Automobiles are more than just means of transportation. They are cultural assets, status symbols, and testimonials about technical evolution and industrialization. From the first steam-powered carriages to today’s electric and hybrid vehicle generations, the history of the automobile reflects societal progress and changes. In this “pillow-read” article, we delve into the little yet fascinating world of automobile museums, their history, successes, and challenges, and their future, with a particular focus on the history of Citroën.

1. The Object of Desire: The Automobile

The development of the automobile as we know it began in the late 19th century and marked a milestone in the history of mobility. From the first French steam-propelled Cugnot in 1770, the first French fuel-motorized vehicle by Panhard & Levassor, up to design icons like the Citroën DS (“Goddess”) and to today’s semi- and fully autonomous vehicles with a variety of drive concepts, V2X and other assistive technologies: the automobile has not only revolutionized how we move but also shaped culture and society. It altered dramatically transportation and laid the foundation for an industry that would define the 20th century until today.

The golden age of the automobile stretched from the 1950s to the 1970s, when models like the Ford Mustang, the Volkswagen Beetle, and the Citroën 2CV conquered the roads and became icons of their time. Citroën’s technological development culminated in the maximum purely mechanically-engineering feat, the Citroën SM, a timeless classic designed by genius Robert Opron, combining Maserati performance with the comfort of hydropneumatics: the “Concorde of the road” remains unmatched and is on par with other technological carriers like the Apollo mission and the Concorde at that decade that was driven by its spirit: “the sky is the limit”.

These vehicles fascinated not only with their technology but also with their design and symbolic power. The affordable prices of lower segments allowed individual mobility for lower income groups. The technological revolutions of recent decades and highly automated production lines have enabled many factories to produce new vehicles at a rapid pace. Nowadays, the “software-defined vehicle”, the “smartphone on wheels”, is practically “State Of The Art”.

The automobile is not only a pragmatic but also a highly emotional product. An object of desire, whether due to its form and function, technology and performance, or because of the people associated with it. Numerous services have also emerged around the automobile, addressing these themes and thriving on them. The “drive-in cinema” was one of those landmark in societal development.

Car enthusiasts and clubs have organized worldwide to share and celebrate their passion. Collections of historic automobiles emerged early on, often from private enthusiasm, and evolved into impressive collections tracing the history of the automobile, its inventors, drivers, and associated emotions. Also around Citroën a global network has established as early as in the 1970s, the Amicale Citroën Internationale (ACI) which connects about 70.000 club members in 1.000 clubs in 47 countries to each other: it’s world’s largest non-profit vehicle enthusiast network of a brand!

2. The Emergence of Automobile Museums

The first automobile museums emerged in the mid-20th century when the automotive industry already had a rich history. They established themselves as cultural institutions documenting and making the history of the car tangible. Successful museums feature attractive presentations, well-curated collections, and a close connection to automotive culture.

In the early decades, automobile museums mainly focused on static vehicle exhibitions. The cars were often presented in long rows, accompanied by information boards providing technical data and historical facts. These presentations were informative but often dry and lacked interactivity for the average visitor: a monologue instead of a dialogue.

In the 1950s and 1960s, systematic collection and exhibition of historic vehicles began. Notable early museums include the National Automobile Museum in Mulhouse, France, which originated from the Schlumpf brothers’ collection. These brothers had amassed an impressive number of rare and valuable vehicles, later made accessible to the public.

Over time, museums began to emphasize the technological and historical development more. Exhibits became more thematic to guide visitors through the history of the automobile. Historical contexts, such as the social and economic conditions under which certain vehicles were developed, were highlighted.

Interesting side note and anachronism: the country that is the cradle of the automobile and home to Europe’s strongest automotive industry, Germany, does not have any own government-owned national automobile museum…! But that’s a different story.

3. The Automaker’s Automobile Museums – And Their Evolution

In the 1970s and 1980s, interest in automobiles as cultural artifacts grew. The French philosopher Roland Barthes even spoke of the DS as the “cathedral of modern times”, as if it was beyond all earthly things. Many automakers recognized the value of preserving and exhibiting their historic models and founded their own museums. A significant example is the Mercedes-Benz Museum in Stuttgart, concepted 1961 and re-opened in 1986, showcasing the brand’s history from its beginnings to the present.

