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| Fall from Grace: Packard's 1940s Cars and the Decline of America's Most Prestigious Brand |
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| Written by Aaron Severson |
| Saturday, 15 May 2010 00:00 |
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Page 1 of 4 Between 1935 and 1956, the Packard Motor Car Company went from the top of the heap among American automotive brands to just another independent, struggling to survive on the scraps of the Big Three. This week, we take a look at the Packards of the 1940s, and how the once-great automaker lost its way. We also examine one of Packard's odder experiments, the postwar Station Sedan. PACKARD CHANGES DIRECTIONAt the start of the Great Depression, the Packard Motor Car Company was the default choice for American luxury car buyers. There were cars that were more expensive or more exotic, but Packard had an aura of patrician respectability that no other domestic automaker could match. A big Packard was not a sign of material accomplishment so much as a badge of class status, bolstered by graceful but restrained styling, impeccable quality, and exacting engineering. It was not a car for the masses.
![]() A Sixth Series (1929) Packard Custom Eight (640) 2/4-passenger roadster. The 640 was styled in-house by Werner Gubitz, but many of its design cues came from Ray Dietrich, who was a design consultant for Packard in this period. The Custom Eight was powered by a 385 cu. in. (6.3 L) straight eight, rated at 106 gross horsepower (79 kW). The arrival of the Depression left Packard in an increasingly precarious position. While Packard's old-money clientele were less affected by the economic collapse than were the middle class, even the very wealthy were becoming wary of displays of conspicuous affluence. Packard sales began to drop, leaving the company in the red. President and chairman Alvan Macauley recognized that if it were to survive the decade, Packard would have to broaden its market. He promoted Max Gilman, the tough-talking head of Packard's New York distributor, to general manager, and hired former GM executive George T. Christopher to oversee the development of a new, middle-class car, the One Twenty. The One Twenty, launched in January 1935, brought Packard within the reach of upper-middle-class buyers. It was hardly cheap, but it was priced to compete with Buick, handily undercutting both Cadillac's LaSalle "companion make" and the Lincoln Zephyr. It was followed less than 18 months later by a new Packard Six, the marque's first six-cylinder engine since 1928. Both the One Twenty and the Six were solid, high-quality cars, sharing the styling of the "senior" Packards on a slightly smaller scale. The "junior" Packards were a great success, making 1937 the company's best-ever sales year. Of the 87,000-odd cars Packard built for the 1937 model year, about 95% were Sixes and One Twenties. ![]() An Eleventh-Series (1934) Packard Twelve five-passenger coupe. It rides a 141.9-inch (3,604-mm) wheelbase, and it's powered by a 445 cu. in. (7.3 L) flathead V-12, with 160 gross horsepower (119 kW). Alvan Macauley assured the press, public, and stockholders that Packard had no intention of abandoning the prestige market, but Max Gilman, who became president in April 1939, had other ideas. Gilman and Christopher saw the senior cars as inefficient and outmoded. They were expensive and labor intensive to produce -- the Main Plant, where the senior models were built, had nearly as many workers as the newer plant that built the junior cars -- and their sales were very low. The Twelve hadn't topped 1,000 units a year since 1933, and the Super Eight's annual volume generally hovered below 3,000 units. The era of the great hand-built Classics was ending, in any case. Cadillac dropped its own V-12 and V-16s models in 1940, and many other high-end nameplates had already expired. The market for truly bespoke bodywork had all but vanished -- the new trend was to factory-built luxury cars with off-the-rack prices. Although Packard still cataloged a few "factory customs," carrying names like LeBaron and Rollston, most were little more than expensive trim packages, analogous to the "designer editions" that AMC and other manufacturers launched in the seventies. The slow-selling 12-cylinder cars were quietly dropped in 1939. When the Eighteenth Series bowed in 1940, the senior models were little more than stretched versions of the junior cars, differing mainly in interior appointments and hood length. Even their new designations -- One-Sixty and One-Eighty -- suggested their commonality with the middle-class One-Twenty and six-cylinder One-Ten. The result was higher volume, but a serious erosion of Packard's old-money reputation. ![]() ![]() Two Nineteenth-Series (1941) Packards: a six-cylinder One-Ten club coupe (top) and a One-Eighty Custom Super-8 LeBaron sedan. Other than the sidemounts, trim, and the substantial wheelbase stretch -- 138 inches (3,505 mm) for the One-Eighty, 122 inches (3,099 mm) for the One-Ten -- they look very much alike, although the One-Eighty cost about five times as much as its junior brother. SIDEBAR: Series and Model Years PACKARD STYLINGPlaying in the middle-class market demanded that Packard become more competitive in both engineering and styling. Previously, Packard's central imperatives were continuity and attention to detail, not innovation or fashion. The marque's typical customer was very conservative, and tended to react poorly to anything too new or too flash. Packard stylists had to walk a narrow line, updating the company's look just enough to stay current, without alienating existing buyers.
