The images the author examined were in black and white.<\/p>\n

Specific examples are: –<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n

Title or subject<\/td>\n	Year<\/td>\n<\/tr>\n
Concours d’ Elegance Automobile in Cannes<\/td>\n	1951<\/td>\n<\/tr>\n
Mme. Westine wins Prix du tout dernieron<\/td>\n	<\/td>\n<\/tr>\n
Prix de la plus jolie toilette de jeune fille<\/td>\n	<\/td>\n<\/tr>\n
Le plus harmonicux ensemble<\/td>\n	1951<\/td>\n<\/tr>\n
Francoise Sagan [ with Jaguar XK120]<\/td>\n	<\/td>\n<\/tr>\n
Grandstand at Monte Carlo GP<\/td>\n	1957<\/td>\n<\/tr>\n
Moss [Monaco]<\/td>\n	1956<\/td>\n<\/tr>\n
Tony Brooks<\/td>\n	<\/td>\n<\/tr>\n
Ella Fitzgerald<\/td>\n	<\/td>\n<\/tr>\n
Marai Callas<\/td>\n	<\/td>\n<\/tr>\n
Roberto Rossellini and Ferrari<\/td>\n	1952<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n From Quinn website etc.: – \n\u201cEdward Quinn, born 1920 in Ireland, lived and worked as a \nphotographer since the ’50s on the C\u00f4te d\u2019Azur, which was \nduring the \u201cGolden Fifties\u201d the playground of the celebrities \nfrom the world of show biz, art and business. The rich and \nthe famous came to the Riviera to relax. But the movie stars \nknew how much their off-screen image counted and Quinn \nwas at the right place at the right time and was able to get \nspontaneous and enchanting images which catch the charm, \nsophistication and chic of a legendary era.<\/p>\n In 1951 Edward Quinn met and photographed Pablo Picasso \nfor the first time. Their friendship lasted until Picasso\u2019s death \nin 1973. \nThis encounter with Picasso was to be greatly influential to \nQuinn himself and to his subsequent work. Quinn is the author \nof several books and films about Picasso.<\/p>\n Since the ’60s Quinn concentrated his work on artists, \namongst them Max Ernst, Alexander Calder, Francis Bacon, \nSalvador Dal\u00ed, Graham Sutherland, David Hockney. \nIn the late ’80s an intense relationship, similar to his friendship \nwith Picasso, linked Quinn to Georg Baselitz.<\/p>\n Since 1992 until his death in 1997, Edward Quinn lived near \nZurich with his Swiss wife Gret. She passed away 2011.\u201d<\/p>\n Norman Parkinson <\/strong><\/p>\n Norman Parkinson is considered one of the world’s greatest photographers. He often used the motor car as prop or accessory.<\/p>\n It provided an element of story, excitement, drama, romance, modernism and suggested equality and perhaps subtly the means to own such a car.<\/p>\n Parkinson was a capable draughtsman [ Modern Country house ,1929] and its evident he could draw and compose freehand. He had visual facility and the editors believe this informed his sense of composition and storytelling in his photography.<\/p>\n He was able to and consistent in: –<\/p>\n \n Capturing life, energy, mood and spirit<\/li>\n Parkinson’s imagination and deliberate composition reference to surrealism<\/li>\n Haunting black and white \u2013 lighting<\/li>\n Exotic locations like India<\/li>\n Variously referred to as \u201cRomantic Modernist and Action Realist\u201d<\/li>\n<\/ul>\n Notable examples of his work. Note most of the early examples are in black and white.<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n Photograph title<\/td>\n Model<\/td>\n Content<\/td>\n Publication \/Company<\/td>\n Date<\/td>\n Colour \/B&W<\/td>\n<\/tr>\n Celia Hammond<\/td>\n Celia Hammond<\/td>\n <\/td>\n Queen<\/td>\n 1964<\/td>\n <\/td>\n<\/tr>\n Golfing at Le Touquet<\/td>\n <\/td>\n <\/td>\n <\/td>\n 1939<\/td>\n <\/td>\n<\/tr>\n The Iron Road<\/td>\n Wenda Rogerson<\/td>\n <\/td>\n <\/td>\n 1947<\/td>\n <\/td>\n<\/tr>\n The Apotheosis of the Bicycle<\/td>\n <\/td>\n <\/td>\n Vogue<\/td>\n 1944<\/td>\n <\/td>\n<\/tr>\n Getaway Advert<\/td>\n <\/td>\n Car<\/td>\n National Benzol Petrol<\/td>\n <\/td>\n <\/td>\n<\/tr>\n Nena, Rotherhithe Docks, London<\/td>\n <\/td>\n <\/td>\n <\/td>\n 1957<\/td>\n <\/td>\n<\/tr>\n Casual town Wear, Carlton Hill,Edingburgh<\/td>\n <\/td>\n <\/td>\n <\/td>\n 1953<\/td>\n <\/td>\n<\/tr>\n Speedboat, Dubrovnik, Croatia<\/td>\n <\/td>\n <\/td>\n <\/td>\n 1937<\/td>\n <\/td>\n<\/tr>\n After the Shower [The Bystander] Feb 3rd<\/td>\n <\/td>\n <\/td>\n <\/td>\n 1937<\/td>\n <\/td>\n<\/tr>\n Threshing Wheat<\/td>\n <\/td>\n <\/td>\n Vogue<\/td>\n 1944<\/td>\n <\/td>\n<\/tr>\n Advertising photograph Armstrong Siddeley<\/td>\n <\/td>\n Car<\/td>\n Armstrong Siddeley<\/td>\n 1960<\/td>\n <\/td>\n<\/tr>\n Jim Clark and his Lotus Elan<\/td>\n <\/td>\n Car<\/td>\n Men in Vogue<\/td>\n 1965<\/td>\n <\/td>\n<\/tr>\n The Beatles and Rolling Stones<\/td>\n <\/td>\n <\/td>\n <\/td>\n 1964<\/td>\n <\/td>\n<\/tr>\n The Cotswold Country<\/td>\n <\/td>\n <\/td>\n Vogue<\/td>\n 1942<\/td>\n <\/td>\n<\/tr>\n Wenda Parkinson. London airport<\/td>\n Wenda Parkinson<\/td>\n <\/td>\n Vogue<\/td>\n 1951<\/td>\n <\/td>\n<\/tr>\n Precision built Jets & suits: all British<\/td>\n <\/td>\n <\/td>\n Vogue<\/td>\n 1954<\/td>\n <\/td>\n<\/tr>\n TYT 100 [Jaguar Mk.II]<\/td>\n <\/td>\n Car<\/td>\n Vogue<\/td>\n 1957<\/td>\n <\/td>\n<\/tr>\n Model outside Houses of Parliament<\/td>\n <\/td>\n Car<\/td>\n Vogue<\/td>\n 1952<\/td>\n <\/td>\n<\/tr>\n Shower Coat<\/td>\n <\/td>\n Car<\/td>\n Lancashire Vouge<\/td>\n 1960<\/td>\n <\/td>\n<\/tr>\n Engineering; Manchester ship Canal<\/td>\n <\/td>\n <\/td>\n Lancashire Vouge<\/td>\n 1960<\/td>\n <\/td>\n<\/tr>\n Switzerland<\/td>\n <\/td>\n <\/td>\n Bystander<\/td>\n 1938<\/td>\n <\/td>\n<\/tr>\n Nena and Status Symbols<\/td>\n <\/td>\n Car<\/td>\n <\/td>\n 1958<\/td>\n <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/p>\n Figure 4.<\/strong> Titled \u201cNena and Status Symbols\u201d.1958 [ model Nena von Schlebrugge.<\/p>\n <\/p>\n Figure 5.<\/strong> Note for publication in USA for Jay Chamberlain<\/p>\n Aesthetic, Form and Function <\/strong><\/p>\n \u201cCan one think that because we\u2019re are engineers, beauty does not preoccupy us, or that we do not try to build beautifully, as well as solid and long lasting, structures?<\/p>\n Are\u2019not the genuine functions of strength always in keeping with unwritten conditions of harmony<\/p>\n \u2026\u2026. yes I confirm that the curves of the four corners of the monument, as mathematical calculation determined them\u2026\u2026. will give a great impression of force and beauty, because they will visibly reflect the strength of the overall conception \u201c<\/p>\n Gustave Eiffel<\/p>\n Lotus Elite and Glamour<\/strong><\/p>\n Road and Track,1964<\/em><\/p>\n \u201cA beautiful design was the Elite, one of the greatest designs of the post WW-II era, one that seems certain to be looked back upon as a landmark of some sort in automobile design.Without question, it was one of the best, if not the very best looking Grand Touring cars ever built.The body, all fibreglass, was designed entirely in the Lotus works\u2026\u2026\u2026 an was not only an immediate and lasting success but also an example, perhaps the only example, of the fluid plasticity of speed\/motion to be captured in that glass fibre and resin medium\u2026\u2026.<\/p>\n Admittedly, the Elite had its problems\u2026\u2026. the car was also plagued by other problems-high initial price that scared off all but the most sanguine, a marketing situation during its production that could only be described as impossible\u2026\u2026\u2026.<\/p>\n So think well of the Elite.It will be remembered as one of the outstanding designs \u201c<\/em><\/strong><\/p>\n Our other related articles on the Elite have demonstrated what a tour de force it was. However, Read makes it clear it was expensive and had limitations that prevented it being a truly acceptable road car<\/p>\n In a free market the elite might have been a commercial flop. It had the potential to almost break lotus financially.<\/p>\n For these reasons Read, Birdsall and Boys had to produce sales material specifically aimed at higher income owners. An inference is that the Elite would either be a second car or a dedicated hobby race car.<\/p>\n These marketing men therefore had to develop targeted imagery that would permit sales to an affluent audience and possibly provide sufficiently attractive and inviting ambience that wife’s \/ partners would embrace the marque.