Over the past two and half years or so, we have all experienced a harsh, if valuable lesson in the music of chance, in how unforeseen events can derail all best-laid plans and forecasts. Viewing matters though this chaotic prism, Maserati’s more or less decade-long deliberation over the future of its heartland GranTurismo offering appears almost wilfully indulgent.
Editor’s note: A more condensed version of this article was originally published on May 6 2017.
The introduction of the Maserati Biturbo in the Autumn of 1981 came as something of a shock, both for marque aficionados and industry watchers alike; Maserati, une grande maison, as former Citroën President (and Maserati overseer), Pierre Bercot might have put it, was at the time more associated in the mind as purveyors of automotive exotica of the most rarefied variety, with a hitherto unsullied pedigree and bloodline second to none. Hence the advent of a compact sports saloon bearing the fabled Trident of Bologna appeared incongruent to some, a matter of profound embarrassment to others.
But there was little room for sentiment or much by way of respect for tradition in the mind of Alejandro de Tomaso as he moved heaven and earth during the late 1970s to first re-establish the Maserati business on a firmer commercial footing, while simultaneously, expunging every trace of double chevron influence from the Viale Ciro Menotti. A cultural revolution then, as much as it was a creative one. But today we must Continue reading “Via Biturbo”
Concluding the story of the Biturbo and the models developed from it.
Apart from the coupé, saloon and Spyder variants, the Biturbo’s platform and mechanical package was the basis for an additional five closely related Maserati models. The first of these was the 228, unveiled in December 1984 for launch a year later as a 1986 model. This was a two-door coupé, but was based on the Biturbo saloon’s longer 2,600mm (102½”) wheelbase. The 228 was intended to be a grand touring coupé in the Maserati tradition and featured the first application of the enlarged 2.8-litre V6 twin-turbo engine. Although superficially similar in appearance, it shared no body panels with the Biturbo coupé, being both longer and wider than even the saloon.
The 228 was again designed in-house by Pierangelo Andreani. Overall length was 4,460mm (175½”) and width was 1,865mm (73½”), making it 60mm (2¼”) longer and 135mm (5¼”) wider than the Biturbo Saloon. The Biturbo’s geometric lines had been softened, with a gently upswept lower DLO line and more curvature in the bodysides. Continue reading “Maserati for the Masses (Part Three)”
Continuing the story of the Biturbo and the models developed from it.
The 1982 Maserati Biturbo was a fundamentally sound design, but a rushed development programme and hasty scaling up of production to meet strong initial demand had damaged its reputation for build quality and reliability.
In a later interview(1), Giorgio Manicardi, Maserati’s International Sales Manager, laid the blame for the Biturbo’s early quality and reliability issues firmly at Alejandro de Tomaso’s door. Manicardi had wanted to launch the Biturbo at a price of 22 million Lira, but it was de Tomaso who insisted on the sub-20 million Lira starting price. “As a result we lacked the [profit] margin to implement quality controls,” Manicardi contended. Moreover, de Tomaso allegedly maintained an iron grip on the project, to the extent that he rejected importers’ pleas for a cover to Continue reading “Maserati for the Masses (Part Two)”
DTW marks the fortieth anniversary of the Biturbo, a car that sired a range of more affordable Maserati models.
As seems befitting for an Italian company manufacturing sports cars, grand touring coupés and luxury saloons, Maserati S.p.A. has had a colourful and occasionally tumultuous history since its establishment in 1914. One brief period of relative calm began with the company’s takeover by Citroën in 1968. The deal was predicated on a joint-venture project whereby Maserati would design and build a new V6 engine for Citroën’s forthcoming flagship, the SM. Financed by French investment, Maserati introduced a new range of models, notably the 1971 V8-engined Bora, the company’s first mid-engined supercar, its smaller brother, the 1972 V6 Merak, and the stillborn SM-based 1974 Quattroporte II saloon.
