Art belonging to the post war generation partly responds to the ground breaking events of the Second World War including much of its technology, the mutated emerging technology, social change accompanied by demographics. Not least were the economic changes in society reflecting the youth market and the Americanization of Western culture through consumerism.

The editors believe that pop Art is a complex artistic phenonimina.It seems a hybrid and often contains references that reach back to:-

  • The Bauhaus [ see dedicated A&R article]
  • Surrealism and some aspects of Futurism
  • Cubism and Abstract Art
  • American commercial /graphic art related advertising and hence production into mass production, distribution and consumption
  • Media imagery and film/cinema. “movies”
  • High tech industries including Energy and production methods
  • Science fiction
  • Mass communications, media

Multi medium were often incorporated in their pieces and collage and assemblages merged and were lifted from the mass media newspapers magazines and comics etc.

Perhaps too the Pop Artists were part product of the era, the Art Schools, their generation of teachers and the curriculum.

Within the work of the Pop Artists the editors detect a curious mixture of cynicism, commercialism, satirical attack and to some extent a sub-culture /folklore and even “underground”. Pop Art is often perceived as hybrid and a mixture part “abstract art an ambiguous container for Pop culture”

Pop Art in some respects was less challenging than Pop music of the generation.

British Pop Artist Richard Hamilton possibly most succinctly summed up the movement as containing:-

“Popular, transient, expendable, low-cost, mass produced, young, witty, sexy, gimmicky, glamorous and big business”

Notable artists taken from net

The editors would also add:-

  • Richard Smith
  • RB Kitaj
  • Larry Rivers
  • Jann Hanworth
  • Sarah Jackson

Graham-Dixon suggests that:-

“Pop Art challenged the distinction between “high” and “low” art. And became the dominant movement of the 1960’s and 1970’s in Britain and the US its imagery from popular culture, made it accessible, popular and commercially successful”

Pop Art attracted some severe criticism and was labeled by some as non or anti art.Its content perceived as low culture and commercially driven produced by “gum-chewers and delinquents”.

It’s worth noting that the 1960’s witnessed perhaps considerable prosperity and the emergence of a new generation of art dealers /collectors forming an expanding art market who perhaps realized that most of the old masters were not available or in museums. Pop Art was ripe for speculation .The artists producing it possibly realized this [note conduct of Gerald Laing] and either cynically or merely adopted the consumerist creed and joined a band wagon.

Many observers might have considered it a process of dumping down that has continued in many respects to the present day.

British Pop Art

The editors are not art experts and recommend readers to access the references works given below to better appreciate Pop Art in relation to products and fashion etc. in  general circulation through the 1960’s.”Sixties Style” being considered an excellent introduction to the genre and the more practical use and interpretation of style.

The editors share the view that Richard Hamilton’s [painter and collage artist] was extremely influential on the development of the British Pop Art Movement. His exhibition of 1955 entitled “Man, Machine ,Motion” set a tone and provided a focus and momentum. It is both interesting and significant that he should wish to explore the subjects of speed, mobility, mechanization and innovation. It’s not incomprehensible that Gerald Laing should see these works and mutate the subject matter.Hamilton took and adapted a vintage racing car photograph as talisman. The Tate Gallery hold a collection of his work.

“This is Tomorrow” is considered watershed and a seminal art exhibition held in 1956 at the White Chapel Gallery, and to many critics it’s considered the event that kick started British Pop Art.

Groups of artists, architects, musicians and graphic artists formed multi-disciplinary teams and addressed issues. Notable contributions came from the architect’s partnership of the Smithson’s.

Significant British Pop Artists are: Richard Hamilton, Sir Peter Blake, Jann Haworth                  and Allen Jones.

British Pop Art evolved in possible several phases which were generationally based. In the later part of the 1960’s becoming more under the influence of the hippies. Some of the sexiness used in Hamilton’s definition might be identified with the then very controversial work of Allen Jones.

The editors would contend some aspects of Pop Art continues today.

Brief Biography of Gerald Laing -1936/ 2011

Gerald Laing was born in Newcastle in 1936.His farther was soldier and initially Gerald followed being educated at Sandhurst then being posted to Northern Ireland.

Gerald later undertook formal art training at St. Martin’s in London where several waves of young artists evolved into Pop Artists. His earliest work included the large format /huge canvasses hand paintings taken from / based upon newspaper photographs. He adopted images of starlets and film stars like Anna Karina [illustrated below] and Bridget Bardot.

