DS & SM HERITAGE

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The story of the DS began long before 1955. The origins of the car go all the way back to 1938, when Citroën Chairman and CEO Pierre Boulanger was thinking about the successor to the Traction Avant. He was convinced that the new car above all had to be comfortable. And so a new project was launched, with the code name VGD, short for «Voiture de Grande Diffusion», or «mass-produced car». He entrusted the project to André Lefèbvre, an aeronautics engineer by training. Alongside these two men, the Citroën team also featured other talented individuals, notably Flaminio Bertoni (sculpture) and Paul Mages (suspension). But with the advent of war, and the ensuing occupation and wartime restrictions, the VGD project was put on hold.

The project gradually got back on track after the end of the war. In 1952 L’Auto-Journal published a scoop, in the form of a drawing of the future Citroën and its technical characteristics. Citroën did its utmost to hush up the affair by taking the magazine to court. The brand wanted to keep the project a secret at all costs.

In October 1955, a bombshell hit the 42nd Paris Motor Show.A car took centre stage on the Citroën stand: the DS 19. A flying saucer, with bright colours and a magic word, «oleo-pneumatic», a system that appeared to do everything in the driver’s place. From the suspension and brakes to the steering and gearbox, softness was the keyword. Only the engine was conventional. But it wasn’t just about technology. The body styling of the DS 19 was utterly singular – and has remained so ever since. Not only was the body original, it heralded disruptions in the fields of aerodynamics, liveability, comfort and equipment. Even the detailing was astonishing, including the attachment of the wheels with a simple central screw. The public flocked to the stand, having awaited the new model since 1952. The result was 750 orders after just one hour and 12,000 by the end of the day.

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LE DESIGNThe shape of the DS was informed by sculpture, Flaminio Bertoni’s other passion. But the design obeyed the laws of aerodynamics, which at equivalent power levels provided higher speeds, less fuel consumption and more silence for passengers. Every detail was studied from both an aesthetic and functional standpoint, including the front air intake and the positioning of the rear indicators. The cabin respected the laws of a new science, ergonomics, bringing travellers greater comfort and safety. In its first few years, the DS was available in all-new colours, including Champagne, Daffodil, Spring Green, Aubergine, Rosé Grey and Nasturtium.

LA TECHNIQUEThe technology of the DS revolutionised the standards of the time. The central high-pressure system necessary to the hydropneumatic suspension was a key innovation of the DS, its power fuelling the suspension, steering, braking and automatic clutch and gear selector. The system made the car’s controls supple and easy to use for drivers.Relative to suspension systems until that point, the DS 19 struck an ideal compromise between ride comfort and roadholding. Featuring nitrogen-swelling spheres in the place of conventional springs, the car’s hydropneumatic suspension made road imperfections disappear and maintained the body at a constant ride height. The DS gained a new gaze in 1967 with its famous directional headlamps. The auxiliary lights turned with the wheels to light up corners, while the main lights were equipped with an automatic levelling system so as not to dazzle other drivers.

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“ “The cabin respected the laws of a new science, ergonomics…

COMFORT AND SPACIOUSNESS The DS is renowned for i ts consummate comfort. That reputat ion owes to a great extent to the car’s hydraul ic suspension, but the ultra-soft comfort of the seats is not to be overlooked. The DS also scores top marks on spaciousness, even compared with more modern saloons. Leg room is excel lent both front and rear, while head room is more than respectable. I t wasn’t for nothing that the DS was General de Gaulle’s favourite car. The boot is quite s imply huge, measuring 500 dm3. The DS can travel with heavy loads without appearing laden down thanks to the magic of hydropneumatic suspension, which maintains the vehicle at a constant r ide height.

POWERTRAIN

The DS 19 is a heavy vehicle, and the 75 bhp developed by its 1.9 litres would seem insufficient to propel the car’s 1,150 kg. The engine was based directly on that used for the Traction 11D. But owing to its aerody-namics, the car is able to reach a respectable top speed of 143 km/h.But looking beyond performance, the engine is appreciable above all for its roundness, making a perfect fit with the four-speed hydraulic gearbox equipped with a hydraulically controlled clutch. With synchronised 2nd, 3rd and 4th gears, the gearbox matched practically all driving styles.The engine was upgraded throughout the car’s lifetime, through to the 2,300 cm3 engine with electronic injection (September 1972 to April 1975) for a top speed of 180 km/h.