Until the early thirties, Packard hadn't had a styling section in any formal sense. "Body art," as styling was known internally, was the purview of engineers and draftsmen, who generally borrowed designs -- not always under license -- from independent coachbuilders. Ray Dietrich (of LeBaron and Murray) became a design consultant in 1926, but it was not until January 1932 that Packard established a real in-house styling department. Its director was Edward Macauley, the 32-year-old son of Alvan Macauley. ![]() A Fourteenth-Series (1936) Packard Twelve convertible coupe. From 1935 to 1936, Packard's V-12 was stroked to 473 cu. in. (7.8 L), making up to 180 gross horsepower (134 kW) with the optional high-compression heads. Production of the Twelve ended in August 1939. By the rather reactionary standards of Detroit society, Ed Macauley was a hell-raiser and something of a playboy. He loved jazz, was a fair trombone player, and was very fond of motorcycles and sports cars. He had no formal artistic training of any kind -- he had been kicked out of prep school, and never went to college -- but like Edsel Ford, he was a good critic and a decent administrator. Although his new position was the product of undisguised nepotism, Ed Macauley was almost universally liked by Packard's designers, engineers, and workers, who remembered him as a warm-hearted gentleman, almost totally without pretension. While Ed Macauley was the administrative and titular head of styling, the creative force behind Packard design was chief stylist Werner Gubitz, who had joined the company in 1927. Gubitz, a German immigrant three years older than his boss, was a shy, quiet man, who received little credit for his work until years after his retirement. His early designs were heavily influenced by Ray Dietrich, but Gubitz oversaw a careful and mostly graceful evolution of the Packard look throughout the 1930s. A Fourteenth-Series (1936) Packard One Twenty. In appearance, the One Twenty was essentially a slightly shrunken version of the senior Packards, riding a shorter, 120-inch (3,048-mm) wheelbase. It was the first Packard with independent front suspension, dubbed Safe-T-fleX, and hydraulic brakes, which were added to the senior lines in 1937. THE CLIPPERPackard's cautious approach to styling worked quite well until the arrival in 1938 of the Cadillac Sixty Special. Styled by Bill Mitchell, the Sixty Special was a high-priced fashion leader, with many design features that were considered quite radical at the time. Even some Cadillac executives feared it would be too far out for the brand's existing customers. Despite those reservations, the Sixty Special was a great commercial success, and it had a galvanic influence on the American luxury car market. It demonstrated that luxury car buyers were far more fashion conscious than most automakers had believed.
The Sixty Special evidently made Max Gilman very nervous, particularly because he and sales chief Bill Packer were aware that GM planned an even more radical new look for 1941. In late 1938, Packard management ordered Ed Macauley to launch a crash program to develop a rival for the Sixty Special.
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Although you focused on Packard's management along with the company's (mis)fortunes, there were always rumors of external forces that contributed to Packard's downfall. After WW2, the Big 3 seemed to gang up on the independents and there was some scuttlebutt regarding the sale of the mid-50's Packard tooling to the Russians. I don't know much detail and I'm curious if you had any insight.