Tag: car advertising

Auto Museums

Ask the Man Who Owns One

Posted on by Chris Lezotte

Last week I made a trip to Dayton, Ohio to visit America’s Packard Museum. Housed in a former Packard dealership, the museum claims to have the largest collection of Packard autos and memorabilia in the world. The Packard Car Company which the Dayton museum celebrates originated in Detroit; the Packard Automotive Plant, now under demolition, was a massive structure that occupied 38 acres in the downtown area. Packard was known for its production of luxury automobiles; owning a Packard was a visible sign that one had ‘made it.’ The first Packard automobiles were produced in 1899; the last came off the line in South Bend, Indiana in 1958. 

The mission of the APM is “to educate present and future generations about the Packard Motor Car Company, its products, and philosophies.” The museum is one I would consider ‘old style;’ there is little tech and the display cards appear to be somewhat old. However, like many other automotive museums, the placards include a couple of short historical “bites” that place the automobile in a particular time and place. Glass cases containing women’s fashion pieces also serve as a period reference.

Despite its somewhat old fashioned exhibition style, the museum has made some attempt to include representations of women. This is accomplished primarily through stories on placards, as well as hood ornaments, unidentified photographs, and promotional materials.

The Packard hood ornament is perhaps the most visible female representation. Hood ornaments, sometimes referred to as motor “mascots,” were used to identify an automotive brand and differentiate it from others. Hood ornaments on Rolls Royce and Packard models, for example, often served as symbols of luxury. Packard featured three distinct hood ornaments on its vehicles – the cormorant [a flying bird], Adonis [representing youth and beauty], and Nike, the Winged Goddess of Victory. In Mascots in Motion, Steve Purdy writes, “Packard’s goddess of speed mascot, created by Joseph E. Corker and patented in 1927, is based on a sculpture of Nike in the ancient city of Ephesus. Colloquially the ‘Donut Chaser,’ she first adorned 1926 cars. […] Designer Corker replaced her laurel wreath with a wire wheel. […] In Greek lore the laurel wreath was given to the victor of a competition or conflict.”

Packard advertising frequently featured women as a means to associate the automobile with luxury, status, and class. An ad for the Dietrich Convertible Sedan reads, “Cultured women instinctively recognize and appreciate fine work – whether it be the decorator’s, the modiste’s, or the motor car designer’s.” The entire ad equates women’s “good taste and discrimination” to the Packard’s reputation as a car of good quality and distinction. Although the Packard theme line reads, ‘Ask the Man Who Owns One,” women were often called upon to express the finer qualities of the automobile. Promotional material often incorporate women to demonstrate the automobile’s distinctive features, particularly those assumed important to female Packard drivers. As a beautifully illustrated Packard brochure states, “handy space is provided for Milady’s accessories.” There are also a number of photographs in the museum that feature women behind the wheel – while many are unidentified, famous women in Packards also make an appearance.

There are a number of cars on display with women-centered stories. The 1934 Super Eight Sport Phaeton on the showroom floor – in the unique shade of “Orello” (a combination of orange and yellow) was originally purchased as a birthday gift for the daughter of Herbert and Agnes Greer. Apparently the 16-year-old “hated the color” so it is not known how much she actually drove the automobile. Another interesting story is that of a 1934 Super Eight Club Sedan owned by Mrs. Maude Gamble Nippert, the daughter of the inventor of Ivory Soap. She always drove the car herself, and as a firm believer in the hereafter, stipulated upon her death that the car was to be regularly maintained to be ready for her return. Each of these car stories are important reminders that the automobile often held a special place in a woman’s life, whether as an object of opposition or devotion.

As I made my way through the exhibits, searching for female images in printed material and photographs, I was reminded how auto museums have the ability to incorporate women into automotive history if they look beyond the male-defined definitions of what is significant. I’m not sure what leads to the absence of female representation – is it a lack of relevant donations or is it because both donors and archivists have limited notions of exactly what constitutes women’s automotive history? But I am encouraged that museums such as the Packard have taken the first step in expanding the idea of what automotive history is, through the incorporation of women’s stories, influences, and contributions as part of the company’s automotive heritage. 

Auto Museums

A Trip to South Bend

Posted on by Chris Lezotte

I took a trip to South Bend, Indiana this past weekend to visit the Studebaker Museum. The museum is part of a larger complex which includes The History Museum, an institution dedicated to preserving the region’s heritage through exhibits and educational programs. The Studebaker Museum’s mission also focuses on the region, as it shares the story of the automotive and industrial history of South Bend and the greater area ‘through the display and interpretation of Studebaker vehicles along with related industrial artifacts.’ The museum not only features an impressive display of Studebaker vehicles, but special exhibits call attention to other aspects of automotive manufacture and culture. My visit to the museum was planned around one of these exhibits – the ‘Family Hauler’ display featured a collection of station wagons from a wide variety of automotive manufacturers. Center stage was a 1957 Chevy Nomad, one of my personal favorites [particularly since we have a 1956 model stored in our classic car garage].

Although the focus of the museum is on a specific area and the automobile it produced, it appeared that a conscious effort had been made to include the influence of women in the Studebaker industry and automotive culture. This was achieved primarily in four areas: women as automotive workers, women as icons of style, women as Studebaker drivers, and women as members of charitable organizations with industry affiliations.

