Post by aerofoto - HJG Admin on Oct 1, 2022 7:22:45 GMT
"TELLING TAILS - The BA World Tails Art"
Pride in the form national/regional identity .... particularly in regard to patriotic colours, flags, and features of cultural symbolism .... have typically been the greatest influences behind creation of imaginative and colourful new liveries supported by many of the worlds major airlines over the past several decades.
In some cases bold use of unrelated rich and vibrant colour alone .... and even abstract designs too .... have been employed by some operators as civil aircraft fleets have literally been transformed into travelling billboards/psychedelic works of art in order to promote corporate visibility and project airline brands into the worldwide aviation market.
It may be said, and with justification too, that BRANIFF INTERNATIONAL AIRWAYS sparked this particular trend when it commissioned architect/interior designer Alexander GIRARD to revamp its image during the mid-1960's, and from which this airlines multi-coloured "GIRARD" fuselage liveries then evolved across its entire B707, B720, B727, BAC ONE-ELEVEN, DC-8, and L-188 fleet (a jar full of Jelly Beans reportedly having been the inspiration behind this colourful commercial concept) .... and which became a psychedelic revolution among airline colour schemes at the time.
B707-220 (mid 1960's)
B707-138B (mid 1960's)
B707-320C (mid 1960's)
B720-A (mid 1960's)
BAC ONE-ELEVEN 200 (mid 1960's)
B727-100C (mid 1960's)
B727-200 (mid 1960's)
DC-8-31 (mid 1960's)
DC-8 SUPER 62 (mid 1960's)
During the early 1970's BRANIFF also worked with sculptor/artist Alexander CALDER .... whom it commissioned to create equally colourful but abstract designs that were applied to a single DC-8 SUPER 62 (N1805 dubbed "Flying Colors") during 1972, and then to a single B727-200 (N408BN dubbed "Flying Colors Of the USA" and "The Sneaky Snake" by aircrew) in advance of the 1976 US Bicentennial celebrations.
B727-200 (mid 1970's "Flying Colours Of The USA" aka "The Sneaky Snake)
DC-8 SUPER 62 (early 1970's "Flying Colours")
A 3rd CALDER abstract theme was also commissioned by BRANIFF (dubbed "Salute To Mexico") during this period too and which was to have been applied to another of the airlines B727-200's (N409BN), however, CALDER passed away prior to completing this particular project and the livery was ultimately never implemented.
B727-200 (mid 1970's "Salute To Mexico")
Further exploiting its psychedelic prowess BRANIFF, during the mid-1970's, launched 2-tone "FLYING COLOURS" themes which resulted in each of the airlines B707, B720, B727, and DC-8 (and remaining BAC ONE-ELEVEN) fleet supporting a pair of contrasting fuselage and tail shades separated by a white pinstripe .... followed by its 1980's introduced "ULTRA COLOURS" themes featuring single base tones with contrasting fine tail, fuselage, and engine nacelle pin-striping along with revised script titles. The logic behind BRANIFF's multi-colour corporate and publicity concepts being .... "IF YOU'VE GOT IT FLAUNT IT".
B707-138B (1970's)
B707-320C (1970's)
B720-A (1970's)
B727-100C (1970's)
B727-200 ADV (1970's)
BAC ONE-ELEVEN 200 (1970's)
DC-8-51 (1970's)
DC-8 SUPER 62 (1970's)
B727-100 (1980's)
B727-200 ADV (1980's)
DC-8 SUPER 62 (1980's)
Also during the 1970's, and possibly on account of having been influenced by the BRANIFF culture in as much as the Latino lust for colour and artistic creativity, TRANS BRASIL AIRLINES introduced 3-tone "ESSENCE OF BRASIL COLOURS" and then 2-tone "ENERGY COLOURS" (reportedly created by the 12 year old son of an airline executive) across its entire B727, BAC ONE-ELEVEN, and DART HERALD fleet .... followed later by the airlines "RAINBOW COLOURS" livery theme featuring multi-coloured tail pin-striping with different coloured wing surfaces. AEROVIAS ECUATORIANAS within the same period implemented a selection of possibly similarly BRANIFF inspired CALDER type abstract liveries across its B707 and B720 fleet .... whilst AEROCONDOR COLOMBIA introduced a vibrant and eye-catchingly colourful livery composed of broad dual-symmetry maroon/orange bands applied diagonally across the entirely yellow fuselage and tail of its entire B720 and L-188 fleet.
