Jaguar E-Type Coupé: A Look at Its Proportions Compared to the XK120

The impression I've been getting for a long time from digital and on-paper automotive sources is that the Jaguar E-Type (or XKE, as it's sometimes called) is a fabulous, classic design.  I'm a contrarian on that -- never fell in love with its styling.

I'll quickly add that I don't think E-Types are ugly.  They're pretty attractive, yet have a major flaw, in my opinion.  That flaw has to do with the car's proportions.  Back in 2014 I posted "E-Type Jaguar: The Hood is Half the Story, "  In a photo caption, I stated "I always thought the hood was too long, given the somewhat narrow width of the car.  From the cowl forward, the E-Type reminded me somewhat of a baguette or submarine sandwich."  Well, that last part was a bit cruel, but not necessarily wrong.

Part of my problem might be generational.  I'm old enough that I was conditioned by Jaguar XK120s: those were real postwar Jag sports cars.  So when the E-Type appeared, it didn't seem quite right.  Something to do with the long hood and tubular frontal shape.

Today's post attempts to consider this matter more analytically.  First, some numerical data.  Sources are Wikipedia entries on the Jaguar XK120 and E-Type, along with some Google AI-sourced numbers.

For the XK120, wheelbase 102 inches (2591 mm), length 173 inches (4394 mm), width 61.5 inches (1562 mm), height 52.5 inches (1334 mm).  And for the E-Type, wheelbase 96 inches (2438 mm), length 175.3 inches (4453 mm), width 65.25 inches (1222 mm), height 48.125 inches (1181 mm).

The ratios of length to wheelbase are, respectively, 1.7 and 1.83.  But note that the lengths are nearly the same, while the E's wheelbase is 6 inches (153 mm) shorter.  That mostly accounts for the ratio difference.  Otherwise, the E-Type is wider and less tall than the XK120.  And the former's wheel diameter is 15 inches (381 mm), one inch (25.4 mm) less than the latter's.

All that stated, let's now turn to some images.

Gallery

1951 Jaguar XK120 Fixed-Head Coupé - Bring a Trailer Auctions photo
Cars with structural passenger compartment greenhouses are usually less attractive than versions with retractible tops -- roadsters, cabriolets and such.  Such is the case here.  Not a beautiful, car but when viewed in person, an exciting one.  An interesting example of pre- World War 2 English sports car proportions and details combined with elements of postwar "envelope" body/fender integration.

1961 Jaguar E-Type Fixed-Head Coupé - BaT Auctions photo
Clearly a post-war design.  A good deal of attentions was focused on aerodynamic efficiency, given that its designer was Malcolm Sayer, an aerodynamicist, and not William Lyons, Jaguar's head, who normally dealt with styling.  The design was wider than the XK, its sides much more rounded.  The main body is low, making the greenhouse seem quite high and awkward from the perspective shown here.

1952 Jaguar XK120 Fixed-Head Coupé - Broad Arrow Auctions photo
Sides are flat starting shortly below the fenderline.  The lower edge of the body is closer to the ground than the E-Type's, creating a heavier appearance seen from the side.  Front overhang is minimal, thus having a shorter-seeming hood than the E's.  The profile has three major elements: the hood/front fender zone, the rounded greenhouse, and the curved trunk lid.  These break the side composition into three parts, unlike the E-Type's two elements: hood and greenhouse.

1961 Jaguar E-Type Fixed-Head Coupé - Broad Arrow Auctions photo
Based on measurements I made from this and three other profile images, the distance from the E's nose to the base of the windshield is about 44 percent of the car's length.  Similar measurements on XK120 photos yield a percentage of around 42.  At this point, I conclude that the E's lower body height and higher clearance, along with the rounded sides, create the effect of E-Types having noticeably long hood lines.  The shorter wheelbase, likely accounting for the front axle line seeming closer to the cowl, also might contribute to that visual effect.  Ditto the frontal taper seen in profile.