The women who worked at Studebaker were featured in photographs and interactive displays throughout the two-story museum. Photos of female factory workers in the 1920s revealed that although women were valued employees, they worked in a gender-segregated environment. Although other museums often feature photos of factory men and women working side-by-side, I suspect that wasn’t a common practice in any automotive workplace during the years [1897-1966] of Studebaker production. The museum also features a number of photos of women employed in clerical positions. As the caption to a 1952 photo of a female clerical worker reads, ‘many people who worked at Studebaker did not build vehicles. The company employed hundreds of clerical workers, like this woman processing production orders.’ Another display focuses on sisters Elizabeth Hahn Mast and Rosa Hahn who worked as administrative assistants, and, as the caption reads, ‘connected to the company in many ways including many that extended outside of their offices.’ Exhibits that featured women as union members were also in evidence.

Notable in the category of Studebaker workers was a display featuring Helen Dryden, an artist and industrial designer who lent her talent to automotive interior and instrument panels design. An advertisement for the 1936 Studebaker President reads, ‘In its singularly beautiful, lavishly roomy interior, the genius of that famed industrial designer, the gifted Helen Dryden, has been expressed in fine fabric, beautifully tailored, and in fittings of advance motif that are of impeccable good taste.’ The mention of Helen Dryden by name – as a female in the masculine auto industry – was certainly unusual for automotive advertising of the time.

Promotional materials for higher end vehicles often feature women to lend an aura of style and class; those included in the Studebaker were no exception. And like many other museums, there are female mannequins throughout the museum adorned in the fashion of the day, to place the vehicles in a particular era as well as to suggest the type of woman who would be associated with a Studebaker automobile. Women were prominently featured in advertising for the Studebaker Lark, a compact car produced from 1959 – 1966. Although the ads didn’t specifically refer to the automobile as a ‘women’s car,’ the vehicle’s smaller size and lower price point suggested it was an appropriate vehicle for the woman behind the wheel.

There are also many photographs of driving women, most unidentified, on the museum walls and in display cases, suggesting that the Studebaker was enjoyed and appreciated by men and women alike.

There are also a number of items that refer to the Mary Ann Club, which was a social organization for the women who worked in the Administration Building. As noted in the literature, the Mary Ann Club ‘became one of South Bend’s most prominent charitable organizations.’

The special Family Hauler exhibit featured a number of advertisements from multiple car manufacturers; most featured women as the primary drivers. This conflation of women with the ‘family vehicle’ became solidified during this era; it was picked up by minivan and SUV manufacturers in subsequent decades to describe the perfect vehicle for ‘soccer moms.’

Other references to women include Studebaker women with influence, goddesses in the form of hood ornaments, and stories featuring female Studebaker owners. Encouraging signs included an interactive display narrated by the female programs and outreach manager, as well as a special section in the gift shop devoted to women and automobiles.

I found my visit to the Studebaker Museum to be both educational and enjoyable. In the context of my current project on the representation of women, the Studebaker Museum demonstrates how – through small additions and attention to female contributions – women can, in fact, be incorporated into the history of the automobile.

Auto Museums

Women’s Representation in Automotive Museums – Part 2

Posted on by Chris Lezotte

As someone who has been immersed in car culture from a young age, I have visited a fair number of automotive museums. However as I became increasingly focused on the women-car relationship in my research, my car museum experiences became more analytical, particularly when considered through the lens of gender. As I made my way through the rows and rows of automobiles, and numerous historical displays that poured accolades on the great white men of the automotive industry, I continually asked myself, ‘where are the women?’ This question served as the impetus for my current project: an examination of women’s representation in museums devoted to the automobile.

Women as symbols of safety – Sloan Museum of Discovery

Women are almost absent from the motoring story presented in museums. As Jennifer Clark writes, ‘the motor vehicle is still seen as an object of male interest and is mostly displayed with that perspective foremost’ (286). Yet the reason for this absence is not due to lack of female automotive participation but rather the value placed on women’s automotive roles by male automotive institutions. Women’s relationship with cars, and female participation in car culture, differs considerably from that of men. Because of that difference, women’s engagement with cars – more social than technical – is regarded as less worthy of attention by the male museum establishment. As Clark argues, ‘women need to be rediscovered in the motoring story – and with them, the stories of families, holidays, personal independence, social and economic change’ (286). The themes I developed in this project draw attention to the numerous and varied roles women have occupied throughout automotive history. While I considered both the exceptional and famous women in a previous blog, there are other roles that emerged from my examination of a dozen museums that are of equal, if not greater, significance.

Patti’s Met – Antique Automobile Club of America Museum

Storytellers

The automobiles which line the halls of car museums are often accompanied by placards that provide information on the model, year, and the donor. Often these cards are accompanied by a bit of history regarding the individual who owned the car and how the vehicle arrived at the museum. While the number of cars donated by women is small, the stories they tell reveal women’s relationships, driving histories, and love of automobiles. A 1940 Mercury on display at the AACA museum was donated by the owner’s daughter, who wrote, ‘This car is special to me because it was part of my father’s collection that he loved so much.’ A Berkshire Green and white 1961 Nash was a surprise Christmas present for a woman who had expressed admiration for Metropolitans while at a car show. The restored vehicle sports a front license plate with the words ‘Patti’s Met.’ A bright blue 1950 Nash Statesman Super Airflyte at the Wisconsin museum was purchased by a woman with the goal of learning to drive. Despite the woman’s good intentions, however, that never came to pass; the car sits on the museum floor with just 61 original miles.

While narratives regarding men and their machines are commonplace, the stories that accompany vehicles call attention to the hidden relationships forged between women and their cars. Whether a connection to an absent parent, fulfillment of a lifelong dream, or a project of good intentions, the origin stories suggest there is are histories of women’s automotive interest and love for cars worth investigating.

