The first time I encountered a Toyota Cressida, it wasn’t a moment of automotive epiphany, but rather a subtle recognition. In a sea of Corollas, Coronas, and Crowns – reliable but often unremarkable Toyotas – the Cressida stood out. It wasn’t that I was immediately captivated, my youthful automotive desires leaned towards sportier fare. However, the Cressida possessed a distinct presence, signaling a different ambition within Toyota’s lineup.
And that was precisely the intention. The Cressida was conceived as an ‘accessible luxury’ vehicle, a concept that resonated with a broad audience seeking premium features without exorbitant prices. It was Toyota’s strategic move to establish a luxury presence, positioned below the traditionally stately but less approachable Crown. By the mid-1970s, the Crown’s appeal outside Japan was waning. The Cressida emerged as the solution, imbued with enough luxury cues to attract a wider public and successfully assume the mantle of Toyota’s aspirational model. Its rapid rise in popularity testified to the effectiveness of this strategy.
Surprisingly, the Toyota Cressida sedan has been a relatively rare feature on automotive blogs, despite its historical significance. While wagon variants have occasionally surfaced, the sedan, arguably the more common body style, has remained surprisingly elusive. This absence is intriguing, considering sedans likely outsold wagons. Yet, such are the unpredictable patterns of automotive survival and online spotlights.
Therefore, the discovery of a well-preserved Cressida sedan in San Salvador, finished in a quintessential 1970s gold, feels particularly timely. Its slightly weathered appearance, complete with missing hubcaps, only enhances its authentic curbside charm and makes it a perfect subject to finally address this gap.
However, for dedicated automotive enthusiasts, the Cressida sedan might feel somewhat familiar. Technically, a non-wagon Cressida sedan has been featured before, albeit under its Japanese Domestic Market (JDM) name, the Corona Mark II. This model, showcased a few years prior, reveals the Cressida’s origins as the third generation of the Corona Mark II. It’s a realization that dawns with age – a model perceived as discontinued actually continued its lineage in different markets.
Toyota’s Gradual Ascent into the Luxury Market
The Cressida’s emergence was a culmination of Toyota’s gradual understanding of the “luxury for the masses” concept. This journey began, somewhat misguidedly, with the Toyopet Crown in 1958. Toyota’s flagship model arrived in the US in Deluxe trim, ill-prepared for the North American market and consequently achieving dismal sales figures. Its advertised “luxurious foam rubber comfort” failed to impress American buyers accustomed to different standards of automotive luxury.
While the Crown remained Toyota’s top-tier model in Japan, the company simultaneously attempted to penetrate the budget car segment with the Publica. This utilitarian, inexpensive car also failed to resonate with Japanese buyers. It became clear that price alone was not the primary motivator for car purchases.
Ironically, the Publica’s sales improved as higher trim levels and more features were introduced. This marked Toyota’s realization that buyers were willing to invest in vehicles offering “something extra” – be it enhanced quality, a touch of luxury, or sporty appeal – rather than solely opting for the cheapest option. This insight, while perhaps a simplification, mirrored a similar understanding of consumer preferences in other automotive markets.
Consequently, Toyota adopted a strategy of cautious progression rather than immediately targeting the high-end luxury segment. With subsequent models like the Corona and Corolla, they incrementally incorporated luxury features and sportier variants, expanding their market appeal as conditions allowed.
The Corona Mark II and the Birth of the Cressida
The Corona Mark II played a crucial role in elevating the Corona’s market position, attracting more affluent buyers within the economy car class. However, outside Japan, the model’s sales remained below expectations. A revised approach was necessary.
The first change was the name itself. While Japanese consumers were accustomed to complex model names and dealer networks, the “Corona Mark II” was likely confusing for international markets. Was it a Corona? Or a Mark II? The “II” itself implied a predecessor, raising further questions.