BAC ONE-ELEVEN 500 (early 1970's)
B727-100C (early 1970's)
B727-100C (mid 1970's)
B727-100 (late 1970's)
B720-B (mid 1970's)
B720-B (mid 1970's)
B720-B/F (mid 1970's)
B707-320B ADV (mid 1970's)
B707-320B ADV (late 1970's)
B707-320C (late 1970's)
B720-B (late 1970's)
B720-B (late 1970's)
The late 1960's through 70's essentially represented an end of the Plain Plane Era as airlines began to compete as artistically as they did commercially through creation of imaginative and bold new psychedelically inclined corporate identities fit for fashions of the times. Other operators were similarly, but more reservedly, influenced by these period styles too and which resulted in many combining colour with national/cultural symbolism in order to stand-out their brands among the crowd at any airport location. During the very early 1970's QANTAS AIRWAYS applied an enlarged version its original "Flying/Winged Kangaroo" logo (the Kangaroo being an internationally recognized Australian icon) to the red tails of its aircraft and which was complemented by a orange-ocher full-length fuselage stripe all of which were intended to represent the Australian outback colours, whilst AIR NEW ZEALAND introduced its "Koru" tail logo (a distinctly New Zealand icon reflected throughout indigenous Maori art) with aesthetically pleasing 2-tone Pacific jade/blue full-length fuselage-to-tail striping symbolic of the stern posts on migratory canoes used by ancient Polynesian navigators during pre-European times and additionally reflecting colours of its South Pacific region.
B707-320C (mid 1970's)
DC-8-52 (mid 1970's)
DC-10-30 (mid 1970's)
Each of the above livery updates were composed of complete fuselage, tail, and in some cases engine nacelle make-overs .... rather than just tail feature modifications alone.
When BOAC and BEA were merged during 1971 .... to form BRITISH AIRWAYS .... a distinctive and unmistakably British identity resulted. This new livery (unveiled during 1973 and applied between 1974 and 1979) was created by UK based graphics design company NEGUS & NEGUS. It successfully combined the past heritage of both airlines and British national identity .... achieved through a union of BOAC blue and the airlines historic Speed Bird logo with a stylized quarter Union Jack flag tail theme that evolved from the 1972 introduced BEA livery, and which was complemented by new "BRITISH AIRWAYS" (later revised to just "BRITISH" only) titles represented in both upper and lower case font styles.
B707-420 (mid 1970's)
B707-320B ADV (mid 1970's)
B707-320B ADV (early 1980's)
BAC ONE-ELEVEN 500 (mid 1970's)
BAC ONE-ELEVEN 500 (early 1980's)
BAC CONCORDE 102 (mid 1970's)
BAC CONCORDE 102 (early 1980's)
L-1011 TRISTAR 1 (mid 1970's)
L-1011 TRISTAR 1 (early 1980's)
HS121 TRIDENT 1C (mid 1970's)
HS121 TRIDENT 1C (early 1980's)
HS121 TRIDENT 3B (mid 1970's)
HS121 TRIDENT 3B (early 1980's)
VC10 1101 (mid 1970's)
VC10 SUPER 1151 (mid 1970's)
This "NEGUS" livery was modernized during 1984 when the airline introduced its LANDOR & ASSOCIATES created identity. Though this particular livery was still based on the airlines Union Jack tail theme the upper fin portion became blue and was updated to include its corporate "TO FLY TO SERVE" crest .... with revised upper case "BRITISH AIRWAYS" font being applied over a pearl grey fuselage crown skin. The airlines classic/historic Speed Bird logo was also removed and replaced with a fine full-fuselage-length red Speed Wing stripe over the previously established blue lower fuselage section .... all of which combined to result an appealing identity better suited to the 1980's whilst also still retaining the airlines distinctively patriotic British flavor.