The 1990s brought a new wave of automobile museums, often with a stronger focus on brand experience and interactive elements. The BMW Museum in Munich, founded in 1973 and extended in the 2000s as BMW World exemplifies how museums began integrating modern exhibition techniques and multimedia elements, combined with the delivery of new vehicles to their first owners as an integral element of story-telling. The Porsche Museum in Stuttgart, reopened in 2009 in a new, modern building, also shows this trend towards interactive and experience-oriented exhibits.

In the new millennium, many museums introduced interactive elements. Visitors could now learn more about the displayed vehicles through touch screens, multimedia presentations, and simulations. The Autostadt Wolfsburg, opened in 2000, exemplifies this trend. Here, visitors can experience the development and production of Volkswagen vehicles up close, including test drives and interactive workshops, and pick up the brand new car they had bought.

These museums are successful because they not only tell the history of their brands but also offer interactive and modern exhibition concepts that differ significantly from historical collections and are more infotainment-oriented. They regularly host special exhibitions and themed worlds, events, and offer a comprehensive experience that goes beyond mere vehicle presentation. The integration of technology and the creation of experience worlds make these museums attractive destinations for a wide audience. Museums like the Louwman Museum in the Netherlands offer thematic exhibitions highlighting specific aspects of automotive history, such as “Cars in Film” or “Design Icons.”

Moreover, they manage to attract many visitors by combining new vehicle deliveries, allowing them to learn about the history of “their” brand along the way, fostering brand loyalty. Even the word “museum” is avoided to prevent a dusty image. The Autostadt Wolfsburg combines exhibition and theme park, where visitors can not only see cars but also test drive, drive, and experience the production processes.

4. Why Are Some Museums Unsuccessful?

Not all automobile museums have established themselves as visitor magnets; some have had to significantly reduce their expectations despite great ambitions. An example is the British Motor Museum, which often hosts rather few visitors despite its impressive collection, a personal observation made during some visits. Reasons may include an unattractive location, inadequate marketing, and a rather static exhibition concept.

A lack of innovation in the presentation and a limited range of special exhibitions and events also often contribute to the limited success. A lack of interactivity and insufficient visitor involvement mean that such museums are often perceived as dusty and boring, a monologue to the audience. In addition, competition from other leisure activities is fierce, making it difficult for museums to hold their own position against others taking their share of the free time of people.

5. Private Collections and Automobile Museums

Private collections of vehicle enthusiasts can be an interesting complement to public automobile museums. They often offer a personal touch and unique exhibits not found in large museums. Examples include the Rosengart Museum in Bedburg/Germany or the Citromuseum by Henri Fradet in France, showcasing rare and extraordinary vehicles with a “passion for the authentic” in a small space. Also the recently opened Collection Loh in Hesse/Germany is a precious gem created by one private enthusiast who could realize his personal dreams and visions to be shared with friends and the world.

These private collections, however, are usually accessible to a limited number of visitors and therefore cannot compete seriously with large museums. Nevertheless, they enrich the diversity of automotive culture and offer enthusiasts special experiences.

6. The Development of Preserving Citroën’s History

Specifically, we take a brief look at one of the latest developments, concerning the temporary closure and relocation of the Conservatoire Citroën, the brand’s historic collection in Aulnay-Sous-Bois, north of Paris, initiated by end of June 2024.

Preserving Citroën’s history has long been a challenge; the significance of “brand icons on wheels” was not recognized for a long time: they were just old cars, remnants of bygone days, only kept because of some individual engagements of employees who basically did that “below the radar”. Historic vehicles were initially kept hidden and led a miserable existence in underground garages and storage spaces, even rotting away. This changed with the founding of the Conservatoire Citroën in 2001, which played a central role in documenting and preserving the brand’s history and was open to visitors a few years later.

The Conservatoire Citroën was never designed to be a traditional museum but rather as an archive and storage, housing many historic vehicles and documents. It was somewhat isolated, placed rather lovelessly on the employee parking lot of the brand’s former production site north of Paris, and was not even prominently signposted, making it less attractive to the general public. Not even public transportation with a reasonably quick connection to the city center was nearby; a tourist magnet would be something different.