Livingstone notes some of this work possessing a “billboard monumentality”


Figure 1Anna Karina by Gerald Laing [early work]

In 1963 he travelled to America and was based briefly in New York. He was influenced by Phillips, Warhol, and Lichtenstein and briefly was studio assistant to Indiana.

Inspired by American culture he produced a series of works based around:-

  • Drag Races and Drivers
  • Astronauts
  • Skydivers
  • Hotrods
  • Bikini clad starlet females


Figure 2Typical Drag Racer from period in US cf Lotus 1, 1963

Typical titles were Skydiver VI [1964] and Deceleration I [1964]

Laing’s work exuded exuberance, excitement and obvious sex appeal so identified with the 1960’s. He returned to Britain only to reestablish himself in the US until the late 1960’s.

Phillips and Laing formed Hybrid Enterprises which was truly market research orientated in a very commercial sense. It sought to establish what the market would require and purchase. I.e. “an art object for the informed customer” Laing later observed it in part comprised “an assemblage of trendy 60’s notions”

Disillusioned with various events, hubris and manipulative nature of the art market etc. he established himself in Scotland where he restored a house that was part home and studio. He took up sculpture and casting; part assisted by his son.

In the later part of his career he undertook some significant sculpture that resulted in prominent public commissions. A notable example is the four rugby players staging a line out. This work of 1995 is near Twickenham Station and home of English Rugby.

He also revisited the Pop Art style with some powerful images of the late Amy Winehouse.

In many respects Gerald Laing was a very rounded and accomplished artist who undertook painting ,weaving and sculpture. Many believe he was possibly the anthesis of the wayward artist and much of his discipline might be attributed to his Sandhurst training.

Critics have suggested amongst his work has been “some of the most significant works of British Pop Art “and that he “was one of the most important artists of his generation”

For many he occupied an important role amongst the Avant garde world of Pop Art in the 1960’s.

Lotus 1. [1963]: A description


This work might be described briefly as containing/ comprising:-

  • Large slightly off-square canvass 45 x 56 inches
  • A forceful dynamic composition with near perfect diagonal orientation
  • The truncated composition conveys massive speed as in both enters and leaves the frame
  • This sense of speed is accentuated by the suggestion of the track and car vaulting a brow
  • Elementary primary colours of cartoon/graphic boldness seem to be adopted
  • The driver is not formally identified as is the car but the whole composition is entrenched in a Lotus iconography, the car is only known by race no 21.
  • The image is punchy, in your face close up graphic and highly stylized
  • It possesses the quality of an intentional print i.e. accentuation the possibilities/ strengths of medium boldness and simplicity

Chapman, Lotus and Popular Culture

In 1963 Chapman would achieve along with this staff and drivers:-

  • 1963 World F1 Drivers and Constructors Championships [Jim Clark]
  • 1963 2nd place at Indianapolis [Jim Clark]
  • Entered Le Mans and triumphed within their class on several occasions
  • Dominated British club racing for a decade
  • Produced some highly significant and iconic road cars i.e. Seven and Elite.

Chapman and Lotus formed a complex dynamic. Innovation drove competition success at the highest international level. Success brought publicity, acceptance, a desire to be associated with [identification] it additionally brought significant engineering and related income to British and particularly motor sport.

It is through this virtuous cycle that Chapman and Lotus entered the cultural dimension and currency. This must never be misunderstood or underestimated.

It was deserved and contributed financially and morale along with esteem to Britain only a short time after the Second World War.

Lotus was the chosen vehicle of celebrities and pop stars. Lotus radiated symbolism and was deeply emblematic. It possessed aura, mystique and renown. It conferred status, prestige trendiness [cool] on its owner /drivers. Lotus had entered a Parthenon from which it was recognized and had a distinct perception and consciousness.

Born of these powerful qualities it earned a certain indelible factor and contributed to cognition. The decade of the 1960’s ushered in a cultural renaissance in Britain. Lotus engendered a pride and a powerful identification with rationality, modernity and aesthetics. Chapman Lotus were of the moment and captured the creativity of a youthful generation. Chapman’s products possessed a certain genius loci.

It was probably all these qualities of idealism, optimism and wellbeing that the Pop Artists like Laing picked up on.

Laing’s painting of the Lotus single seat racing car was therefore not so much a representation of machinery he chose to capture a totality and expresses the Lotus as a powerful token and cultural totem of the era. He rendered it thus allegorical and metaphorical and possibly most holistic and beautiful interpretation.

The Proposed CCM&EC

The proposed museum believes that commercial considerations are both necessary and complementary with its educational objectives.