1961 Jaguar E-Type Fixed-Head Coupé - car-for-sale photo
As a footnote, the engine's position can be seen here.

Jaguar XK120 Fixed Head Coupé Walkaround

The Jaguar XK120 (Wikipedia entry here) is a classic sports car design.  It first appeared in 1948 as a roadster.  A Fixed Head Coupé (as the British put it) did not appear until the 1951 model year.

The coupé is interesting in that it carried over some of the spirit of the 1938 SS Jaguar 100 prototype coupé and the contemporary postwar Mark IV and Mark V saloons with their tight, even curved-down aft roof profiles.  In other words, a case of visual brand identification. 

The design is less pure than that of the roadster XK120s due to the added passenger greenhouse elements, but is still iconic of the marque and its times.

Featured car photos below are of a silver 1952 Jaguar Fixed Head Coupé are via Broad Arrow Auctions.

Gallery

Establishment view: note all the rounded shapes and profiles.

In contrast to the rounded hood, fender fronts and rears, greenhouse roof, trunk lid, etc., much of the sides are flat, vertical.

Side view: there is a lot of shaping activity where the top, windows, trunk and rear fender are near one another.

For some context, here is a 1951 Jaguar Fixed Head Coupé without the rear wheel opening cover (Gallery Aaldering photos).  That visual activity increases where fender skirts are absent.  Ordinarily, I prefer unskirted wheels, but skirts are better on XK120 FHCs.

The tucked down roof works well here, contrasting with the curves of the rear fender and trunk lid.

The fussiness noted above being exaggerated when rear wheels are exposed is more evident from this perspective.  Lots of visual activity in a small area.  Those flat sides create some contrast, possibly avoiding curvaceous overkill.

The rounder roof and small backlight window create an old-fashioned (1930s) appearance when seen from the rear.

I like the XK120 FHC design, but am curious how the car would look if  the lower window profile was straighter.  The window shape might possibly be a case of one curve too many.

Classic 1930s British front end elements are retained: good.

And the British wooden dashboard is a nice touch on a car that transitions from the 1930s to the 1950s.  But the steering column and steering wheel hub combination looks lethal.

Michelotti's 1952 Jaguars by Stabilimenti Farina

Customized Jaguars designed by professionals are far from unheard-of.  Even industrial designer Raymond Loewy, whose firm dealt with production Hupmobiles and Studebakers, got in that game.

An unusual case, today's subject, is a set of three Jaguars styled by the prolific Giovanni Michelotti (1921-1980, Wikiperia entry here). The carrozziera building the bodies was Stabilimeni Farina.

The work was done in 1952.  The three Jaguar designs were named "Meteor," "Golden Arrow" and "Flying Jaguar."  Here is some background from the carrozzieri-italiani.com site -- commentary from different pages:

"The Meteor was based on the Jaguar MK VII chassis, a luxury saloon platform that provided a solid foundation for Farina’s elegant and aerodynamic design.  Alongside the Meteor, Stabilimenti Farina also created two other exclusive Jaguar models: the Golden Arrow and the Flying Jaguar.  The Golden Arrow was essentially a convertible version of the Meteor, sharing the MK VII chassis but featuring an open-top design that gave it a more stylish and grand touring appeal.  The third model, the Flying Jaguar, was built on the Jaguar XK 120 chassis, a sports car platform known for its performance and agility."

"These bespoke cars were commissioned by the Brussels Jaguar dealer, who sought to combine Jaguar’s engineering excellence with Farina’s distinctive Italian design.  Today, all three cars; the Golden Arrow, Meteor, and Flying Jaguar; still exist, each a testament to the collaboration between Jaguar and Stabilimenti Farina."

Comparisons of the production and custom designs are below.

Gallery

1952 Jaguar "Golden Arrow" Cabriolet - photo via carrozzieri-italiani.com

1952 Jaguar "Meteor" Coupé - photo via carrozzieri-italiani.com
The customized Mark VIIs are identical aside from their tops, as would be the case if they were production models.

1952 Jaguar Mk VII Saloon - unknown photo source
Production Mk VIIs were sedans (saloons), so the cabriolet and coupé body styles on this platform were speculative, perhaps prospective supplements to the basic Mark VIIs sold by the Belgian dealer.