Symbols

Promotional postcard – Wisconsin Automotive Museum

Much of women’s presence in automotive museums is found in advertising and promotional materials. Luxury brands in particular often relied on female imagery to lend sophistication, glamor, and elegance to their automobiles. Using female imagery to sell automobiles is a long standing practice; as evidenced by museum materials such selling tactics began as soon as women took the wheel. Women in early automotive advertising were also called upon to demonstrate qualities of the automobile believed to be important to the female driver, especially cleanliness, quiet, safety, and ease of operation. The Wisconsin Automotive Museum includes a selection of postcards that conflate female characteristics with the 1913 Kissel. Accompanying photos of winsome women employ headlines such as  ‘They are good to look at’ to entice potential Kissel buyers.

The museums also call upon larger than life photographs of women as backdrops to the automobiles on display. These images are often accompanied by mannequins costumed in the latest fashion. Such imagery not only provides a historical context for the vehicle, but also equates the physical automobile with a certain level of success and class.

Women as symbols – Gilmore Car Museum

Stereotypes

Stereotypes of the woman driver have existed since women first got behind the wheel of the automobile. Not only has women’s driving behavior served as a source of criticism and humor, but women have also been sexualized as a means to sell product. Items in the museums often reflect the stereotypical ways women have been portrayed throughout automotive history. This is most evident in advertising, where women – due to their presumed lack of automotive acumen – are called upon to promote easy-to-operate vehicles, directed toward family rather than performance cars [because women’s place is in the home], and have bodies called upon as promotional tools. Women driver stereotypes, as it turns outs, are also reflected in the naming of particular automotive features. One of the more interesting options on some of the early Fords was the ‘mother-in-law’ seat, a fold-down, single-person rumble seat in the rear. The commonly used term for this feature no doubt reflects some of the ‘back seat driver’ stereotypes of the time. Such automotive features were also a part of museum tours. For example, according to a [male] guide at the Piquette Plant, women were attracted to the 1907 Model R Runabout for its extensive ‘bling’; to the 1911 Brush Runabout for its easy ride and affordability; and the electric car for its high roof [to accommodate women’s hats], and its extensive use of glass [so that women could be ‘seen’]. While the majority of museum references to women were positive, the negative representations demonstrate that stereotypes regarding women and cars have, and continue, to exist.

Mother-in-law seat – Ford Piquette Avenue Plant Museum

While these categories offer new ways to consider women’s role in automotive history, they are only a few of the many I was able to discern from the ‘almost absent’ museum artifacts. What these and other roles suggest is that women’s contributions to automotive history and car culture are greater and more varied than previously imagined.  

Clark, Jennifer. ‘Peopling the Public History of Motoring: Men, Machines, and Museums.’ Curator The Museum Journal Vol 56 Number 2, April 2013, 279-287.

Car CultureWomen & Car Advertising

Cars & Football

Posted on by Chris Lezotte

The Super Bowl, as argued by scholars and pundits alike, has long been considered an idealized representation of American masculinity. Since the first Super Bowl contest of 1969, football fans across the US have gathered around TV sets to join in a celebration of men engaged what has been described as “professional warfare” on the playing field. As noted by gender scholar Jan Huebenthal in 2013, as the ultimate football contest, the Super Bowl “celebrates physical violence committed by hypermasculine players against their opponents” (6). Not only is masculinity on stage in the game itself, argues Huebenthal, but is reinforced in the commercials that fill in the gaps in Super Bowl coverage.

1969 Goodyear ad

From its very beginning, the gas-powered automobile was constructed as masculine. As Michael Berger writes, “everything about the car seemed masculine, from the coordination and strength required to operate it, to the dirt and grease connected with its maintenance” (257). This association has been reflected in the types of cars historically marketed to male drivers, as well as the “natural” driving behaviors attributed to the man behind the wheel. Vehicles with descriptors such as powerful, rugged, durable, and tough were considered appropriate choices for men. And, as Clay McShane argues, in order to establish automobility as a male activity, men quickly claimed the emotional traits necessary for driving – “steady nerves, aggression, and rationality” – as masculine (156). The construction of the automobile as a symbol of masculinity has, not surprisingly, been reflected in car advertising over the past few decades.

The early Super Bowl telecasts featured commercials from automobile advertisers who, as Smithsonian journalist Jackie Mansky notes, were “playing for the men in the room.” The 1970 contest featured a spot for the Pontiac GTO – long considered the ultimate muscle car. In 1975, a teenager’s souped up Plymouth Barracuda – the first pony car – was called upon to appeal to the young male market. Fandom scholar Danielle Sarver Coombs argues that as the Super Bowl reflected the culture of the time, so did its ads. “For a hyper masculine sport like football,” Coombs explains, “hyper masculine-focused advertising followed in turn.” And as she pointed out, football commercials “continue to cater to the male market despite a documented shift in the demographic tuning in” (qtd. in Mansky).

Kia EV9: “Perfect 10”

The car commercials that aired at the 2024 Super Bowl – although still directed primarily to the male audience – were decidedly less “macho” and testosterone-driven than many from the past. Auto commercials from the early years were often offensive to women; as Mansky recalls, a 1969 commercial for Goodyear Tire featured a woman in distress with the tagline, “when there’s no man around, Goodyear should be.” However, the car ads that aired during Super Bowl LVIII, although not directly directed toward female viewers, displayed a more twenty-first century sensibility. The commercials presented men both sensitively and humorously; they addressed automobiles through a nostalgic and cultural rather than gendered lens.