For these reasons our Business Plan includes provision for promoting products and services which share Chapman’s ideals of mechanical efficiency and sustainability. In addition we propose merchandising that explain and interprets the social and cultural context of Chapman’s designs in period. It’s suggested there will be catalogue for on line purchasing.

In particular it’s recommended that a range of exhibitions can be delivered exploring the interaction of engineering and art, art and culture along with art and technology through history. The London dimension is an important factor than can be exploited with great opportunity for interactive interpretation and reenactment and not least access to our foremost Modern Art Galleries… To engender and interpret the cultural pulse of the nation during the Pop Art era exhibitions can call on a host of support materials not least fashion, photography, music and poetry.


The editors believe it extremely important to chart the cultural dimension and impact of Colin Chapman and Lotus. We shall continue to do this with diverse interpretation.

The decade of the 1960’s is considered a Renaissance by the editors [see A&R article –Design Decades: 1960’s] throughout the world it produced some incredible leaders, thinkers artists and musicians. These include John F Kennedy, Martin Luther King, Joan Baez and Bob Dylan, Bertram Russell, and the feminist movement. In Britain we produced style icons and artists/ musicians that included John Lennon/The Beatles, The Who, George Best, and in fashion Mary Quant, the models like Twiggy provided the high fashion celebrity chic and the photograph that gave them international status like David Bailey and Terrence Donovan. In the cinema films from Alfred Hitchcock, Michael Caine and Sean Connery won international acclaim.

The 1960’s were technologically driven ranging from the space race, to health science including birth control and the first heart transplant and electronics

In 1963 the Labour leader Harold Wilson delivered his “white heat” speech. In this he postulated if the country was to prosper a “New Britain” would need to be forged in the “white heat” of this scientific revolution. He was not able to deliver entirely on this and has been criticized for inconsistency. However there were the entrepreneurs and engineers who seized the moment and these included Mary Quant, Jimmy Laker [airline entrepreneur] and Sir Terrence Conran [Habitat etc.].The engineers designed and built the Mini [Alec Issigonis], A.Moulton, the Jaguar E Type and Concorde.

Colin Chapman was one of the foremost entrepreneurs of the era. As both manufacturer and team owner he was driving innovation. Achieving international race success and influencing taste through fashion and image [ see A&R article “The Avengers”].The editors therefore believe he  compares favorably in many respects with some of the greatest icons of the 1960’s [ see also A&R article 20th Century Motoring Icons]

To underestimate this fact does the nation and extreme disservice both culturally, with regard to Industrial Design and the implications extend into wealth creation and tourism. As in the 1960’s its considered necessary that the nation not to rest on its laurels ; the present requires the energy ,vision ,innovation and urgency that Chapman galvanized and was able to permeate so much into a virtuous circle that helped Britain establish an international reputation beyond motor racing.

To be enshrined in popular art is an indication of the magnitude of the impact and relevance.


NB Images taken from Gerald Laing – see www.geraldlaing.com [images on net]

Pop Art.Lucy Lippard.Thames & Hudson.1970.

ISBN: 0500200521

Pop Art.Livingstone.Abrams.1990.

ISBN: 0810937077

Styles, Schools, &Art Movements.Demsey.Thames & Hudson


Art.Graham-Dixon.Dorling Kindersley.2008.

ISBN: 9781405322430

Pop Art-50 works.Honnef & Grosenick.Taschen.

ISBN: 3822822183

Pop Art-50 works.von Wyk.Prestel.2013.

ISBN: 9793791348452

Pop Art.Osterwold.Taschen.1999.

ISBN: 3822870218

Pop Art.McCarthy.Tate Gallery.

Andy Warhol.Ketner II.Phaidon.2013.

Art & the 60’s-This was tomorrow.Ed. Stephens & Stout.Tate.2004

ISBN: 1854375229

Sixties Design.Garner.Taschen.

ISBN: 3822829374

Sixties Style.J.Miller.Dorling Kindersley.2006.

ISBN: 9781405306287

Please note the editors of the A&R attempt to give the broadest spectrum of references but not all are available for consultation in an article. However by noting their existence it may assist students in their research.

*Items in italics non A&R library books.

8. Lotus Collectables


Hongwell 1’43 scale – Lotus Europa Special-JPS (1972) Diecast Model Car

9. Lotus on YouTube

Lotus at Indy 500

Thank you for your continued  interest and support

Editors of the newsletter

John Scott-Davies

Neil Duncan

Jamie Duncan  (webmaster)