B737-300 (mid 1980's)
B737-400 (mid 1980's)
B737-500 (mid 1980's)
BAC ONE-ELEVEN (mid 1980's)
BAC CONCORDE 102 (mid 1980's)
BAe 146 300 (mid 1980's)
DC-10-30 (mid 1980's)
L-1011 TRISTAR 1 (mid 1980's)
This same BRITISH AIRWAYS livery then began to demonstrate signs of adjustment during the mid-1990's. The "LANDOR" version Union Jack tail theme, with the airlines crest, and blue lower fuselage were both retained .... albeit represented in a lighter shade .... and with the broad expanse of blue lower fuselage section also being proportionately reduced too. The full-fuselage-length red Speed Wing stripe was also removed from the lower fuselage, the former pearl grey upper fuselage was replaced with a pure white shade, and a futuristic blue/red Speed Marque logo was added to the upper forward fuselage .... with revised, and larger, "BRITISH AIRWAYS" titles represented in upper case font being applied beneath the forward fuselage cabin windows and above the remaining blue lower fuselage section. These modifications were only ever applied to a few of the airlines A320, B737, B747, and B767 fleet. As these adjustments seemed simple, and temporary, some aviation industry commentators at the time speculated the airlines apparent departure from its definitive "LANDOR" based livery signaled preparation for the introduction of another new or further updated identity .... whilst the airline remained tight-lipped in regard to its intent.
What eventuated though was a bold new tail livery make-over that was the brain-child (or brain-storm) of UK based graphics design agency NEWELL & SORRELL .... and which became the airlines "WORLD TAILS" (otherwise known as "UTOPIA") liveries theme. The plan was to dispense with the airlines quarter Union Jack flag tail theme of the past 20 years and introduce a selection of some 50 ethnically based modernistic/abstract tail designs by artists and contributors from around the world. All of the selected artwork was intended to be reflective of destinations to which the airline flew .... with different themes being applied among all aircraft types across its entire fleet. A motivating factor behind adoption of this "WORLD TAILS/UTOPIA" livery concept was a perception that the "LANDOR" livery reflected "an aire of arrogance consistent with mentality associated with the bi-gone British colonial era" and which the airline needed to be detached from in the interests of radiating an international image of "friendliness, diverseness, and openness to foreign cultures". Whether or not this was simply PR spin on the part of the agency attempting to market its/a strategy or misguided perception on the part of airlines corporate management is "unclear" .... but either way .... the airline "did" concede to the concept and which then resulted in these "WORLD TAIL/UTOPIA" livery themes being introduced.
It was also intended this make-over should project the perception of BRITISH AIRWAYS being "a global" .... rather than "a national or British" airline .... albeit one which "just happened to be" UK head-quartered. Needless to say many "were not amused" by such PR logic .... which seemed, to some, to dilute or diminish British traditionalism whilst also blatantly ignoring the fact that BRITISH AIRWAYS was undeniably, and historically, a "British born" corporate enterprise of which the UK could, and should, justly be proud and whilst it was also, during this time, being marketed as "THE WORLDS FAVORATE AIRLINE".
"BAUHAUS"
Also known as "STERNTALER/FAIRYTALE" .... by German artist Ante BRUGGEMANN .... was a theme representing the simple/rational but functional asymmetry of Bauhaus inspired design. It was applied across 3 of the BRITISH AIRWAYS fleet .... including that of its DUETCHE BA subsidiary.
B737-300
"BENNYHONE TARTAN"
This was one of the most favored of the "WORLD TAIL/UTOPIA" livery themes and was also known as "MOUNTAIN OF THE BIRDS". It was created by self-taught Scottish tartan weaver and historian Peter McDonald and influenced by WILLIAM WILSON & SON OF BANNOCKBURN colours. It was applied across 25 of the BRITISH AIRWAYS fleet .... including that of its South African based COMAIR franchise.
B737-300
"BLOMSTERANG"
Also known as "FLOWER FIELD". This particular theme .... featuring hearts and flowers .... was created by Smaland located Swedish ceramics and stained glass artist Ulrica HYDMAN-VALLIENN. It was applied across 7 the BRITISH AIRWAYS fleet .... including that of its South African based COMAIR franchise.
B737-400
"FLOWERS Of MAZOWSZE"
Also known as "MAZOWIECKIE KWIATKI". Inspired by flowers and Peacoke feathers this was one of two "WORLD TAIL/UTOPIA" livery themes created by Polish paper-cut artist Danuta WOJDA. Although applied to a single aircraft only it was two similarly based designs by the same artist that were adopted by BRITISH AIRWAYS.