Toyota Tacoma: “Dareful Handle”

The Kia commercial featured a dad who drives his ice-skating daughter through perilous weather conditions to perform for her grandpa in a backyard pond; Volkswagen connected moments in cultural history – including a nod to the rulings extending gay marriage rights – to combine, as Ted Nudd of Ad Age notes, a “sweeping legacy statement with a product tease in an uplifting way.” Even ads that that relied on longstanding male troupes poked fun at male driving behavior. The commercial featuring the Toyota Tacoma pickup calls upon humor to demonstrate the vehicle’s role as an off-road adventure machine, focusing on the passenger side grab bar – referred to as the “shut the front door” or “whoa whoa whoa” handle. As Hagerty’s Peek and Petroelje write, “as the camera jumps from one frightened passenger to the next, we’re shown an orange Tacoma kickin’ up dust while doing donuts and other herky-jerky maneuvers at high speed.” The spot created for the Kawasaki Ridge ties the farcical mullet hairstyle – “business in the front, party in the back,” to the powerful front engine and rear towing ability of the of the sport side-by-side. This change in advertising attitude could certainly be attributed to the increase in female watchers; while driven somewhat by the “Taylor Swift effect,” girls and women accounted for 47.5% of the Super Bowl audience (Crupi). But it also suggests that automakers recognized that women would be watching, and geared their commercials to be funny or heart-warming and appealing to all rather than just the male audience.

Kawasaki Ridge: “Mullets”

As someone who has a passing interest in football but considerable enthusiasm for cars and commercials, I found this year’s Super Bowl automotive advertising offerings to be imaginative, entertaining, and surprisingly accessible to an expanded audience. Thank you Taylor Swift, and to the automotive advertisers who recognized that women like cars, too.

Berger, Michael. “Women Drivers!: The Emergence of Folklore and Stereotypic Opinions Concerning Feminine Automotive Behavior.” Women’s Studies International Forum 9.3 (1986): 257-263.

Crupi, Anthony. “Taylor Swift Effect Kicks in for Super Bowl as Female Demos Soar.” Sportico.com 16 Feb 2024.

Huebenthal, Jan. “Quick! Do Something Manly!”: The Super Bowl as an American Spectacle of Hegemonic Masculinity, Violence, and Nationalism.” W & M Scholar Works, 2013.

Mansky, Jackie. “What the Earliest Super Bowl Commercials Tell Us About the Super Bowl.” Smithsonianmag.com 31 Jan 2019.

McShane, Clay. Down the Asphalt Path: The Automobile and the American City. New York: Columbia University Press, 1994.

Peek, Jake & Nathan Petroelge. “2024 Super Bowl Car Ads: Touchdowns, Field Goals, and Penalties.” Hagerty.com 12 Feb 2024.

Rudd, Tim. “Super Bowl 2024 Ad Review – The Best and the Worst.” AdAge.com 11 Feb 2024.

Auto MuseumsCar Chicks

The Cars of Amelia Earhart

Posted on by Chris Lezotte

In early September, 2023 Amelia Earhart was once again in the news. However, it had nothing to do with her flying prowess or her unsolved disappearance over the Atlantic in 1937. Rather, it had to do with a certain 1937 Cord 812 Phaeton convertible that was owned by Earhart, lost, rediscovered, and put on display for a week during the annual ‘Cars at the Capital’ exhibition in Washington DC. As it turns out, while Earhart is known for her way around an airplane, she was also an avid enthusiast of exceptional automobiles. 

The unique Palm Beach Tan Cord convertible that made its way to the National Mall is just one of the many automobiles connected to the celebrated pilot. It became famous in a 1936 photograph, parked in front of Earhart’s Lockheed 10E Electra, the airplane she would take on her final flight. The Phaeton was produced by the Cord Automobile division of the Auburn Automobile Company and introduced at the 1935 New York Auto Show to great acclaim. It has been suggested that Earhart was drawn to the Phaeton not only for its style, luxury, streamlined airplane design, and innovative engineering, but also for its impressive performance capabilities. Earhart’s desire for adventure, not to mention her love of power and speed, was reflected in her many transportation choices.

I first learned of the 1937 Cord while visiting the Auburn Cord Duesenberg Museum in Auburn, Indiana. While the museum does not have a 1937 Phaeton on display, the famous photo of Earhart and the car is part of a video exhibit assembled to honor the marketing genius and business savvy of company founder Ernest Lobban [E.L] Cord. Although Earhart’s cars are absent, there are other references to the pilot in the ACDM. Information accompanying a 1932 Auburn 12-160A Coupe in the museum places the vehicle into context – ‘this year in history’ – by citing Earhart’s solo nonstop flight across the Atlantic Ocean. As I discovered during my recent visits to automotive museums throughout the Midwest, Earhart’s fame, as well as her fascination with cars, is often summoned to bring attention to a particular automotive manufacturer or model as well as to invoke a significant moment or event in automotive history.

The Wisconsin Automotive Museum in Hartford, Wisconsin, includes newspaper clippings of the famous aviator driving a Kissel Gold Bug Speedster, which Earhart often referred to as the ‘Yellow Peril.’ Legend has it that, finding the idea of a cross country train trip boring, Earhart purchased the car to travel from California to Boston with her mother in tow. The yellow car was no doubt an attention-getter as Earhart made her way across the country collecting tourist stickers and enthusiastic fans along the way. As Earhart remarked, ‘the fact that my roadster was a cheerful canary color may have caused some excitement’ (Forney). The Kissel Kar Company, a manufacturer of cars and trucks from 1906-1931, was founded in Wisconsin; the Kissel family was instrumental in the development and maintenance of the museum. While the original car is located in the Forney Museum of Transportation in Denver, Colorado, the Wisconsin Museum does have a similar vehicle on display. The Gold Bug was a popular choice among celebrities of the time. As a Wisconsin-based manufacturer, Kissel made use of the connections to famous individuals, including Amelia Earhart, to bring attention to its line of popular sports vehicles. 