1952 Jaguar "Meteor" Coupé - photo via carrozzieri-italiani.com
Side view of the Coupé -- compare to the Mk VII below.

1952 Jaguar Mk VII Saloon - Bonhams Auction photo
The Jaguar design combines prewar, traditional English styling touches with postwar elements -- the flow-through fenders seen here.  Michelotti's design is classic 1950-vintage Italian, though built on a larger platform than usual.

1952 Jaguar "Meteor" Coupé - photo via carrozzieri-italiani.com
Simple shapes, subtly thought out.  The blue car in the background is a Bentley Continental, a contemporary.

1953 Jaguar Mk VII Saloon - Mecum Auctions photo
Again, the considerably different character of the production Jaguar.

1952 Jaguar "Flying Jaguar" Coupé - unknown photo source
Now for the "Flying Jaguar" based on the classic XK120.  Its design strongly echoes elements of the sedan-based customs.  For instance, compare the front ends.

1953 Jaguar XK120 Fixed-Head Coupé - Mecum
XK120 coupés first appeared in model year 1951, and this was the design Michelotti was commissioned to alter.

1952 Jaguar "Flying Jaguar" Coupé - photo via carrozzieri-italiani.com
Although proportions differ, the fenderline here closely resembles those on the sedan-based customs.  A noticeable difference is the placement of the side chrome strip.

1951 Jaguar XK120 Fixed-Head Coupé - car-for-sale photo
Despite -- because of? -- the passenger greenhouse, the XK120 seems to be a more interesting design than Michelotti's clean, classic Italian version.

1952 Jaguar "Flying Jaguar" Coupé - unknown photo source
Rear end closely matches that of the black coupé shown earlier.

1951 Jaguar XK120 Fixed-Head Coupé - RM Sotheby's Auctions photo
Yes, the Jag design looks pretty fussy when seen from this perspective.
An interesting feature of the Michelotti cars is that the designs are so similar, even though two platforms were used.  Was this a specification given to Michelotti?  Or did Michelotti decide to economize his workload by coming up with one theme to apply to all three cars?  I wonder if some documentation regarding this still exists.

1939/1940 BMW 328 Mille Miglia ‘Büegelfalte’ Fender Design

One aspect of the rapid evolution in automobile styling of the 1930s was shaping of fenders.  At the start of the decade, fenders typically were thin (in profile) and ogive-shaped, aft ends blending into running boards.  Then fender skirts appeared while fenders became more rounded in cross-section.  Profiles became teardrop-shaped.  Then some General Motors cars began featuring "suitcase" profiles.  Towards the end of the thirties aft ends of front fenders began creeping over front doors, while lurking in the background during the decade were "tank" bodies, where there weren't fenders at all -- wheel openings being cut into the body's sides.  These few cases mostly were racing cars.

By 1939 those creeping fenders finally touched forward edges of rear fenders in a few instances.  But not in "flow through" style as seen on American cars circa 1948-49.

Today's post features an attractive example: the rebodied 1937 BMW 328 Mille Miglia rennwagen -- racing roadster.  Some background is here:

"In autumn 1939, the car was dismantled at the BMW factory’s racing division in Milbertshofen before being extensively re-engineered and used as the basis for even more streamlined bodywork in preparation for the 1940 season and the Mille Miglia in particular.  To that end, BMW built both an aerodynamic coupé and this lightweight open roadster.

"Its design is credited to Wilhelm Kaiser, a very experienced member of BMW’s new design department, headed by chief stylist Wilhelm Meyerhuber.  A 1:10 scale model was tested in the wind tunnel of pioneering aerodynamicist Prof. Dr.-Ing. Wunibald Kamm, with a long, tapered tail that took advantage of the lowered engine and profile.

"The stunning bodywork was hand-formed by “Blasi” Huber in Ernst Loof’s racing department and made from a lightweight aluminium-magnesium alloy (Al MG 3-4) frequently used in high performance aircraft construction.  Aside from its low silhouette and flowing fenders, the prototype roadster’s fenders had a pronounced ridge along their tops. It resembled the crease in a pair of ironed trousers and gave the unique car the name it still carries today, Bügelfalte or “ironing crease.

