Though Packard automobiles ceased production in 1956, their reputation for elegance and fine engineering endures. This is due in part to the quality of the product itself, but also to their remarkably effective advertising campaigns. In their heyday, Packards were renowned for luxurious style, exquisite craftsmanship, and a premium price tag.
A Legacy of Sophistication
Beginning in the late 1920s, the Packard Motor Company launched an innovative advertising campaign that went beyond simply showcasing a car, but painted a vivid picture of the glamorous lifestyle associated with owning one. Advertisements often paid tribute to renowned visual and performing artists and master craftspeople, or depicted consumers in elegant attire in exotic locales. This strategic approach aimed to emphasize Packard’s appeal to a “discriminating clientele.” This phrase was crafted to attract a sophisticated and discerning customer base by highlighting the vehicle’s luxury and exclusivity.
Every Packard advertisement also featured a powerful slogan designed to inspire further confidence in the product: “Ask the man who owns one.” First appearing in 1901, this confident declaration positioned Packard as a clear symbol of status and success. This groundbreaking concept of associating a consumer product with an aspirational lifestyle of wealth and sophistication was revolutionary at the time and set the standard for countless advertising campaigns that followed. (Reference: “Vintage Advertising: Selling Luxury” by Jeff Nilsson for The Saturday Evening Post online, published November 15, 2016)
The Art of Portraying Status
Artist Mead Schaeffer, in an interview published in the Autumn 1977 issue of The Packard Cormorant, observed that “People were paying for the status of Packard ownership as much as for the excellence of the cars. It was a challenge to every artist who illustrated for Packard to portray this.” Schaeffer himself produced four oil paintings for the “Discriminating Clientele” campaign, exploring themes such as Duncan Phyfe, Spanish Lace, Oriental Rugs, and the Russian Ballet. Notably, Schaeffer’s Spanish Lace illustration was not selected for publication; instead, an illustration by Saul Tepper was used. Both Schaeffer’s unpublished proposal and Tepper’s published illustration are part of our gallery’s collection. (Reference: “Pictures at an Exhibition” by Ed Heys for Hemmings.com, updated March 26, 2024)
Browse all available artwork by Saul Tepper here
Mead Schaeffer and Saul Tepper Evoke The Excellence of Packard Engineering through Spanish Lace
While we can only speculate about the art director’s decision, it’s intriguing to consider why Tepper’s artwork was chosen over Schaeffer’s for the “Spanish Lace” theme. Both pieces depict a woman admiring Spanish lace. Schaeffer’s image shows a woman admiring a finished piece of lace as it is presented to her. Tepper’s image, however, portrays a woman looking down to admire the meticulous handiwork of a lacemaker creating the intricate product using the bobbin method—a process involving braiding and twisting thread lengths wound on bobbins, with pins holding stitches in place. Bobbin lace boasts a rich history in Spain, particularly in regions like Camariñas and Almagro.
Although both paintings use loose brushstrokes that merely suggest the lace’s intricacy, it’s plausible that showcasing an admiration for the act of creation of the luxurious textile would more effectively convey Packard’s intended association with the impeccable construction of their automobiles. The published caption reinforced this idea: “Willing years of patient artistry are often gladly devoted to a single piece of rare and exquisite lace.” This focus on the dedicated artistry behind the lace likely resonated with Packard’s emphasis on engineering excellence.
Mead Schaeffer Evokes the Excellence of Packard Engineering through Duncan Phyfe
Another notable Packard advertisement by Mead Schaeffer reinforces this message of discerning taste and quality. It features a couple and a young woman admiring a Duncan Phyfe chair. The man, with a monocle around his neck, holds the glass in his hand, poised to examine the piece of finely crafted furniture more closely. This visual narrative is underscored by the published caption: “Duncan Phyfe’s great genius as designer and master cabinetmaker won him the patronage of all the wealth and aristocracy of old Knickerbocker New York. His superb furniture brought international recognition for artistic and technical excellence.” The advertisement draws a parallel between the exquisite craftsmanship of Duncan Phyfe furniture and the superior engineering and design of Packard automobiles, appealing to a clientele that appreciated such distinguished artistry and quality.
Browse all available artwork by Mead Schaeffer here