Photo: Detroit Public Library Digital Collection

The Ypsilanti Automotive Heritage Museum in Ypsilanti, Michigan, and the Stahls Automotive Collection in New Baltimore, Michigan each exhibit promotional material focused on Earhart’s connection to the Hudson Motor Car Company’s aviation-themed Terraplane brand. The Detroit auto manufacturer called upon Earhart’s celebrity and aviation know-how to introduce its latest offering in 1932. The news articles featured at both museums show Earhart at the Hudson plant christening the first Terraplane off the assembly line with a bottle of champagne. Earhart’s association with the Hudson Terraplane continued for the life of the brand; photos of Earhart with various models appeared in a variety of publicity releases, often accompanied by Terraplane’s tagline: ‘On the sea that’s aquaplaning, in the air that’s aeroplaning, but on the land, in the traffic, on the hills, hot diggity dog, that’s Terraplanning!’ The Ypsilanti museum features a Hudson Terraplane in its exhibit; Stahl’s does not, suggesting that the mention of Earhart in association with an automobile is often reason enough for the aviation pioneer’s inclusion.

Earhart was also called upon to promote the Autoped, a lightweight vehicle marketed as fitting the needs of women while offering them a taste of freedom. Promotional materials included the claim that Earhart often relied upon her Autoped for commuting and working.

The inclusion of Amelia Earhart in museums devoted to the automobile, with or without a vehicle, suggests a number of things. First, it recognizes the importance of celebrity – particularly a high-profile individual with a recognized automotive interest – in automotive advertising and marketing. However, I also believe that, due to the overwhelming male domination of the auto industry since its inception, any connection to women in relation to the automobile is worth considering. The majority of auto museums I have visited appeared to have made a conscious effort to represent women in the exhibits, even when that connection is somewhat tenuous. However, while the incorporation of high-profile women such as Earhart in museums devoted to the automobile is admirable, I believe the inclusion of ordinary women, as important automotive consumers, drivers, and influencers, needs to be considered as well.

Car CultureWomen & Car Advertising

What Women Drive

Posted on by Chris Lezotte

A recent posting on Curbside Classic featured a 1988 Suzuki Samurai advertisement with the quizzical headline: ‘What Young Urban Women Aspired to in 1988?’ The ad features a 30-something woman behind the wheel of the aforementioned vehicle accompanied by a female companion. The women are looking happily out of their respective windows while driving down a charming urban thoroughfare. Without much copy to ponder, the posting was open to comments from interested CC readers. What is interesting in the responses is how often the readers’ experiences support the unspoken premise of the ad. As one responder noted, ‘my mom had one of these. […] there was something about that vehicle that truly appealed to her. Part of it was the size. After 16 years of pretty much exclusively driving the fuselage Chrysler wagon, I think getting back into something small really had its appeal to her.’ Another remarked, ‘I couldn’t understand why she wanted a car that didn’t have a real back seat, which made doing things like picking me up at the airport or carrying anything substantial pretty much out of the question. Now I think maybe that was the whole point for her.’ 

In order to understand the significance of this advertisement, and the comments it generated, it helps to revisit the automotive advertising to women that preceded it. After World War II, when women were expected to leave their wartime factory jobs to create comfortable lives for husbands in the suburbs, marketing to the female consumer was focused primarily on suitable ‘family’ vehicles. In the 1950s and early 1960s, this mode of transportation was the station wagon. Advertising for these automobiles often featured idyllic scenes of mother and [many] children engaging in dad-less family activities around the car, as well as busy mothers with growing families for whom roominess in a vehicle was an obvious necessity.

In the 1960s and early 70s, the station wagon was replaced by the hatchback, which was, as one advertiser claimed, ‘the car designed around a shopping bag.’ In the mid 1980s the world was introduced to the minivan, which as the perfect vehicle for carrying kids and cargo, was unofficially dubbed the ‘soccer mom’ car. Minivan advertising featured moms with kids and groceries and bikes and sporting equipment, all which reinforced the association of family vehicles with the woman behind the wheel.

Yet before the minivan morphed into the ubiquitous SUV, a few automotive advertisers – primarily of import vehicles – suggested [gasp!] that the female consumer could be someone other than a mom. The late 1980s/early 90s Subaru campaign reflected this sentiment. As the commenters noted, the Samurai lacked a back seat, which meant there was no room for kids. And its sporty appearance suggested the possibility of adventure outside of playdates, t-ball games, and the banality of suburban neighborhoods. While the women pictured in family car advertising appear content, those in the Suzuki campaign seem downright ecstatic. Other ads in the campaign emphasize the vehicle’s ‘fun-ness’ and remark on its multiple identities as sporty, outdoorsy, and rugged. As the polar opposite of the ‘mom’ car, Suzuki advertising promised an exciting, adventurous, and well-deserved getaway for married and single women alike. Noted a Curbside Classic commenter, ‘I had a female co-worker who had a Samurai – it served as both her nice day-in-the-summer and her winter weather car. Interesting little fleet for a woman in her 20s.’