"Its panels were formed over an armature of small diameter tubing, preceding the similar superleggera system patented by Carrozzeria Touring in Milan years later."

Note that Touring's Superleggera (super-light) construction was patented in 1936, according to this entry in Wikipedia.  That is why the BMW rennwagen coupe mentioned above, along with some Alfa Romeo racing coupes had bodywork by Touring.

Images of the 1939-1940 redesign are below, along with some photos providing an interesting twist to the story.

Gallery

1937/1940 BMW 328 Mille Miglia - RM Sotheby's Auctions photos
Very attractive.  Curvaceous, but not bloated, thanks to comparatively flat lower fender sides.  The two-segment BMW grille blends well.

Especially keep this image in mind because it shows the fender profiles.  Especially note the transition from front fender to rear.  The front fender and body seem to merge immediately in front of the rear fender.  There is a suggestion that the front fender has a small upwards curve at that point, but that might be an artifact of the curved door cutline.

Again, a very fine design with no obvious flaws.  Though the front and rear would be less pure if bumpers were added.

Overhead view highlighting those fender creases.

1939 Alfa Romeo 6C 2500 SS Cabriolet by Pinin Farina - Gooding Auctions photos
Mario Revelli, Conte di Beaumont has been credited with the design.  As best I can tell from limited Internet information, this design is slightly earlier than the BMW's.

Its fenders are almost identical with those on the BMW, allowance made for differing wheelbases.  There's even a slight flattening at the aft end of the front fender's curve.

The aft end is also similar to that of the BMW.  The main differences in the design are the grilles (less nice on the Alfa) and the cockpit zones.  The BMW was a racing car, the Alfa was a sports car, so seating and passenger requirements differed.

As mentioned, I am inclined to think that the Alfa Romeo was designed first, so its features were likely borrowed by the Germans.  And Revelli's long experience with aerodynamic design features makes the result consistent with his other work in the mid-late '30s.  That said, there remains the possibility of simultaneous invention due to the circumstances of the times, as in the apparent case of the Calculus by Isaac Newton  and Gottfried Leibniz.

1942 Buick 50 Super Convertible - Mecum Auctions photo
That kind of fender shape saw production on some of Buick's 1942 models, as shown here.

1949 Jaguar XK120 Roadster - unknown original photo source
A variation with a less-distinct rear fender is the classic XK120 Jaguar design.  Some other 1950-vintage sports cars had the fender concept discussed here.

Jaguar XK150 Walkaround

Back in 1957 when the new Jaguar XK150 (Wikipedia entry here) first appeared, I was graduating from high school.  Jaguar XK120s and XK140s were fairly common in the Seattle area in those days, so the appearance of the 150 was shocking to me: What on Earth happened to Jaguar?!?  From lean and mean, Jaguar sports cars were now ... tubby.

I seem to have mellowed a tiny bit over the succeeding decades.  In 2016 I posted "What Were They Thinking?: Jaguar XK150" and concluded, stating:

"From the perspective of nearly 60 after its announcement, the XK150 doesn't irk me as much as it did when new.  Much of that has to do with the fact that the 120 has also receded from view (they're seldom seen on streets and roads these days) dulling my sense of comparison.  That said, the 150 is not a good design. Bulky, with awkward detailing.  William Lyons surely abandoned his good taste with this one."

In 2019 I compared one aspect of Jaguar XK series designs in my post "Jaguar XK120 to 150 Fixed Head Coupe Evolution."

The present post features a walkaround of an XK150 Fixed Head Coupe, photos via Bonhams Auctions.

I'm avoiding comparisons with earlier XKs, attempting to evaluate the XK150 design in isolation (though that's not necessarily an easy task, given my youthful imprinting by the classic XK120).

Gallery

The frontal aspect is classical, working well with one exception.  Even though there are many rounded features on the lower body, I find the top windshield framing (and the roof behind it) slightly too curved.

