Currently reading: When did Morgans start to look old-fashioned – and why?

Some are baffled by the prospect of buying a new car that looks like an old one, but that's Morgan's USP

For as long as anyone can recall, Morgan cars have been clearly and proudly old-fashioned, in terms of style, ethos and production, even if the engines have been modern.

And while many have always been baffled by the prospect of buying a new car that looks like a very old one, many others adore Morgan. But when exactly did the British brand get stuck in time – and why?

Let’s go back to the start. In the earliest days of motoring in Britain, only the upper crust could partake; those below could afford only a motorcycle, attaching a sidecar if they needed to carry passengers.

So when former railway engineer Henry Morgan decided to put his own car into production, with a simple design featuring only one rear wheel and a two-cylinder engine from a motorcycle, he was deluged by a torrent of pent-up demand for an affordable car. 

Jump forward to late 1918 and Autocar readers were clamouring for a ‘£100 car’ (that’s about £5000 now) to get the masses motoring after the Great War – and our answer was Morgan’s Runabout, despite the fact the Malvern creation had never really been updated.

“Anyone accustomed to cars of a conventional character must pause to admire the genius of the man who evolved a machine so efficient, so obviously simple and so cheap,” we said, having prior noted that it was “far more suitable for high-speed sporting work” than AC’s rival.

However, as ‘proper’ cars became more and more affordable through the ’20s and ’30s, Henry recognised that he needed something new. The result: a four-wheel, four-cylinder sports car, logically named the 4/4.

“There are several interesting features in the design,” we said (not least independent front suspension), “but without doubt the first point to take the eye is the distinctive appearance. It is unusually low in build and looks long and graceful.”

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That may have been so, but it still followed the same formula as the 1936 efforts of AC, Aston Martin, BMW, Lagonda, MG, Riley and the rest: swooping wings, shield-shaped grille, separate, circular headlights. Indeed, it wouldn’t be until the late 1940s that car design began to diversify through ‘envelope’ styling. 

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Like any car firm, Morgan simply dusted off its old designs come 1946. No bad thing: the 4/4 had barely got going before World War Two had stopped play and had “made a most favourable impression” on us “by the sure and accurate way in which it can be put round a bend” and its “lively, willing performance”. 

But even when the slightly larger and punchier Morgan +4 was added in 1950, it didn’t look fundamentally different. 

And within just a few years, it was starting to look dated; look above to compare with the Triumph TR2 (from 1952) and Austin-Healey 100 (1953), then consider the smooth lines of the AC Ace (1953), Jaguar XK140 (1954) and MG A (1955).

By this time, Peter Morgan was a key figure at Malvern. He fancied trying “a more modern, all-enveloping style”, but his father was reluctant, “feeling that it was probably better to wait until such bodywork had stood the test of time”.

Henry died in 1959, and instantly Morgan’s advertising tone changed, to sell the +4 as “one of Britain’s few hand-built cars, made in the finest traditions of British craftsmanship”. And four years later, Morgan’s aesthetic finally re-entered the present with the introduction of the sleek, glassfibre-bodied +4+ coupé.

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Yet it was notably absent from the 1966 Earl’s Court motor show, apparently because “so strong is the demand for vintage-type Morgans that the tiny Malvern works have had to suspend indefinitely production”. Hmm. Today it’s commonly held that only 26 were ever produced. Peter drove a +4+ himself and told us in 1968: “People call it a flop, but it wasn’t really.”

He also said he was considering making a mid-engined V8 Morgan! Although tweed-suited, he was no stick-in-the-mud. But he never risked updating or expanding Malvern, so customer demand for old-fashioned fun always outstripped the supply. 

And so we concluded upon our 1968 visit: “So long as the public prefer the traditional-style Morgan, what point is there in trying to ape a style of car which, in purposely buying a Morgan, such people go out of their way to avoid?”

True now as then. How funny that Morgan’s USP was kind of accidental.

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