Auto IndustryCar ChicksWomen & Car Advertising

Volvo, Women, & Cars

Posted on by Chris Lezotte

I’ve been writing about the relationship between women in cars since first discovering the topic in graduate school nearly 15 years ago. Since that time I’ve addressed the woman-car connection in a variety of contexts. Some of my work focuses on women who participate in car cultures associated with the male driver, including muscle cars, pickup trucks, chick cars, and motorsports. Other projects speak to the representation of women’s connection to cars in popular culture locations such as film, music, and children’s toys. While literature on women’s automotive history and participation has increased since I first embarked on the topic, it tends to fall into two camps. The first is a critique of how auto manufacturers and marketers have traditionally erected obstacles to women’s full engagement with automobiles, and the second is the focus on exceptional women in automotive – women who have successfully challenged barriers to become successful in venues such the auto industry and motorsports.

Chick Car project

In my own work, I have focused primarily on ordinary women – in popular culture as well as real life – in order to uncover the complicated, productive, positive, as well as empowering aspects of women’s relationship to cars. In each of these contexts, I attempt to reveal the potential of the automobile to enrich women’s lives. Although I often address the barriers to women’s participation in various car cultures, the major focus is on how women successfully negotiate membership in male dominated automotive spaces not to become famous, but rather to become stronger, more confident, and more powerful versions of themselves. In popular culture settings, I try to examine how cars hold special meanings for women that differ from those found in dominant male narratives. My goal in each of these projects is to give the woman driver a voice that has historically been silenced. 

Girl Gang Garage – credit Volvo

During this past week I came across an article in Advertising Age developed from an interview with Janique Helson, head of brand marketing at Volvo Car USA. As the article points out, Helson ‘has made combatting sexism in the automotive industry a tenant of Volvo’s marketing strategy.’ One of the ways this has been accomplished is through the unique female-friendly messaging that has made its way into Volvo advertising and promotional material since Helson took the helm in 2020. Some of these efforts include creating safety messaging that is more emotional, making a connection between feeling safe to the ability to endure challenges. Another is a collaboration with Girl Gang Garage as a means to ‘elevate, encourage, and champion women’s entry and advancement within the automotive and skilled trade industries.’ However, what was most interesting to me was a video created by Volvo last year for International Women’s Day. The recording features snippets of conversations with 26 female Volvo owners discussing the connections they have with their cars. The diverse group of women talk about the car’s ability to strengthen relationship with family members; the pride in owning something so strong and beautiful, how the car contributes to a woman’s personality and identity; how owning a Volvo can lead to a safer and cleaner environment for future generations; the ‘specialness’ of driving a vintage Volvo; how Volvo makes mothers and caretakers feel more safe; the car as an intimate space; and over a dozen other powerful vignettes that demonstrate the significance of cars to women’s lives. As Helson notes, ‘these women have this massive love for cars and the way they talk about it is very different than how men talk about their love for cars.’

International Women’s Day video – credit Martin Schoeller for Volvo

As few in academia write about women and cars as a relationship that is both positive and empowering, I often feel as though I am working in a vacuum. The work Helson has overseen since her appointment as brand marketing head in many ways serves as a legitimization of my own. [On another note, it also emphasizes the importance of having a woman in a position of power within an auto company]. Although Helson operates on a much grander scale and is therefore capable of a much greater reach and influence, we are in agreement regarding the importance of providing women drivers with a platform. As Helson asserts, ‘obviously we need more women working in automotive, but we also need to put women’s stories at the front and center of how they feel about cars and how they feel about driving.’ I am grateful to Janique Helson for the impetus to continue my own exploration of women’s relationship to cars.

International Women’s Day video – credit Martin Schoeller forVolvo

Schultz, E.J. “Volvo’s Marketing Head on Fixing Female Representation in Auto Ads.” Advertising Age. 3 May 2023.

Auto MuseumsCar Culture

Day at the Henry Ford

Posted on by Chris Lezotte

As someone who grew up about a half mile from the city of Dearborn, I have visited the Henry Ford and Greenfield Village many times in my life. But the museum took on new meaning once I began my research into the relationship between women and cars. The Henry Ford Museum of American Innovation, as it is now called, has gone through many updates, redesigns, and reimaginings in my lifetime. Once a confusing collection of artifacts and vehicles, the space is now organized into a number of well-defined areas. The two sections that focus on the automobile – Driving America and Driven to Win – make up just over a third of the museum space.

The two driving-themed areas are less about cars than about car culture. As the curator of transportation Matt Anderson states, “the exhibit is not so much about the automobile itself, but about our relationship to it.” Driving America addresses how cars affected American lives, and in turn how American living shaped car culture. While there are certainly a plethora of vehicles on display, the cars most often serveas representatives of a particular era, event, pastime, or purpose. Cultures, institutions, and establishments developed because of the automobile  – hotels, service stations, campsites, and roadside restaurants, for example – are integral to the car stories on display.

Driven to Win, the newest exhibit within the Henry Ford, describes itself as a history of racing in America, from soap box derbies to Indy car, stock car, and drag racing. It accomplishes this by focusing on the many innovators and champions of motorsports through interactive displays, historic race cars, artifacts of groundbreaking drivers, racing simulators, and displays that “immerse the visitor in the stories, images, thrills, and sounds of auto racing.”

Because the exhibits focus on car culture rather than particular automobiles, women are very much present as consumers, drivers, workers, and influencers. They are introduced as early proponents of bicycles and the Model T as well as the minivan. They are represented in promotions about style, design, and safety. Women’s changing roles in advertising – as objects, symbols, moms, and adventurers are also addressed. While notable women in automotive history make an appearance, it is ordinary woman of extraordinary influence who take center stage.