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“ “It wasn’t for nothing that the DS was General de Gaulle’s favourite car

COMFORT AND ROADHOLDING The Citroën Tract ion Avant was famed for i ts excel lent roadholding. At the t ime, i t seemed inconceivable to do better. But the DS did just that! With i ts well -balanced chassis, low centre of gravity ( thanks to l ight and innovative materials) and, above al l, i ts hydraul ic suspension, the DS succeeded the «Queen of the Road» with brio. The DS 19 continues to boast top-f l ight r ide comfort and honourable on-road performance compared with present-day cars, with a road feel that remains inimitable.The principle of hydraul ic suspension has remained unchanged since the DS. A l iquid from the central storage system compresses a gas contained in the spheres to a greater or lesser extent depending on the road, load and manual level l ing control.

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CAR TO THE STARSThe DS was a headlining presence at the first film festivals, contributing to the very idea of «star». An accessory of the modern hero, its styling appealed to the greatest directors, who gave it leading roles in hundreds of films. Meanwhile, photographers fought over its image, which made all the front pages. Right after launch in 1955, the streamlined styling of the DS made it a symbol of France, in the same way as the Eiffel Tower. It went on to become the darling of film directors in the 1950s, 1960s and 1970s. As the car of the big boss, the public figure, the senior civil servant, the cop, the gangster or the Parisian taxi driver, the DS played every role, each one with its inimitable grace.

On screen as in real life, it stood as the epitome of the French high-end car.

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“ “Right after launch in 1955, the streamlined styling of the DS made it a symbol of France, in the same way as the Eiffel Tower

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Citroën’s image as the car of French presidents owes in part to General de Gaulle. And Charles de Gaulle’s preference for the DS 19 over other cars owed in part to the role it played in the attempt on his l i fe in Petit Clamart. The car’s outstanding roadholding even saved the President’s l i fe. Bullets exploded two of its tyres,

but it continued to drive on, miraculously escaping the assailants. De Gaulle would never abandon the car.

Throughout its lifetime, the DS was the vehicle of leaders, company heads and ministers in France and internationally.

EMBLEM OF POWER

“ “the DS played every role, each one with its inimitable grace. On screen as in real life, it stood as the epitome of the French high-end car

THE DS AND MOTORSPORTThe motorsport career of the ID and DS models lasted over 18 years from 1956 to 1974 and was punctuated with a host of v ictor ies. I t won the Monte Carlo Rally in 1959 and again in 1966. Internationally, the DS won numerous road races, including the Tour de Belgique, Tour de Corse, the Rally of the Thousand Lakes and the Morocco Rally.

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THE DS IN THE USAThe DS was an immense success in Europe but had a tougher t ime in the USA. As a high-end model, i t lacked the features expected by the targeted customer base. During the period the DS was avai lable in the USA, US law prohibited a number of innovative systems including hydraul ic mineral f luid and aerodynamic headlamps. Also, the price of the DS was comparable to that of a Cadil lac. Nevertheless, some 38,000 units were sold in the country.

THE DS AND THE ARTSThe DS starred in a number of films at the cinema. A complete list would take too long, but the highlights include Les Tontons Flingueurs, Fantomas se déchaine, The Samurai, The Brain and Rabbi Jacob.More recently, a number of TV series have capitalised on the remarkable presence of the DS, among them Buffy the Vampire Slayer and The Mentalist.The DS has also been celebrated in a host of literary works, such as Mythologies by Roland Barthes and Paper Tiger by Olivier Rolin. A design icon, it has also inspired outstanding creations such as Chico MacMurtrie’s «Totemobile», Mexican artist Gabriel Orozco’s «DS reduction», and the work of the Brandpowder company which assembled a Porsche 911 and DS into a single car.

TODAY

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Les Tontons Flingueurs, Fantomas se déchaine, le Samourai, le Cerveau,Rabbi Jacob...

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The DS remained much sought after until the 1980s. After receding into the shadows for a while, its stock rose once again in the 2000s with collectors.The DS models converted by Henri

Chapron, now become collectibles, began to sell for very high prices. Their high value owes to their rarity, with Chapron cabriolets selling for over €120,000.

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S M H É R I T A G E

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The SM project dates back to 1966 and was «fathered» by Jacques Né, whose main aim was to create a faster version of the DS, a sports DS. The project led to Citroën’s first GT model.The SM ushered in a new automotive design approach. It was launched in March 1970 at the Geneva Motor Show.

The SM successfully balanced the satisfactions afforded by comfort and beauty and the joys of top-level performance. This is the heart of the SM.