In the early years, a visit was not even possible as the necessary safety facilities for approval by the authorities were initially missing; only years later could small visitor groups of up to 40 people be guided through the rows of parked vehicles. Unfortunately, sparse information on signs, mostly not even multilingual, did not really provide detailed information about the models or history behind the tightly parked vehicles: it was more of a humble “3D stamp collection” than a testimony of an innovative brand that boasts many icons and commercial successes… and the visitor numbers of around a few thousand per year meant an average of double-digit visitor numbers per day: even with higher entrance fees, it would potentially not even pay for building heating and lighting…!

The outsourcing of the historical department from the corporation into a French non-profit association was a strategic decision by the corporate group; the official statement was that they founded the association L’Aventure Peugeot Citroën DS and outsourced all resources to professionalize the preservation of the brand’s historical heritage independently of the corporation’s commercial interests. This measure aimed to ensure that Citroën’s history would be preserved in the long term, independent of the parent company’s economic fluctuations.

With the closure of Aulnay-Sous-Bois as Citroën’s production facility, it was clear that the fate of the Conservatoire would eventually be sealed – one day, the new property owner would foresee a new use for the campus. Preparing for an re-location was already in the association’s project plans. But to where…?

7. Quo Vadis, Citroën History?

The evolution of automobile museums in Europe shows a clear evolution from static, information-orientated presentations to interactive, experience-driven exhibitions. Through the use of modern technologies and the creation of immersive experiences, these museums have developed into dynamic cultural centres that not only inform visitors, but also entertain and inspire them.

Citroën (Peugeot / Stellantis / …) must also move in this direction in order not to let its valuable, unique and, in particular, brand image-promoting historical heritage fall into oblivion. There is no need to be ashamed of history – it has not only been a guarantee of success for many decades, but an integral part of the leading culture of our time. It just needs to be redefined in the context of our time!

It’s worthwhile to briefly look back at this point to where it all started.

André Gustave Citroën, company founder and visionary, positioned his product differently in his day: it was an integral part of society. Born in 1878, Citroën founded the automobile company of the same name in 1919, which became synonymous with innovation, excellence and forward-thinking design.

Beyond his contributions to the automotive world, Citroën was a dedicated philanthropist whose endeavours extended far beyond his company. He was a man who recognized the importance of social commitment and invested in initiatives that improved public welfare and promoted cultural growth. His company was one of the first to offer employee benefits such as paid holidays and healthcare, setting new standards for corporate responsibility.

Citroën’s influence was not limited to his company; he played a significant role in shaping modern France. His investments in advertising and marketing revolutionised the industry when, for example, he turned the Tour Eiffel into the largest billboard in the world: 280,000 light bulbs, mounted on all 4 sides of the Eiffel Tower, casted his name in all directions; everyone who came to Paris associated the city with Citroën. Another landmark achievment: 165,000 road signs, introduced for the first time in Europe, helped drivers find their way through the country. Rather inconspicuously legible on the bottom edge of the enamel sign: “Don de Citroën”, “a gift from Citroën”; today one would say “Powered by Citroën”. It was Citroën who picked up Charles Lindbergh at the airport after his legendary Atlantic crossing because it recognized the significance of this achievement.

Citroën sponsored famous continental expeditions such as the “Croisière Jaune” or “Croisière Noire”, which boldly put French engineering in the spotlight. The most important thing from a personal point of view, however, were the rather inconspicuous trailers behind his “Kégresse” half-track vehicles: cultural artefacts were collected on the trips and afterwards presented in regional exhibitions throughout France for many years as “powered by Citroën”; in this way, school classes and other visitors could also learn about distant countries and their cultures, and incidentally, Citroën was perceived as a socially present brand. These endeavors strengthened national self-confidence and presented France as a leader in innovation and culture.

One of the most notable innovations of the cosmopolitan Monsieur Citroën was the introduction of the assembly line in his factories, inspired by his visits to Henry Ford. This not only increased efficiency, but also made automobiles accessible to the general public, democratized mobility and changed the daily lives of countless people.

André Citroën’s legacy is a testament to what can be achieved through vision, innovation and commitment to the common good. As we commemorate his life, we should also be inspired by his example and strive to make our own contributions to society just as meaningful and lasting.

8. Citroën history from 2001: a Balancing Act Between Emotion and the Quest for Money

Carving out the history of Citroën from PSA Group into an external non-profit association and initially providing some start-up funding with the obligation of being financially independent from the company over a short period of time was one of the biggest challenges ever, basically an unsolvable Gordian knot.