B737-300
"FLOWERS FROM LOWICZE"
Also known as "KOGUTKI LOWICKIE" and "COCKEREL OF LOWICZ". This was the 2nd of two flowers and Peacoke feathers inspired "WORLD TAIL/UTOPIA" themes created by Polish artist Danuta WOJDA and which were applied across 10 of the BRITISH AIRWAYS fleet.
B737-400
"GOLDEN KHOKHLOMA"
Also known as "KUDRINA FROM SEMENOV". This particular theme was created by Taisia AKIMOVNA-BELYANTSEVA. Featuring both flowers and fruit it was based on Khokhloma folk art that is typically represented on painted wooden tableware produced within the mid-Volga region of Russia. It was applied across 3 of the BRITISH AIRWAYS fleet.
B737-300
"PAUSE TO REMEMBER"
Although this was never a part of the BRITISH AIRWAYS "WORLD TAIL/UTOPIA" livery themes .... it was applied across at least 3 of BRITISH AIRWAYS feet during the same period. Featuring both the "ROYAL LEGION OF HONOR" logo, and with additional "PAUSE TO REMEMBER" titles, these liveries became the airlines Remembrance Day tribute to those whom fell during both WW1 and WW2.
B737-400
"UNION FLAG"
Also known as "CHATHAM ROYAL DOCKYARD". This particular theme represents a stylized and waving British Union Jack flag .... based on a banner displayed at the Kent located Chatham Royal Dockyard. It was initially applied across the 7 strong BRITISH AIRWAYS CONCORDE fleet. A restyled version of this same theme eventually replaced all previously applied "WORLD TAIL/UTOPIA" livery designs .... to form the airlines current fleet wide/definitive livery following public objection to the lack of distinctly "BRITISH"/national identity expressed by the other "WORLD TAIL/UTOPIA" livery themes.
BAC CONCORDE 102
"WHALE RIDER"
Created by Joe DAVID .... this particular theme was based on a wooden carving representing whaling traditions, and which also incorporated mythological creatures from the native folklore of Canada's Northwest coast located First Nation Tia O Qui Aht people. It was applied across 9 of the BRITISH AIRWAYS fleet
B737-500
"WINGS"
Created by Danish artist Per ARNOLD this particular theme was also known as "VINGER" .... this was an abstract rendition depicting seagulls in flight. It was applied across 13 of the BRITISH AIRWAYS fleet.
B737-400
"YOUM AL-SUQ"
This particular theme .... created by Arabian artist Shadia ALEM .... was also known as "MARKET DAY". It was an abstract representation of the colour and vibrance associated with a typical Qahtani Tihama market within the Asir region of Saudia Arabia. This particular theme was only applied to a single BRITISH AIRWAYS B737-400.
B737-400
A number of the same/similar BRITISH AIRWAYS "WORLD TAILS/UTOPIA" livery themes were duplicated among its B737-300/-400/-500 and other fleet/aircraft types as follows ....
"ANIMALS AND TREES"
Also known as "KG'OOCOAN HEE NAKA HIAN THEE E". This particular theme was created by Cg'ose NTCOX'O .... an artist from the African Ncoakhoe tribe. It represents several wild jackals resting under trees beside a Kalahari Desert oasis. This was one of the first "WORLD TAIL/UTOPIA" livery themes and was implemented across 8 of the BRITISH AIRWAYS fleet.
B737-400
BAe 146 300
"BLUE POOLE"
B737-400
B737-500
Fashion designer and ceramicist Sally TUFFIN created this particular theme featuring both dolphins and seagulls .... represented in an art form that normally graces ceramics produced by Stoke-On-Trent located Poole Pottery. It was applied across 9 of the BRITISH AIRWAYS fleet .... some of which featured different shades of background blue.
"CHELSEA ROSE"
This became another of the most favored "WORLD TAIL/UTOPIA" livery themes and was applied across 23 of the BRITISH AIRWAYS fleet. Created by Pierce CASEY (a SUNDAY TIMES judged winner of the BRITISH AIRWAYS sponsored tail art design competition) .... this design was a textile inspired rendition of a classic English rose from the gardens of Chelsea and Battersea.
B737-400
BAe 146 300
"COLUM" ....