Classified as a GT (grand tourer), the SM was not content to simply feature the most modern technologies of the time.With its Maserati 170 bhp 6-cylinder engine, body styling designed for performance, and special features for comfort and safety, it completely redefined the GT world through a combination of performance, comfort and simplicity at the wheel.

The brand wanted to produce the prestigious vehicle that had been lacking in France since the end of World War Two. Citroën conducted studies on the model for a number of years, with a particular focus on certain components such as the self-centring steering system.

The brand wanted to produce the prestigious vehicle that had been lacking in France since the end of World War Two. But these studies were not the priority, and had to give way to the creation and upgrades of mass-produced models. It was only following the agreements signed with Maserati and the Citroën group’s acquisition of the brand in 1968 that the desire to publicly seal this agreement with a new product led to the acceleration of studies, now in collaboration with Maserati, which was to supply the engine.

The rest of the research was carried out at Citroën’s design office and laboratory. In one exception, the hydraulic headlamp control system (self-levelling system and directional lamps) was studied and produced in collaboration with the Projecteurs Cibié design office. The SM was tested on Citroën’s private track in La Ferté Vidame and on the road with a prototype dressed in a fake DS body for the purposes of discretion.

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UPHOLDING THE DS TRADITION Citroën’s main asset for succeeding in the project was its experience of avant-garde technologies used for many years on the DS.The SM benefited from each one of these technologies, but taken to a still higher degree of perfection.This was true of the hydropneumatic suspension. The system gave the front-wheel-drive model a feeling of «aerial comfort». SM drivers had the same sense of control over their car and passengers the same feeling of absolute comfort and safety. It was also true of the hydraulic self-centring power steering system, the only one of its kind at that time, which made driving considerably easier. The system continuously maintains a precise relationship between steering power and speed. In town, drivers steer their SM effortlessly with the tips of their fingers. At high speeds, they guide the vehicle with pinpoint precision and impressive ease.

Dynamic headlamp control, another avant-garde technology introduced by the DS, was fitted on the SM but at an unrivalled level of advancement. With its six lamps, the SM boasts a true path of light. The light ramp extending across the front end of the car is emblematic of its styling and modernity and also brings motorists peace of mind when driving at night. The central, long-range lamps are directional.

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“The system gave the front-wheel-drive model a feeling of «aerial comfort»

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Citroën already had a flagship model in the late 1960s in the shape of the DS, but it sti l l lacked a vehicle that could f inally convince luxury car custo-mers of the brand’s worth. Truth be told, the avant-garde technology of the DS concealed an engine that lagged behind the most prestigious engines of the competit ion. A more impressive engine was intro-duced with the DS 23 injection, but it was stil l two cylinders short.

And the SM called for an exceptional engine. With Maserati and Citroën having come together in 1968, it was a natural idea to call on the skills of the technicians of the illustrious Modena-based firm, specialised in the development of high-performance engines. From 1970 to 1972 the SM was powered by a V6 engine with a capacity of 2,670 cm³ and power of 170 bhp DIN (at a very respectable 5,500 rpm). Featuring dual overhead camshafts

per cylinder row, the engine was developed directly by Alferi de Maserati under the direction of the rue du Théâtre design office. Owing to new pollution standards, from 1973 until the end of production the engine was equipped with Bosch D-Jetronic electronic injection that boosted power to 178 bhp DIN while enhancing flexibility. With the new engine, the SM delivered astonishing performance. Top speed of 220 km/h. Acceleration:

400 m standing start in 16.2 s. 0 to 100 km/h in 8.9 s (*). The SM struck an ideal balance between the lightness and aggression of race cars, the robustness of production models, and the comfort of a grand tourer. A 3-speed automatic gearbox was introduced in 1974. The new transmission was fitted with an oxidation muffler to comply with pollution standards. A few SMs with 3-litre engines and manual gearboxes were also exported to the USA and Canada.

MASERATI ENGINE

“Top speed of 220 km/h. Acceleration: 400 m standing start in 16.2 s. 0 to 100 km/h in 8.9 s

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INIMITABLE STYLING AND DESIGNThe styl ing work on the SM was f i rst and foremost about aerodynamics, as evidenced in the extensive wind-tunnel test ing involved in i ts development. And the result was remarkable. The SM is anything but angular. I ts streamlined design (courtesy of Robert Opron) was angle-free while maintaining taut l ines. The styl ing of the SM was ful ly informed by the laws of aerodynamics. The pure glass-and-steel l ine features none of the sharp edges and angular shapes that on other cars serve to l imit speed. The impressively broad front track also enhances the on-road presence of the SM, as well as the cabin layout. The inter ior is designed with perfect curves, generat ing comfort, beauty and peace of mind. The leather upholstery exudes a warm atmosphere that contrasts with the inter ior furnishings. The dashboard stands out with i ts bold aerial form, underscored by the oval dials and steering wheel. This design choice was made to keep the instruments easy to read despite the lower height of the dashboard.