<\/p>\n Additionally, it’s possible that the Elite was such a radical departure from the previous Lotus canon that the marketing men believed it could be pitched directly at women who would be drawn and attracted to its graceful even lyrical aesthetic accompanied by some practicality, originality and usability.<\/p>\n The fashion iconography adopted as we have seen had historical president. The Elite possessed exceptional aesthetic and it’s not incongruous to embrace fashion. The Elite was ambitious, sophisticated and took Lotus up market into target range of brands identified with higher social class.<\/p>\n The range of Elite brochures and magazine advertisements were in the main modern, consistent, quality conceived and executed. Seeing the very deliberate plan and presentation of Read and his colleagues it’s easy to understand why when one American Lotus distributor produced a brochure in the \u201cgirly \u201cvein this was frowned upon.<\/p>\n Robin Read<\/strong><\/p>\n Quoted in Colin Chapman\u2019s Lotus: –<\/em><\/p>\n \u201cThe Elite had to be seen against the background of competition from Alfa Romeo and Porsche .These two were expensive but had established reputations for superb engineering , durability and finish……………with very few exceptions the Elite customer would be a sophisticated buyer who has probably already experienced ownership of the direct competition \u2026………it was going to be a hard uphill struggle to move the relatively large numbers \u2026…………we had in mind \u2026………..<\/p>\n \u201c<\/em>We had to present the Elite in a way that would appeal to the broadest possible front to people with both taste and money [and there were even fewer of them than now]<\/p>\n We have also to be sure that the car would appeal beyond the male enthusiast to his wife and family; perhaps even to his parents. therefore, it was necessary to play down the racing element and project the Elite as an elegant and sophisticated product in impeccable taste that would add to the stature of the owner.<\/p>\n In order to convey this image and message I felt it essential to use the very highest standards of photography and graphic design \u201c<\/p>\n <\/p>\n Figure 6. British Elite brochure<\/p>\n Michael Boys<\/strong><\/p>\n Robin Read: –<\/p>\n \u201cMichael went on to take some excellent shots of the products of the Dante Engineering Co; I knew Michael well and admired his work for the fashion world .it was therefore appropriate to invite him to come up with a series of photographs of the Elite to create a style for the car which would appeal to the target audience .Boys responded by selecting a top model ,dressing her elegantly and then photographing car and driver in a series of striking settings \u2026…….\u201d<\/p>\n Examples of Boys work are: –<\/p>\n Dame (Esmerelda) Cicely Courtneidge<\/p>\n by Michael Boys \nbromide press print, 1956 \n9 3\/4 in. x 7 1\/2 in. (247 mm x 189 mm) image size \nTransferred from Evening Standard Library, 1983 \nPhotographs Collection<\/a> \nNPG x184123<\/p>\n This image was taken in the context of the theatre particularly \u2018The Bride and the Bachelor’.<\/em><\/p>\n Michael Boys has been an accomplished photographer since. In particular he has illustrated books about architecture and interior design [ see bibliography below]<\/p>\n Question does these series of brochures succeed?<\/strong><\/p>\n We believe they do .See our conclusions below.<\/p>\n <\/p>\n Figure 7. Note how car registrations reoccur<\/p>\n Learning Opportunities<\/strong><\/p>\n Our learning \/educational opportunities are intended to be challenging thought provoking and requiring additional research and\/or analysis.<\/p>\n These opportunities are particularly designed for a museum\/education centre location where visitors would be able to enjoy access to all the structured resources available in conjunction with any concurrent exhibition.<\/p>\n In this instance we suggest the following might be appropriate: –<\/p>\n \n List concurs de elegance events \u2013past and present<\/li>\n List haute couture designers<\/li>\n Define the aesthetic of the Elite<\/li>\n What factors made the Elite gender neutral?<\/li>\n What were fashion trends in America when Elite was released?