But the changes went beyond nomenclature. As automotive historians have noted, the third-generation Mark II/Cressida represented a significant step forward in terms of engineering and features. By the 1970s, with increasing affluence in Japan, Toyota invested heavily in making this generation a more modern and sophisticated offering. The JDM Mark II/Cressida range boasted features like four-wheel disc brakes, semi-trailing arm independent rear suspension (IRS), and a variety of engines ranging from 1.8L and 2.0L four-cylinders to 2.0L and 2.6L inline-sixes.
Unlike the more formal Crown, the new Mark II/Cressida embraced a “personal luxury car” ethos, incorporating the expected luxury appointments within a more approachable package.
Design Influences: Brougham, European, or Both?
Ultimately, the Cressida’s styling proved to be a major draw for buyers. It exuded the right luxury cues to attract those seeking an upgrade in perceived status and refinement.
Japanese sources suggest the design drew inspiration from classic Jaguars. Conversely, comparisons to American “Brougham” styling, prevalent in previous discussions of Cressida wagons, are equally valid. The woodgrain trim (Di-noc) on wagon models certainly reinforced this Brougham association.
However, delineating the precise boundaries between Brougham and European design influences becomes an exercise in subjective interpretation, as both styles often borrowed from each other. This pursuit, while perhaps ultimately futile, is nonetheless an engaging one. After all, the originators of Brougham styling were not averse to European comparisons, with marques like Lincoln and Cadillac subtly referencing Rolls-Royce and Jaguar in their designs.
Thus, the question arises: is the Cressida’s front fascia Jaguar-inspired, or is it a more complex blend of Cordoba, Jaguar, and Cordoba influences? Could there even be hints of Chevrolet Monte Carlo in the mix?
Similarly, are the subtle fender flares reminiscent of Jaguars, as some Japanese sources claim, or do they lean more towards a Monte Carlo-Rolls-Royce aesthetic?
Ultimately, from a product planning perspective, the crucial factor was public acceptance. And judging by the Cressida’s market success, buyers embraced its intriguing blend of Brougham and European design cues.
The era in which the Cressida emerged was marked by discussions about Japanese cars exhibiting “derivative styling.” While this observation held some truth, true originality in design is often elusive. The key lies in achieving a cohesive and harmonious design, regardless of the influences. This is a challenging undertaking, as evidenced by some less successful Datsun designs of the 1970s. By the late 1970s, Toyota’s designs, including the Cressida, were developing a distinct identity, achieving success in their own right.
While elements of Jaguar, Cordoba, and Monte Carlo may be discernible, the Cressida’s design avoids feeling disjointed or exaggerated.
Intriguingly, this exploration features not just one, but two Cressidas, the second being a wagon. This observation further underscores the unusual survival rate of Cressida wagons compared to sedans.
Devoid of the woodgrain trim found on other examples, this wagon appears less overtly “Brougham-y.” Nor does it particularly evoke Jaguar styling, perhaps because Jaguar wagons were a rarity until much later.
In terms of interior design, the Cressida leaned more towards European influences. Even in a slightly blurred image, the instrument panel is clearly distinct from those found in 1970s Lincolns. It’s worth noting that Cressidas sold in Central America often featured fewer options compared to those in Japan or the US, with 1.8L and 2.0L four-cylinder engines being the primary powertrains and manual transmissions being common.
Cressida’s Enduring Legacy
Encountering this vintage Cressida sedan, bathed in golden light at dusk, evoked nostalgic memories and highlighted the model’s significance. The Cressida serves as a reminder of Toyota’s astute marketing and product positioning strategies during a period of growth and global expansion. It was a crucial stepping stone in establishing Toyota as a purveyor of luxury vehicles, even if that association would eventually solidify under a different name – Lexus.
Related Reading:
- Curbside Classic: 1978 Toyota Cressida Wagon – I Love What You Do For Me, Mini-Cordoba Wagon
- CC Capsule: 1978 Toyota Corona Mark II (X30) GL 2000 – Out In The Open
- CC Outtake: Toyota Cressida Wagon – From Brougham-Style To Bosozoku-Style