Unfortunately, the Middle-East Oil Crisis of 1973 caused a collapse in demand for the sort of cars in which Maserati specialised. Citroën, struggling with its own mounting losses, put Maserati into receivership in May 1975. Political pressure to Continue reading “Maserati for the Masses (Part One)”
In the early eighties, long before both companies would find cover under the FCA and Stellantis corporate umbrellas, Chrysler and Maserati hatched plans for a luxury convertible to revive their tarnished prestige image. The two driving forces behind the venture were Lee Iacocca, the ex-Ford executive who had nursed Chrysler back from the dead a few years previously, and Alejandro de Tomaso, who at that time ran not only the sports car company that bore his name but also Maserati. He had taken the latter company over in 1976 with Italian government assistance after Citroën had bowed out. This would not, however, be Iacocca and de Tomaso’s first collaboration: in the early seventies the two had brought the De Tomaso Pantera to the USA(1).
In less than a couple of months we have witnessed the arrival of two new SUVs from the auto conglomerate’s revered Italian high-performance marques. We have, however, previously expressed reservations about the distinctly mass-market componentry underpinning the Alfa Romeo Tonale. As with the Alfa, this month’s debutant, the Maserati Grecale, represents a move downmarket for the marque, but the ingredients are rather more original and appetising this time around.
At its world premiere in the Alfa Romeo Museum, the Tonale featured two F1 racing drivers and brand CEO Jean-Philippe Imparato as presenter and host. In marked contrast, the Grecale had a duo of Italian actors in a film studio; Matilda de Angelis and Alessandro Borghi, with Maserati Design VP Klaus Busse cast in the straight man role, an unwitting butt of jokes, in the manner of a two-metre tall Ernie Wise. It’s either rather charming or just excruciating, like an overplayed piece of drama school coursework: are these actors really so beguiled by this overtly boastful, but ultimately rather shallow machine? Continue reading “Maserati Grecale – The Passion of St. Giorgio”
By 1965, Giorgetto Giugiaro was already a name of significance amid Turin car design circles – and by the mid-point of the 1960s, there were no design circles more influential or significant than those within the Piedmontese capital. The year in question was a highly significant one for the 27-year old automotive designer, having departed Stile Bertone somewhat abruptly that November, leaving behind several partly completed designs for his successor to complete.
It did not matter, Giorgetto was moving on; first to carrozzeria Ghia where a position awaited him, but he had other, more elaborate plans. His stay at Ghia therefore was brief; a couple of commissions, a pair of designs for the de Tomaso concern, and more significantly, the Ghibli gran turismo for Maserati, making its debut as a prototipo at that November’s Turin motor show.
An irregular current blows through the neighbourhood.
Maserati: the very name evokes charisma, although broad Yorkshire tones tend to offer a less divine-sounding Mazz-Uratty. The model names themselves convey equally evocative overtones; even a dusty, dry wind from North Africa manages to cleave enigmatic inflections – Ghibli.
Not the poster boy from the 1960s however – today we pore over the modern, everyday Ghibli – the tipo M157, revealed to the world in Shanghai 2013. Produced in the former Bertone manufacturing plant of Grugliasco, close to Turin, life for the new Ghibli began under FCA’s Centro Stile direction, Marco Tencone seemingly responsible for overseeing those dashingly good looks.
Butterflies arrive in many different guises – usually but not exclusively colourful – thumbnail to two large cupped hands in size, yet delicate, even when aggressive. Today, we cast our gaze upon one such farfalla, flying directly to some lucky devil you don’t know proudly carrying a new satin effect trident – the Maserati MC20.
According to lanky, charismatic German designer, Klaus Busse – in post for over five years now – their new supercar took twenty-four months to bring to fruition. A blend of technology and good old-fashioned honing skills brought about the car as a game of two halves.
The upper body being a product of initial fast sketches followed by in-depth projections and clay sculpting. Bereft of ugly wings or basking shark-aping openings is in part thanks to the exceptional attention to detail; over 2000 hours spent with chassis expert Dallara’s wind tunnel, combined with the ground-ward section of the car-attuned aerodynamics. The tub weighs less than 100Kgs: overall MC20 weighs just under 1500Kgs.
Composed of nine distinct provinces, Emilia-Romagna is an area steeped in millennia of military conquest and political upheaval – steeped too in religion, art, architecture, cuisine and craft – latterly of the industrial variety. Dominated by its capital, Bologna, the region might not justifiably lay claim to being the epicentre of the Italian motor industry (that honour falls to neighbouring Piedmont), but nevertheless, the Emilian province of Modena would become ground zero that uniquely Italian of late 1960s automotive confections – the Supercar.