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TECHNOLOGICAL ADVANCESThe SM featured a number of technological advances at the time:4 hydraulically controlled and assisted disc brakes, with a real customer benefit: truly powerful braking with total serenity Variable-assist self-centring hydraulic steering, even with the car stopped a bank of 6 headlamps covered by glass fairing, the inner 2 directional. The height of the headlamps is adjusted continuously in l ine with the vehicle attitude so as to keep the l ight beam parallel to the road. Ultra-l ight wheel rims on the injection models (reinforced resin wheels).

THE SM IN THE USAThe main export market for the SM was the USA. The luxury car market in the country was much larger than in Europe, although Germany and Italy were major SM customers.The US-market SM was equipped with round headlamps, as mobile and faired- in headlamps were prohibited. Turning many a head with i ts unique design, the SM won Motor Trend’s 1972 Car of the Year pr ize. But despite i ts init ial success, sales in the USA suddenly came to a halt fol lowing the implementat ion of a protect ionist measure, with an exemption on the SM’s self - level l ing suspension fai l ing to be granted.

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“The SM won Motor Trend’s 1972Car of the Year prize

THE SM AND MOTORSPORTOn its launch in 1970, many people agreed that the SM boasted indisputable motorsport potential. The SM’s first race was in 1971 at the 14th Morocco Rally, at the time the most selective in the world. More than merely passing the redoubtable endurance test with flying colours, the SM won the event outright with a brilliant display of its endurance, robustness, roadholding and performance. The SM also competed in the 1973 Bandama Rally in Côte d’Ivoire, with two SM prototypes, featuring V6 engines boosted to 240 bhp and a shorter chassis, finishing fifth (Neyret-Terramorsi, no. 15, registration 1351 YC 75) and sixth (Verrier-Umbricht, no. 11, registration 560 YM 75).

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THE SM AND PRESIDENT POMPIDOUPresident Georges Pompidou, a car and design enthusiast, ordered an open-top version based on the SM Opéra with a longer rear overhang from the coachbuilder Cha-pron. The two renowned SM models (bearing the registration plates 2 PR 75 and 3 PR 75) were ordered in 1971 for use as official presi-dential vehicles. They were delivered in 1972 and made their on-road debut for an official visit by Queen Elizabeth II. They served the French Republic until 2007, and today remain the property of the French State.

SMS WERE OWNED BY A HOST OF FAMOUS INDIVIDUALS“ “

hey were delivered in 1972 and made their on-road debut for an official visit by Queen Elizabeth II.

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Numerous publ ic f igures and stars have dr iven SMs, inc luding the Shah of I ran, Burt Reynolds, Leonid Brezhnev and French comedian Fernand Raynaud.The SM has been used in f i lms and

v ideo games, among them César and Rosal ie, Fol le à Tuer and Zoolander. An automot ive icon, i t cont inues to feature in contemporary v ideo games such as Grand Theft Auto.

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The SM was produced in 12,920 units from 1970 to 1975.The launch of the SM in 1970 fully met the car’s objective: it was a truly high-end event, both in the sales initiatives organised by Citroën and in the press kit drafted for professionals. Regarding sales, the first year was highly promising. With 5,000 units sold in 1971, the sales launch was as successful as the model’s critical reception. Unfortunately, the following years proved more complicated. Sales dropped substantially and production had to come to an end in 1975. The two main reasons were the oil crisis and new laws on motorway speed limits.While it could have boosted the confidence of the French automotive industry, the SM, which was exceedingly expensive to run despite its qualities, was impacted by the oil crisis and the introduction of speed limits. The oil crisis totally changed the way we see cars. As did new road safety laws imposing a limit on motorway speeds. At the end of 1972, following a review and debate on the subject, the French government announced that it was introducing speed limits on French roads. Buying a GT in such troubled times became an investment reserved strictly for enthusiasts.In summer 1975, Citroën officially announced the discontinuation of SM sales as follows: «The SM was born from speed and died with speed».

The launch of the SM in 1970 fully met the car’s objective

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