B737-300
B737-400
B737-500
BAe 146 300
"Colum" is the Gaelic reference to Dove. This particular Celtic theme, intended to invoke memory of St.COLUMBA, was created by Irish calligrapher Timothy O'NEILL. It was yet another of the most popular "WORLD TAIL/UTOPIA" liveries being applied across 24 of the BRITISH AIRWAYS fleet ... including that of its South African based COMAIR franchise. The B737-300, -400, -500, and BAe 146-300 versions of this particular livery "are not" identical.
"CROSSING BORDERS" ....
B737-300
B737-400
Islamic and Pharaonic imagery, associated with vertical tapestries used to decorate the interior of North African tents, became the inspiration behind this particular theme .... created by Egyptian artist Chant AVEDISSIAN. 5 subtly different, but otherwise interlocking, versions of this design were applied across the BRITISH AIRWAYS fleet.
"DELFTBLUE DAYBREAK" ....
B737-400
B737-500
Bae 146 300
Also known as "DELFTBLAUWE DAGARAAD". This particular theme was based on the style of artwork applied to Dutch ceramics dating back to the 15th century. Created by Hugo KAAGMAN. It was applied across 16 of the BRITISH AIRWAYS fleet ... including that of its South African based COMAIR franchise. .... and some of which varied subtly
"GRAND UNION" ....
B737-300
B737-400
This particular theme was created by Christine BASS (another SUNDAY TIMES judged winner of the BRITISH AIRWAYS sponsored tail art design competition). It was based on the artwork that graces narrow boats operated between London and the Midlands on England's Grand Union Canal. It was applied across 6 of the BRITISH AIRWAYS fleet
"NEDEBELE MARTHA" and "NEDEBELE EMMILY" ....
B737-300 ("Nederbele Martha")
B737-400 ("Nederbele Martha")
B737-400 ("Nederbele Emmily")
Martha and Emily MASANABO were both sisters from South Africa's NDERBELE tribe. The cultural manner in which NDERBELE women decorate their homes, objects, and traditional items of dress became the inspiration behind these distinctively African themes .... the artwork by both sisters artwork differing. The NEDERBELE MARTHA design was applied across 13 of the BRITISH AIRWAYS fleet .... whilst 3 of the airlines fleet supported the NEDERBELE EMMILY design.
"RENDEZVOUS" ....
B737-300
B737-400
Another one of the most popular "WORLD TAIL/UTOPIA" livery themes .... being applied across 22 of the BRITISH AIRWAYS fleet. Chinese/Hong Kong based calligrapher Yip MAN YAM created this particular design and which was an artistic representation of a poem relating to a contemporary Chinese tea ceremony.
"WAVES AND CRANES" ....
B737-300
B737-400
Also known as "NAMI TSURU" .... this particular theme was created by Japanese artist KAYAMA MATAZO. It was representative of Cranes flying over the waves whilst also symbolizing the cosmic world and soul of Japan. It was applied across 13 of the BRITISH AIRWAYS fleet.
"WAVES OF THE CITY" ....
B737-400
BAe 146 300
This particular theme was created by New York artist Jenifer KOBYLARZ .... and was representative of the colour and vibrance associated with a fast moving city frozen in a moment of time. It too was applied across 13 of the BRITISH AIRWAYS fleet .... including that of its South African based COMAIR franchise.
Aircraft operated by BRITISH AIRWAYS subsidiary and/or affiliate carriers .... AIR LIBERTE (France), COMAIR (South Africa), and DUETSCHE BA (Germany) .... also supported the airlines "WORLD TAILS/UPTOPIA" livery themes too.
AIR LIBERTE BA (France):
When BRITISH AIRWAYS acquired the majority share-holding in Orly based AIR LIBERTE, during 1997, it was in the process of launching its "WORLD TAILS/UTOPIA" livery themes. Most of the airlines fleet were emblazoned with a Human Rights legend reading .... "LES HOMMES NAISSENT ET DEMEURENT LIBRES & EGAX EN DROITS / MAN IS BORN TO BE FREE & EQUAL IN RIGHTS". MD-83 F-GPZA became the only AIR LIBERTE fleet member to support a BRITISH AIRWAYS "WORLD TAILS/UTOPIA" livery theme .... this particular aircraft featuring an artistic representation of the glass pyramid located within the central courtyard of the Louvre Museum in Paris and which was named "LA PYRAMIDE DU LOUVRE".