The cowling seems too high.  Perhaps there were engineering reasons for that.  Otherwise, the hood could profitably been lowered and inch or two (25.4-50.8 mm).  And made less rounded, along with the lower windshield framing.

The fenderline seems to sag in the middle.  Its rear fender zone looks odd because its peak is well aft of the wheel opening.  Ideally, the high point should be aligned with the wheel's hub.  The door's aft cutline and related metal stamping structure made a rising curve starting at that point potentially a little awkward.  A rise beginning on the door would interfere with the door handle, so there was no easy solution given the existing front fender design.  Still, a differently centered rear fender profile is needed.

The backlight window is too wide because the C-pillar looks too narrow.

As noted, a flatter, less-curved roof would be an improvement.  There are too many curves, roundings, on this design.  A touch of contrast would improve things.

A flatter, somewhat more angular passenger compartment greenhouse could yield a wider C-pillar and a more squared-off after side window.  That, along with a lower, flatter hood would improve matters.  So would a more curvaceous fenderline.

But the frontal aspect could be retained.

Jaguar Type 00 Concept Car Design

This post is being drafted 4 December, two days after the formal unveiling of Jaguar's Type 00 battery-powered concept car design, and a week or so following release of a controversial video commercial hyping Jaguar management's attempted revitalization of the brand.  Plenty of Internet bytes and pixels have been spilled already regarding the ad and now the two concept cars.

The reaction seems mostly negative.  On the other hand, Caleb Miller's favorable Car and Driver take on the Type 00 includes the following:

"I figured when the rest of the world saw the car, people would start to get it.  Jaguar has been stagnant and flailing, as its attempts to compete with Mercedes-Benz and BMW in the more mainstream luxury market have failed.  Recent efforts like the F-type and the XF were pretty, but they weren't distinctive or special enough to move Mercedes and BMW customers away.  Survival required something completely fresh, and moving into more expensive and exclusive segments will allow Jaguar's designers to not worry about mass-market appeal."

"Jaguar is trying to capture younger, wealthier, and more style-focused buyers, with plans to establish stores in high-end luxury shopping districts in cities such as Paris and London.  A large part of the rebrand and reveal of the Type 00 is simply getting the brand reestablished in the minds of potential customers.  The Type 00 was designed to generate hype, and this is probably the most attention Jaguar has gotten in the U.S. in decades, and possibly ever.  On those fronts, the Type 00 succeeds.  It may not rival the E-type's elegance or beauty, but it makes a statement that Jaguar has a future and that the path forward will be a different one."

The production embodiment of Jaguar's new direction is said to be a sedan due to appear in 2026.  The extent to which the Type 00 coupes preview the production model is unknown to me at this time.

I'll discuss Type 00 styling in the Gallery below.  As for Jaguar management's thoughts and actions, I offer the following:

The need to do something dramatic to enhance brand presence and excite potential buyers seems clear to me.  However, the proposed move to a higher price range might well be mistaken, given the size of that market and the number of potentially competing car models currently available.  Is it wise for Jaguar to become another limited sales potential Aston Martin sporting brand?  Or maybe sedan (saloon) competition to well-established Bentley and Rolls-Royce?  Not to mention the rarified models offered by the likes of Mercedes and BMW.

Then there is the matter of Jaguar's bad timing.  When the repositioning was made manifest in program planning, engineering and styling -- probably around two years ago -- it was assumed that BEVs (battery-powered electric vehicles) were surely the wave of the future, thanks to actions by various governments.  But during 2024, market demand for BEVs drastically declined, approaching collapse in some places.  Carmakers investing heavily in BEVs now seem to be in serious potential or actual trouble.  Luxury BEVs  don't strike me as being Jaguar's survival lifeline.

Images below are via Jaguar.

Gallery

BEV designs don't have to be wind-tunnel tested for the American market.  That's because fuel economy is essentially irrelevant for a carmaker's BEV line.  That might explain the brick shape of the Type 00's lower body.  (However, aerodynamic efficiency would be a battery power usage consideration for potential buyers.)