<\/li>\n Compare and contrast the fashion iconography used in sales material for the Elite and Elan<\/li>\n Can fashion be considered Product Placement?<\/li>\n How ambitious and innovative was Lotus marketing in and around the Elite?<\/li>\n Obtain copy of Read\u2019s Colin Chapman <\/em>and reference examples to text<\/li>\n Cross reference this article with A&R piece Read and Right <\/em>and the complementary input of Derek Birdsall<\/li>\n<\/ul>\n <\/p>\n Figure 8. Image From the net, historical example of cars and fashion<\/p>\n Analysis of Elite Sales Brochure for:<\/p>\n 1.Visual imagery, content and message \/ marketing of the brochure<\/p>\n 2.Examine briefly the social\/historical context where appropriate:<\/p>\n [See Lotus Design Decades.]<\/p>\n 3.Examine the model in context [note technical information invariably contained within brochure itself]<\/p>\n Exhibitions, Education, Economics and Entertainment<\/strong><\/p>\n In the museum context the editors believe that commercial considerations are both necessary and complementary with its educational objectives.<\/p>\n For these reasons our suggested outline Business Plan includes provision for promoting products and services which share Chapman\u2019s ideals of mechanical efficiency and sustainability. In addition, we propose merchandising that explain and interprets the social and cultural context of Chapman\u2019s designs in period. It\u2019s suggested there will be catalogue for on line purchasing.<\/p>\n In this instance we suggest the following exhibitions might be appropriate: –<\/p>\n \n Elite: The Ensemble<\/li>\n Elite: After a Fashion<\/li>\n Elite: A la mode<\/li>\n Elite: Exclusive, Elegant,<\/li>\n Elite Special Equipment: All dressed Up<\/li>\n Elite: Style Leader<\/li>\n Elite and Fashion: The cutting edge<\/li>\n Elite Enchantress<\/li>\n Colin Chapman: Rags to Riches<\/li>\n Lotus Elite – New Look: The Shape of Things to Come<\/li>\n Elite Fashion Carriage: Posture and Bearing<\/li>\n Elite Equilibrium: Poise and Composure<\/li>\n<\/ul>\n <\/p>\n Figure 9. Further example of American advertising<\/p>\n <\/p>\n Figure 10. One of set with aviation connotation<\/p>\n Conclusion<\/strong><\/p>\n The Elite was a tour de force but extremely expensive. [ see our dedicated articles on Price Relativities and Lotus the First Ten Year \u2013Sports Car peers].<\/p>\n Read realised it would be extremely hard to move. Because of this he developed a highly sophisticated marketing strategy [ which also recommended the kit format]<\/p>\n The production volumes of the Elite were relatively small and thus the sales.<\/p>\n Despite this the team of read, Birdsall and Boys put together an advert and brochure package that reflected a step change in Lotus in terms of the product, levels of refinement, sophistication and audience.<\/p>\n In doing so they engaged some of the best professionals available and adopted a marketing tool that aligned the brand with motoring\u2019s marque vanguard; see the evidence of their adoption of the techniques demonstrated by some of the greatest photographers of the time [ and it ought not be overlooked that these photographers harnessed aesthetics for the purpose of very subtle marketing]<\/p>\n The Elite witnessed the evolution of the brand product offer partly away from racing to a mainstream GT with far greater potential for road use \u2013although it in reality it was racing car for the road.<\/p>\n The Elan would possible reach an even greater level of fashion consciousness. Here though the product required less deliberate manipulation and its incorporation in fashion orientated contemporary TV like the Avengers ensured it was perceived as one of the most recognised fasion accessories of the era as well as being one of the greatest handling sports cars of all time.<\/p>\n Fashion would play a significant role in attracting and addressing audience and Lotus continued in this vein [ see related A&R articles]<\/p>\n 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.<\/p>\n 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.<\/p>\n Much of Chapman\u2019s 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.<\/p>\n Reference:<\/strong><\/p>\n The Lotus Collectables Book. Taylor. Coterie.2000.