DC-10-30 ("HUMAN RIGHTS")
MD-82 ("LA PYRAMIDE DU LOUVRE")
COMAIR BA (South Africa):
Gauteng based COMAIR operated scheduled domestic services as a BRITISH AIRWAYS franchisee and ONEWORLD alliance member affiliate. It also operated low-cost services under its own KULULA subsidiary. Originally supporting the BRITISH AIRWAYS "LANDOR" livery .... the airlines B727-200 fleet featured BLOMSTERANG/FLOWER FIELD, BENNYHONE TARTAN, COLUM, DELFTBLUE DAYBREAK, WAVES OF THE CITY" versions of the BRITISH AIRWAYS "WORLD TAILS/UPTOPIA" livery themes .... and finally the "UNION FLAG/CHATHAM ROYAL DOCKYARD" livery upon it later becoming the definitive BRITISH AIRWAYS corporate identity.
B727-200 ADV ("LANDOR")
B727-200 ADV ("BLOMSTERANG/FLOWER FIELD")
B727-200 ADV ("BENNYHONE TARTAN")
B727-200 ADV ("COLUM")
B727-200 ADV ("DELFTBLUE DAYBREAK")
B727-200 ADV ("WAVES OF THE CITY")
B727-200 ADV ("UNION FLAG/CHATHAM ROYAL DOCKYARD")
DUETCHE BA (Germany):
This low-cost German subsidiary of BRITISH AIRWAYS was established during 1992. From both Berlin-Tegel and Munich it operated German domestic and international services as well as charter flights for tour operators .... along with feeder services from Germany to BRITISH AIRWAYS in the UK. As a BRITISH AIRWAYS affiliate its aircraft fleet supported the parent companies basic identity .... but with its Union Jack tail livery styled to reflect colours of the German national flag. Upon introduction of the BRITISH AIRWAYS "WORLD TAILS/UTOPIA" liveries from 1997, DUETCHE BA operated aircraft were emblazoned with "AVIGNON/GERMANY, BAUHAUS/STERNTALER, BAVARIA/EDELWEIS, and GOTHIC/CALIGRAPHY" titled themes .... each of which were based on German cultural art designs.
B737-300 (mid 1990's)
B737-300 ("AVIGNON")
B737-300 ("BAUHAUS/STERNTALER")
B737-300 ("BAVARIA/EDELWIESS")
B737-300 ("GOTHIC/CALIGRAPHY")
B737-400 (late 1990's)
Although popular with many the airlines "WORLD TAILS/UTOPIA" livery themes became equally unpopular with just as many more .... the latter disapproval being expressed in a much more controversial manner than had been envisaged by either the agency or airline through divisions these liveries created within the court of public opinion. In fact adverse reaction from some public quarters was akin to "the cosmic Big Bang" or England's "War Of The Roses". Even former British PM Margaret THATCHER was heard to weigh-in among the most influential of objectors and comment .... "WE FLY THE BRITISH FLAG AND NOT THESE AWFUL THINGS .... PUT THE FLAG BACK ON THE TAIL".
Not withstanding the artistic creativity and anticipated appeal these modernistic/abstract livery themes did foster (among some) .... it seemed (in hindsight) that brilliance of both professional graphics/design and corporate minds alike had grossly underestimated the very foundations of "British national pride" (in a fundamental disconnect) still cherished by many and which, in the case of the airline, had already been firmly cemented in place by public adaption to, and favor of, the airlines former distinctively British "NEGUS" and "LANDOR" inspired Union Jack flag based tail liveries of the preceding 20 years.
In short both the agency, and airline, appeared to have traversed a step too far in regard to public tolerances .... of time.
Despite this furor both anticipated (in yet possibly another fundamental disconnect) the "WORLD TAILS/UTOPIA" livery themes would, over time, find greater public appeal and acceptance .... both time and exposure usually becoming the most influential moderator/manipulator of social attitudes and standards. Some British tabloids (possibly the greatest manipulator of public perception in regard to those unable to formulate intelligent opinion independently) continued being scathingly aggressive in their criticism though .... and became even more relentless still as time progressed .... even going (however nonsensically) so far as to accuse BRITISH AIRWAYS management of being "traitors to both queen and country".
