#JMays

The tens of readers who follow my bleatings here on TTAC (Hi, Dad!) may recall my fondness for the Lincoln brand. Having spent my own hard-earned Canadian dollars on two of them, plus encouraging other family members to do the same, I would be lying if I said I’m not rooting for the brand to once again plant its feet firmly in the minds of its target demographic.

For me, the disarmament campaign started when Lincoln began abandoning real names in favor of an alphanumeric (minus the numeric) naming scheme. Turns out, after reading a revealing Automotive News interview with Lincoln’s marketing chief, I’m not the only one who disliked it.

“I think the British do a pretty good job — they seem to produce cars that look British,” Ford Motor Company’s retired design chief J Mays says.

Given that Minis essentially look the same as they’ve always looked, Mays makes a good case.

But Mays tells Automotive News he’s “a big stickler for cultural relevance.” And while the man whose influence can still be seen across much of the Ford lineup — he retired three years ago — credits the Brits for bringing culture to car design, he gives no such credit to the Germans.

A Brooks Stevens concept.

Aaron Cole’s post about automotive patent art gladdened my heart. Years ago, I decided to check out some of Les Paul and Leo Fender’s original patents on their electric guitars and I discovered the artistry of patent drawings. These days the United States Patent and Trademark Office, as well as patent offices around the world, accept digitally produced artwork. However, before the digital age, an inventor had to hire someone skilled at technical drawing to produce the various exploded and see-through sketches needed to describe the “preferred embodiment” of a process patent.

Of course the “inventor” of a design patent — a slightly different form of intellectual property that protects the design and look of a product — is more often than not, the actual designer.

Following up on Aaron’s post, I decided to put the names of some notable automotive designers into a patent search engine to see what I could find. My hypothesis was that in the case of a design patent, particularly for a car, the artwork for the patent application was likely to have been drawn by the designer. A patent is a big deal to any engineer or designer and he’d likely want to be the one responsible for representing his own idea best.

Three of Ford’s most senior and veteran executives are retiring, global design chief J Mays, North American manufacturing head Jim Tetreault and Martin Mulloy, who is in charge of labor relations. Mays’ replacement will be Moray Callum, design director for Ford’s North American operations. All three men had important roles in turning Ford around. Mulloy negotiated contracts with the UAW that were critical in reducing costs, while Tetreault had a big hand in reshaping Ford’s manufacturing strategy towards efficient and flexible factories. Mays has supervised the styling the cars and trucks that have helped turned Ford’s fortunes around, implementing Ford CEO Alan Mulally’s “One Ford” directive in a visual sense. He also had an important role the shape of the Jaguar XK and XF, developed while Ford owned that brand.

In remarks with the Detroit News’ Karl Henkel, J Mays, Ford’s chief stylist and a senior vice president of the automaker, acknowledged that the Dearborn automaker’s Lincoln brand has lost cachet as a luxury brand and that it will take years to turn the brand around.

“No, we’re not true luxury. We’re in an investment stage with Lincoln. We’ve probably got a 10-year investment to make.”

That split-grille that graces the front of the 2013 Lincoln MKZ? Don’t look for it on every single Lincoln product going forward.