For some reason (fashion?) many current production BEV designs are simpler, less-cluttered than those of typical gasoline-powered cars.  The latter are fuel-efficiency constrained and wind-tunnel tested.  So their basic shapes vary little across brands, and stylists are reduced to trying to distinctly decorate those standard shapes to provide brand identity.

The windshield is drastically sloped, in contrast to the car's blunt front end.  The passenger compartment greenhouse hints at some past Jaguar coupe designs.  Doors open by pivoting upwards.

I'm not sure why the backlight window seems to be blanked over.  Perhaps some high-tech touch is involved.  Or maybe it's an example of show-car visual jazz.

Little streamlining is evident in this overhead view.
I'm inclined to agree with the observers who state that Jaguar is abandoning almost all of its historic market base, and that creating a new, profitable clientele might well be impossible.  Maybe they (1) might have gone slightly downmarket with flashier styling, while (2) building a V-16 line with flashy styling for the big spenders

Jaguar's Postwar Saloon Redesign: The Mark V

Jaguar's Mark V (1948-1951) was the company's first redesigned postwar car (along with the XK120 sports car also introduced in 1948, but not initialy planned for mass production).  It succeeded the retroactively named Mark IV that was a pre-World War 2 design.

Following the Mark V came the Mark VII (1950-1956) that had more appropriate postwar styling features.  As for the Mark V, its design was largely a cleaned-up, slightly better integrated, slightly bulkier version of the Mark IV.  This was when most carmakers were rapidly following the trend to integrated "envelope" type bodies.

Why was Jaguar such a laggard?  I can only speculate.  Perhaps it was something "in the air" of the British automobile industry at the time.  A rough rule was that brands closer to entry-level were first to modernize styling and upper-end cars featured more traditional designs for their postwar restylings.  Jaguar had the reputation of providing good value for prices, but its cars were aligned much closer to the high end of the price-prestige continuum than the low end, so it falls into this conservative design category.  As noted, the Mark VII brought Jaguar more into line with postwar trends.

I previously wrote about Mark IV and Mark V Jaguars in my post "Jaguar's Tucked-in Aft Roof Line" here.  Today, I compare overall appearance of saloons (sedans) of both marks.

Gallery

1947 Jaguar Mark IV 3 1/2 Litre Saloon - HandH Auctions photo
First, general views of each design.

1949 Jaguar Mark V 3.5-Litre Saloon - Bonhams Auctions photo
The Mark V seems larger, but their wheelbases are the same: 120-inches (3048 mm).

1948 Jaguar Mark IV 3 1/2 Litre Saloon - car-for-sale photo
Front quarter view.  Mark IVs seem less spindly than, say, mid-1930s British cars.

1950 Jaguar Mark V 2.5-Litre Saloon - Hyman, Ltd. photo
But the Mark Vs look more massive, in part because they were wider -- 69.5-inches (1765 mm) -- than Mark IVs' 65.5-inches (1660 mm).  Grilles are similar, and so are the hoods (bonnets), though the Mark Vs is less horizontal in profile.  Headlights are smaller and partly blended into the fenders.

1949 Jaguar Mark IV 2 1/2 Litre Sports Saloon - car-for sale photo
Presumably a late-1948 model.  The trunk (boot) is large and integrated into the body -- again, unlike many mid-1930s British designs.

1950 Jaguar Mark V 3.5-Litre Saloon - car-for-sale photo
Rear end styling is essentially the same.

1948 Jaguar Mark IV 3 1/2 Litre Saloon - Bring a Trailer Auctions photo
Doors are aft-hinged "suicide" types.  The B-pillar is substantial.

1950 Jaguar Mark V 3.5-Litre Saloon - car-for-sale photo
Rear passenger doors are hinged on the B-pillars.  The passenger compartment greenhouse is reshaped -- greater windshield slant, thinner roof, thinner A- and B-pillars, and a more curved profile.  The beltline falls off to the rear more strongly.  Fenderlines are similar.  No louvres on the side of the hood, making for a cleaner appearance.