percent in 1956. The United Kingdom auto industry, which had also managed largely to avoid the front-engine/front-wheel drive trend of the 1930s, was excluded from Picard's figures. Engine specifications Styling and interior Overall, Dauphine styling was a scaled down version of the Renault Frégate, itself a classic three-box design of the ponton genre. Renault received styling assistance for the Dauphine at the request of Lefaucheux in June 1953 from Luigi Segre of Carrozzeria Ghia, especially with integrating the engine's air intake at the rear doors. The Dauphine had a front-hinged trunklid, which housed the headlights and opened to a seven-cubic-foot trunk. The spare tire was carried horizontally under the front of the car, behind an openable panel below the bumper. The interior featured adjustable front bucket seats and a rear bench seat, a heater, painted dash matching the exterior, twin courtesy lamps, a white steering wheel, rear bypassing (vs. roll down) windows, twin horns (town and country) selectable by the driver and twin open bins on the dashboard in lieu of gloveboxes. Exterior finishes included a range of pastel colors. Subsequent to its introduction, and as a promotion for both companies (and an early instance of co-branding), Renault worked with Jacques Arpels of the prominent jewelers Van Cleef and Arpels to turn a Dauphine dashboard into a work of art. Marrot at Renault In 1950, the president of General Motors (GM) had visited Renault, noting the cars' drab colors, inside and out. According to their own 1951 Survey, Renault's studies had shown that women held stronger opinions on the colors of a car than the actual choice of a particular model. Coincidentally, well-known Parisian textile artist Paule Marrot (1902–1987) had written to Renault's chairman, Lefaucheux, giving her opinion that the cars of postwar Paris were a uniformly somber parade, and wondering whether an artist could not help find fresh, vibrant colors. Marrot had attended Paris' prestigious L’école des Arts Décoratifs, had won a gold medal in 1925 at the Exposition Internationale des Arts Décoratifs et Industriels Modernes and had received a 1928 Prix Blumenthal. Convinced of her value to the project, Pierre Lefaucheux made her a member of the Dauphine team — "to rid Renault of their stuffy image. After decades of being dipped in various shades of black and grey, car bodies [would be] painted in happy pastels." Working with four others and after setting up a new test