Driven to Win includes artifacts and success stories of the expected exceptional women in motorsports. However, women behind the scenes – as pit crew workers and mechanics – are also well represented. While women’s relationship to the automobile has historically been relegated to the sidelines, the Henry Ford makes a concentrated effort to incorporate the women driver as an integral participant and contributor to automotive culture.

As I happened to visit the Henry Ford during March – Women’s History Month – many of the exhibits with a female focus were highlighted. Driven to Win featured artifacts of celebrated race drivers including Janet Guthrie, Sarah Fisher, and Danica Patrick. Attention was drawn to a 1955 Chrysler 300, similar to one driven by Vicky Wood – the fastest woman at Daytona. The Ford Rouge Factory Tour featured an opportunity to ‘Meet the Rosies’ as the denim-clad presenters related inspiring stories of the Wonderful Outstanding Women [WOW] who helped win World War II as part of the “The Arsenal of Democracy.’ 

While the ‘typical’ automotive museum focuses on the history of a particular manufacturer or the interests of a generous collector, the Henry Ford employs a broader approach to its significant collection. As the museum CEO notes, ‘we don’t just display the vehicles, we bring the past forward by immersing our visitors in the stories of ingenuity, resourcefulness and innovation that have made America the great country it is today.” And that resourceful past includes the contributions, influence, and participation of the woman behind the wheel. 

Auto IndustryCar Chicks

Ford Does Women’s Day

Posted on by Chris Lezotte

In honor of International Women’s Day, the Ford Motor Company has introduced a rather unconventional marketing campaign which is creating a bit of a buzz. The 30-second commercial, narrated by Brian Cranston of Breaking Bad fame, introduces the Ford Explorer Men’s Only Edition as a completely reimagined vehicle. 

Gladys West, contributor to the development of the Global Positioning System [GPS]

Although the advertisement appears to be fairly typical, with running footage of a shiny black vehicle driving down winding roads, it soon takes an unexpected turn. For the special men’s edition is lacking a few important parts, notably windshield wipers, turn signals, a rearview mirror, brake lights, heaters, and GPS, innovations that were, in fact, developed by women. As a nod to women working in automotive industry Ford takes this opportunity to bring attention to the invisible female inventors, engineers, and designers over the past century who have made important contributions to the automobile. As the company website notes, ‘to support the campaign throughout the month, Ford will highlight the achievements and contributions of female innovators of the past and present on Ford.com and across the company’s social media accounts.’

The Ford campaign has made headlines in both the general and automotive press. The reviews have been overwhelmingly positive. Auto journalists refer to the campaign as humorous, tongue-in-cheek, and clever. Many of the articles bring attention to the women responsible for these contributions, including Hedy Lamarr, Florence Lawrence, Dorothy Levitt, Dorothee Pullinger, and Dr. Gladys West. Women in particular are charmed by the commercial, referring to it as ‘10/10 advertisement,’ ‘perfection,’ and ‘makes me even more proud to be a Ford owner.’ As a former advertising person myself, I applaud the Ford ad agency that created a commercial that is not only creative, memorable, and fun, but one that celebrates women without disparaging men.

Mary Anderson, inventor of the first practical windshield wiper

However, not all who viewed this advertisement are pleased. The comment sections on many of the news sites are filled with complaints from those offended, with remarks that suggest the advertisement somehow threatens one’s masculinity. The posts include the unoriginal and expected ‘what is Ford doing for International Men’s Day?’, as well as many that engage in tired gender stereotypes, such as ‘the woman’s only version would only be a small pile of useless parts,’ and ‘since a man invented the internal combustion engine, I’m guessing the women’s addition [sic] would be a static display.’ Some argue that Ford got its facts wrong, with the claim, ‘all of the things mentioned were actually invented by men years before.’ Other individuals go further, admonishing the auto manufacturer for its wokeness and ‘confused’ sexual identity. 

Hedy Lamarr, innovator of the communication system used in cellular technology, Wi-Fi and GPS

Certainly the comments reflect convoluted logic and a lack of critical thinking, investing in the notion that praising women’s achievements somehow discredits men. Yet what is most troubling in these remarks is the culture they represent. The association between masculinity and the automobile has a long and entrenched history. In the early auto age, in order to perpetuate this ‘natural’ relationship between man and his machine, it became necessity to frame women as poor drivers, mentally incompetent, and technologically ignorant. While the ‘woman driver’ stereotype was developed nearly a century ago to degrade women’s driving ability and automotive competence, the barrage of negative comments incited by a 30 second car commercial suggest such beliefs remain common among a significant [male] population nearly 100 years later. This is worrisome for an individual interested in pursuing an automotive related career. It suggests that the automotive culture remains unwelcoming to women no matter the credentials, work ethic, or job performance. It intimates that despite the efforts within the automotive industry to address the underrepresentation of women, there is still a significant group within it that considers women as less. The sexist commentary not only brings renewed attention to the incredible obstacles faced by women in the automotive industry a century ago, but reveals that in the twenty-first century, many of those barriers stubbornly remain. 

Dr. Cynthia Flanigan – Chief Engineer, Hardware Integration in Vehicle Hardware Engineering

Ford is to be commended for celebrating women’s automotive achievements in this clever and thought-provoking ad. It provides the opportunity for all of us who drive – men and women alike –  to appreciate and respect the automotive innovations contributed by women in a historically male-dominated industry.