The total cost of implementing the "WORLD TAILS/UTOPIA" themed re-branding was an estimated £60 million .... of which £2 million was reportedly paid to both artists and agency responsible for the artistic concepts that formed the basis of this particular project.
In defense of these liveries BRITISH AIRWAYS reasoned .... "the greater majority of PAX traffic across its entire global network was of non-British extraction and mostly viewed the "WORLD TAIL/UTOPIA" themes favorably". To counter argument raised in regard to publicly perceived wastage of money associated with implementation of these liveries the airline also responded to the effect that such expenditure amounted to .... "no more than was required to be spent on routine fleet painting maintenance throughout the period of their implementation".
Loath or like these liveries each undeniably commanded attention wherever they were flown .... to the admiration of some .... and to the abhorrence of others. Despite certain negative push-back though BRITISH AIRWAYS possibly got "more bang for its advertising buck", and within a shorter period also, than might otherwise have been the case had it not attempted to introduce these liveries in the first instance.
However within 2 years of introducing the first of these liveries BRITISH AIRWAYS announced .... no further "WORLD TAILS/UTOPIA" themes would be introduced beyond what had already been committed to, those tail themes (by then) already introduced would remain, and the balance of the its fleet would then be re-branded with a re-styled version of its CONCORDE applied "UNION FLAG/CHATHAM ROYAL DOCKYARD" tail theme. By this time though a good proportion of the airlines entire fleet had already been "WORLD TAILS/UTOPIA" theme branded. Then during 2001 BRITISH AIRWAYS capitulated completely .... announcing it was abandoning the "WORLD TAILS/UTOPIA" liveries project altogether (due to the extent of negative public feedback) in favor of implementing the re-styled "UNION FLAG/CHATHAM ROYAL DOCKYARD" tail theme fleet-wide as the airlines new and definitive identity.
B737-300 (early 2000's)
B737-400 (early 2000's)
B737-500 (early 2000's)
BAe 146 100 (early 2000's)
BAe 146 300 (early 2000's)
The last of the BRITISH AIRWAYS "WORLD TAIL/UTOPIA" liveries ("WHALE RIDER" .... supported by A320-200 G-MEDA) remained visible though until 2006 when it was finally removed.
This presentation is intended to neither favor or denigrate the BRITISH AIRWAYS "WORLD TAILS" liveries, nor the artistic creativeness which inspired and then rendered each of the applied "UTOPIA" livery themes into existence, but rather, it is simply to document these liveries "in a historical context" (so far as such is possible in accordance with available HJG offered 3D model stock) and "in comparison with other colourful, cultural, or creative trends in airline/operator liveries that have evolved since the mid 1960's". In another time, and subject to different promotional (and "possibly" even media driven) circumstances, the BRITISH AIRWAYS "WORLD TAILS/UTOPIA" livery themes "might" have found greater appeal, but "possibly" (and perhaps understandably) not within the lifetime or among those of the countries mature population (of the period) whom had previously struggled, sacrificed, and fought for freedom/s under the flag that proudly represents the UK .... the very same flag which, since the mid 1970's, has been equally proudly and so prominently featured within the identity of the countries national airline, and especially considering the patriotic values "some" felt the "WORLD TAILS/UTOPIA" livery concept supposedly dispensed with in the name of corporate re-branding and marketing.
It is however interesting to note, some 25 years later, that a greater degree of positive interest now seems evident "among some" and in regard this brief but unsuccessful BRITISH AIRWAYS campaign than was ever expressed during its attempted late 1990's introduction. Generations pass and mind sets, along with social attitudes, can and do often change in accordance with the passage of time.
Whilst modern/abstract art is by no means any intruder or stranger in regard to the graphics/design trends of today's corporate world, it certainly cannot be assumed a new age of universal tolerance has by now emerged in relation to the social acceptance of such creative/artistic expression among corporate identities (especially in cases where corporations are regarded as international flag bearers of their respective nations), but, it is "probably" reasonable to assume that once bitten .... and now twice shy .... BRITISH AIRWAYS "may" be unlikely to ever attempt similar re-branding in the future .... at least not on such a bold scale as was contemplated during the late 1990's.
Mark C
AKL/NZ