What would be assets to monetize, not only selling one-time only obsolete vehicles or duplicates from the archives? Who’d have an interest into delving into historic archives, photos and multimedia assets when 100s of books are already written on Citroën and its models, and zillions of historic press photos are freely available on the web? What tangible benefits would be available from a membership to that association, beyond being donator? What would set own spare part services apart from the competitors who already occupied the market, being small-scaled, flexible and offering good-quality products on their web shops without having to fear IPR licensing? Would a “Powered by Citroën” seal on a vehicle repair or restoration executed in their premises pay off substantially…? There are more questions than answers.

Another question could be asked which entity models are more suitable. A foundation has a more charitable and philanthropic purpose, is under state supervision and long-term commitments, and can receive substantial donations from other large donors or foundations.

Financially, there might also be benefits for Stellantis to prefer a “fondation” model. Significant tax benefits for donations and endowments, tax deduction, VAT/TVA benefits, sponsorship and advertising, … there might be a number of benefits for the companies’ CFO’s.

But there is more to it than the first-glance quest for money. It is what is in between the lines, e.g., the intangible cultural heritage assets.

9. Back to the Future of Citroën History

Citroën was shaped by thought leadership and countless first-implementations ahead of their time, deserving to be revived today. History must be redefined within the context of our time. Restructuring, rationalizing, optimizing, globalization are certainly temporary means to an end – helping to be financially sound and also satisfy the Stellantis shareholders – but they do not define the genes of a brand.

There can be debates whether 5,000 or 7,000 square meters are sufficient for a permanent exhibition of historic vehicles, or whether 1,000 square meters or more are enough for themed areas and special events.
Whether AR/VR experiences, touchscreens, and interactive displays are effective storytellers or if other formats are more meaningful.
Whether technology and design workshops and live demonstrations with webcasts, social media engagements are necessary.
Whether an event space for lectures, vintage car meetings, and similar events is required, or whether the space should serve as a place for B2B events, “accidentally fosteirng some cars in the background”.
How the FFVE, the French classic car association, the FIVA, the world classic car federation, and other cultural creators are involved.
How clubs and enthusiasts are interactively integrated.
How a modern visitor center with a souvenir shop should be designed.
Where a themed café and restaurant invite visitors to linger.
Whether a live restoration workshop behind glass engages and fascinates visitors.
Whether a spare-parts shop offers the most essential consumables and spare parts for takeaway, e.g., as a shop-in-shop solution by hosting 3rd party vendors…
And so on. Through the use of modern technologies and the creation of immersive experiences, dynamic cultural centers can develop that not only inform but also entertain and inspire visitors, and at the same time inspire young generations for individual mobility.

There can also be discussions about where suitable event spaces are located, whether e.g. near Aeroport de Paris – Le Bourget or Aéroport de Paris-Orly and therefore suitable existing transport infrastructure links. Or if it’s better to build smaller and instead, like the new “popup stores,” set up temporary teaser exhibitions locally and at times in cities outside of France that make you want to visit the actual history location at the new venue. Perhaps partnerships with Disneyland Paris and other non-automotive attraction sites are worth exploring to reach new target groups.

10. Conclusio.

Thus, this is an appeal to the brand and its management, to Stellantis and Carlos Tavares and the Executive Leadership teams behind, to be aware of their history and to integrate it proudly into their brand positioning like many others successfully do.

Citroën is more than just hydropneumatic suspension comfort of the DS19 and succeeding vehicle generations, the “gangster limousine” (Traction Avant), and the 2CV. It’s not just about state limousines for de Gaulle, Chirac, Mitterand and Macron, or the unforgettable “Gendarme of Saint Tropez” Louis de Funès with his Méhari. And it is not about a “3d-stamp-collection”, either.

It’s also not about semi- or fully autonomous vehicles, ride-hailing, ride-sharing, multi-modal rides, sharing economy, or whether the latest BEV-Citroën costs only 23,000 EUR and which market segments it addresses.


It’s about the DNA that defines us, Europe and beyond, that’s part of our society, culture, and life. It evolves into the future. In which Citroën is an integral part.

No future without past. Let’s preserve it together in a way that makes it enjoyable to experience and makes it part of our personal identity. We’re happy to support you, dear Citroën / Stellantis, in this initiative.

Thank you.

///Stephan Joest, President ACI.

PS: you can leave your opinion in the comments section below.