Car CultureWomen & Car Advertising

Ramblin’ Woman

Posted on by Chris Lezotte

Paul Niedermeyer, writing for Curbside Classics, penned a couple of interesting articles over the past year on the 1950s era Rambler Cross Country. Calling on automotive advertising of the time, Niedermeyer notes how the Rambler was often marketed specifically to the female driver. The Rambler, as ‘the first lifestyle wagon ever,’ was heralded not only for its suitability for growing families, but also for its bold style and unusual, somewhat radical appearance. Advertising was directed not only to suburban moms, but also to fashion-conscious women who desired both practicality and pizazz in the cars they drove. A  key part of making the Rambler appealing to women was drawing attention to its interior fabrics and trim, designed by the renowned Helene Rother. As Niedermeyer remarks,  ‘a woman’s touch can’t be easily faked.’ Advertising for the Rambler often featured famous women – including American theatre star Margaret Sullavan and the wife of actor Jimmy Stewart – to associate the vehicle with glamour, luxury, class, and discriminating taste. Unlike other automotive advertising of the time, Rambler had a fair amount of success by targeting more affluent and better educated buyers, especially women.

More than a year after the original article appeared, Niedermeyer responded to a previously posted comment that had apparently been gnawing at him for some time. The reader, focusing specifically on the notion that women were important Rambler purchasers, posted, ‘In defense of men, though, many of those 50s women buyers were spending lavishly their husband’s and father’s money.’ Niedermeyer, taking great offense at this comment, countered with multiple examples of how the scenario painted by the defensive reader was unlikely. Calling upon his own experience, he recalled how his father traded in his mother’s car without her knowledge or blessing. As he writes, ‘she was furious, but what was she going to do?’  Niedermeyer also notes that during the 1950s, a growing number of women had careers. In fact, he argues, the targeting of female consumers by Rambler was instrumental in allowing the automaker to survive the early to mid 1950s, when other domestic compacts were failing. Surprisingly [at least to me] Curbside Classic readers – primarily men – joined Niedermeyer in expressing offense to the stereotypical response. Many offered examples of how the women in their respective lives – i.e. strongly opinionated moms, older maiden aunts, and [assumed] lesbian teachers – made their own car buying decisions. Rather than reinforce the generalized stereotype of hapless and uninformed women drivers, the commenters offered a variety of car-purchasing scenarios influenced by family dynamics, finances, marital status, sexual orientation, and the progressiveness of women and men alike.

The Curbside Classic articles caught my attention not only because of the focus on female consumers, but because the author’s comments, as well as those of his readers, brought to mind those of a group of elderly women I interviewed for a project a few years ago. In 2016 I spoke to 21 women in their 80s and 90s – of the same generation of those targeted in 1950s automotive advertising – about their early automotive experiences. Included in the conversations were reminisces regarding individual car histories. Although automakers such as Rambler attempted to lure female customers, the majority of the women I spoke to, when entering marriage, did not have a vehicle of their own, but shared one with husbands. When children appeared on the scene, women fought hard for cars of their own to make their lives easier. However, the majority of these vehicles were not shiny new Ramblers; rather, they were most often described as ‘jalopies’’, ‘clunkers’, or ‘old and cheap’. While there were a few women whose husbands ‘surprised’ them with fancy cars for birthdays or special occasions, most were grateful for anything that offered them a degree of independence.

Since many of the women interviewed were located in the greater Detroit area, it was not uncommon for them to work in auto-related industries, or to have friends or relatives who did. This allowed them to purchase a car a family member had previously driven, secure the inside track on a good used vehicle, or take advantage of an automotive employee discount. Others took over the old family car when a new automobile was purchased. Yet no matter how the car was acquired, the women had a definite say in automobile selection, and would accompany husbands to the dealership to make their desires known. If spouses purchased cars without their wives’ input, they often found themselves heading back to the sales office. Not surprisingly, single women – whether unmarried, widowed, or divorced – had the freedom to purchase the car they wanted without male influence or intervention. What became clear from these conversations is that what women wished for in a car – i.e. functionality, economy, and reliability – often differed from the qualities desired by men. Consequently, making their own automotive needs and requirements known was a very important element of the car purchase process. The responses from the women in this project – as well as the Curbside Classic comments – suggests that women were exceptionally influential in car purchases, particularly if it was a car they would be driving. In the present day, it is estimated that women buy 65 percent of all new cars sold in the USA, and influence 85 percent of car buying decisions (Findlay). It is a practice that, as the responses suggest, began as soon as women took the wheel.

Niedermeyer was correct to question the stereotypical comment of one of his readers; i.e. that women’s car purchases were made possible by lavishly spending their husband’s or father’s money. While certainly there were some women who were ‘surprised’ by car purchases made by husbands, the majority of women made their own automotive decisions. As the Curbside Classic articles and my own research suggest, if a woman drove a Rambler, it was most likely because she had the means and the desire to do so.

Findlay, Steve. ‘Women in Majority as Car Buyers, But Not as Dealership Employees.’ Wardsauto.com 20 Sept 2016.

Lezotte, Chris. ‘Born to Drive: Elderly Women’s Recollections of Early Automotive Experiences.’ The Journal of Transport History 40(3) (2019): 395-417.

Niedermeyer, Paul. ‘How Rambler Won the Compact and Price Wars of the 1950s and Saved American Motors.’ Curbsideclassic.com 25 Jan 2021.

Niedermeyer, Paul. ‘She Drives a Rambler’, and No, She ‘Wasn’t Lavishly Spending Her Husband’s Money.’ Curbsideclassic.com 3 October 2022.