<\/p>\n ISBN: 1902351010<\/p>\n Lotus. Bacon. Sunburst.1995.<\/p>\n ISBN: 1857781473<\/p>\n Vintage Ad Gallery<\/p>\n Fifty Fashion Looks that changed the 1950\u2019s. Reed. Conran.2012.<\/p>\n ISBN:9781840916034<\/p>\n English Style.Gilliatt with photographs by Michael Boys. Bodley Head.1967<\/em><\/p>\n Living in London. Astaire with photographs by Michael Boys. Thames &Hudson.1990<\/em><\/p>\n Lotus Elite.Ortenburge. Coterie.2002.<\/p>\n ISBN:1902351037<\/p>\n Lotus Elite .Clarke.Brooklands.<\/p>\n ISBN:1855205475<\/p>\n Norman Parkinson: A Very British glamour.Baring.Rizzoli.2009.<\/em><\/p>\n ISBN:9780847833429<\/em><\/p>\n Norman <\/em>Parkinson:Lifework .Weidenfeld & Nicolson.1983<\/em><\/a>.<\/em><\/p>\n ISBN:0297782126<\/em><\/p>\n Parkinson Photographs.1935-1990.Harrison. Conran Octopus.1994.<\/em><\/p>\n ISBN:1850295336<\/em><\/p>\n Norman Parkinson. Published Beetles.2010.<\/em><\/p>\n ISBN:9781905738229<\/em><\/p>\n Norman Parkinson :50 Years of Portrait and Fashion.Pepper.Gordon Frazer.1981.<\/em><\/p>\n ISBN:0860920615<\/em><\/p>\n Portraits in Fashion. Parkinson. Palazzo.2015.<\/em><\/p>\n ISBN:97809931661<\/em><\/p>\n A Cote d Azur Album.Quinn.Zurich museum of Design.1994.<\/em><\/p>\n ISBN:1881616274<\/em><\/p>\n The Car .Glancey.<\/em><\/p>\n Vouge 100.Muir. The National Portrait Gallery.2016.<\/em><\/p>\n ISBN:9781855147614<\/em><\/p>\n 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.<\/em><\/p>\n *Items in italics non-A&R library books.<\/em><\/p>\n Appendix 1: Dante<\/strong><\/p>\n Engineering Co. LTD \nS.M.A. LIMITED, DANTE WORKS, MOAT LANE, LIMBURY, LUTON, BEDS<\/p>\n Robin Reads first Dante speed equipment advert appeared in July 1956 under Robins Sporting Motorist Agency banner. Initially offering cylinder heads and finned sumps for the Austin Seven cast by Dan Taylor at the Horesten Foundry\u00a0in Derby’s. They\u00a0were soon offering a wide range of products including inlet manifolds, valve chest cover and a four-branch exhaust manifold. Then in late 1957 with the help of Jim Shaw amongst others, Dante introduced the aluminium Clubman body\u00a0for the Austin.<\/p>\n By 1958 a full range of tuning equipment was also available for the Ford Ten and “one off” bodies would be made to special order. But by May 1959 they had gone into liquidation and Robin joined Lotus as sales manager for a couple of years. \nThen in late 1962 Robin Read was back in the specials business with this advert appearing for just a few months in the 750 MC Bulletin.<\/p>\n","protected":false},"excerpt":{"rendered":" Figure 1. Elite Magazine advert Figure 2. note how on location photograph has been edited for picture above The Elite Elegance: Chapman\u2019s Catalogue: Car Sales Brochures, Advertisements and Promotional Photography. Introduction This is a new series that will examine car sales material and potential promotional photography used by Colin Chapman. Chapman commissioned sales literature from […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":280,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_mi_skip_tracking":false,"footnotes":""},"_links":{"self":[{"href":"http:\/\/www.colinchapmanmuseum.co.uk\/index.php?rest_route=\/wp\/v2\/pages\/2957"}],"collection":[{"href":"http:\/\/www.colinchapmanmuseum.co.uk\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/www.colinchapmanmuseum.co.uk\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/www.colinchapmanmuseum.co.uk\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.colinchapmanmuseum.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2957"}],"version-history":[{"count":1,"href":"http:\/\/www.colinchapmanmuseum.co.uk\/index.php?rest_route=\/wp\/v2\/pages\/2957\/revisions"}],"predecessor-version":[{"id":2978,"href":"http:\/\/www.colinchapmanmuseum.co.uk\/index.php?rest_route=\/wp\/v2\/pages\/2957\/revisions\/2978"}],"up":[{"embeddable":true,"href":"http:\/\/www.colinchapmanmuseum.co.uk\/index.php?rest_route=\/wp\/v2\/pages\/280"}],"wp:attachment":[{"href":"http:\/\/www.colinchapmanmuseum.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2957"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}