Exotic cars were as much an Emilian speciality as Tortellini in Brodo. The primary reason for the former stemmed from the creations of the Maserati brothers, who formed their carmaking atelier in 1915. In the post-war era, the area of Modena, would not just become home to Maserati, but also Scuderia Ferrari, while the environs of Bologna would later house the more disruptive entrants, De Tomaso and Lamborghini.
By the close of the 1960s, something of an arms race had gripped the area within the Po Basin. Lamborghini was not first in the field, but its 1966 Miura was the most dramatic, both in technical density and quite obviously, style. After the Miura made its debut, no exotic Italian carmaker who wished to maintain credibility at least, could Continue reading “A Mighty Wind [Part One]”
A flawed masterpiece is still a work of art, as our German correspondent discovers in Maserati’s most comely of four-door models.
Sometimes, one can win the lottery without ever having to enter. As on the occasion of our recent trip to Antwerp, when we weren’t at the mercy of the Rental Car Lottery, but had, thanks to a generous friend, a confirmed reservation for the front seats of a car I’d always admired – the Maserati Quattroporte V, also known as Tipo M139 in marque parlance.
First unveiled in 2003, the Quattroporte V re-established the model at the luxurious end of the performance car market, after its immediate predecessor had gone for a more unusual/contrived positioning. As originally developed by Ferrari, Tipo M139 was initially available only with the kind of sequential gearbox Modenese engineers were besotted with in those days. The inherent clunkiness and appalling lack of refinement of this set-up did little for the sales prospect of a model that was otherwise deemed spot-on for its brand and intended market.
The example we sampled during our 1400 kilometre trip across western Europe was, thankfully, a later Sport GT model, which means it was equipped with a more mundane, yet far more serviceable ZF torque-converter six-speed auto. The Ferrari-based V8 engine’s output remained unchanged though, at 400 hp.
The history of Maserati’s Quattroporte model line is as intriguing as it is diverse.
To most people with an interest in automobiles, the Maserati Quattroporte needs no explanation. The moniker itself may be even older than that of the Mercedes S-class, yet longevity serves, at best, as half an explanation for the strength of the Quattroporte nameplate. Particularly as, in time honoured Italian fashion, there’s little continuity and wildly varying flair to Maserati’s successive four-door super saloons. Yet ‘a Quattroporte’ always remained a statement car. For one reason or another.
The technically advanced 1974 Maserati Quattroporte expired at birth. We chart its brief life.
When the Maserati Quattroporte was introduced in 1963 it became the first Modenese four door super-berlina, offering well-heeled customers the space and practicality of a sedan with the dynamism and vivid performance of a grand turismo. In 1969 however, production of the model ceased, with close to 800 built – a commercial success by Casa del Tridente standards.
A significant cultural shift had been under way at Viale Ciro Menotti – Automobiles Citroën having acquired control of the Modenese carmaker the previous year. With work quickly progressing on a new sub-3.0 litre V6 engine for the double chevron’s forthcoming grand turismo, Maserati engineering chief, Ing. Giulio Alfieri took a long hard look at Quai de Javel technology, in particular Citroën’s widespread use of centralised engine driven oleopneumatic applications for suspension, braking and steering, adopting them in varying intensity into forthcoming Maserati models.
But as the Franco-Italian alliance unravelled in the wake of both the energy crisis and Citroen’s financial collapse, work had begun on a new Quattroporte model, based wholly upon the chassis and technical underpinnings of the Citroën SM. Hence the AM 123 Quattroporte would be front wheel drive, employing not only a variant of the SM’s powertrain, but full Citroën-derived hydropneumatics.
The timelines are a little uncertain at this point, but muddying the waters to some extent was a concurrent commission from longstanding Tridente customer, Shah Karim al Husseini Aga Khan IV for a bespoke four-door saloon. Given a model code (AM 121), this car, based on a lengthened floorpan and suspension design from the production Indy GT model was powered by a 4.9 litre version of Maserati’s mighty V8 powerplant.
Something of a marque aficionado, the Shah had previously commissioned a highly distinctive carrozzeria Frua-bodied 5000 GT which was to form the basis for the first generation Quattroporte’s body styling. Once again, Frua was commissioned, this time producing an elegant, conservative shape, with a distinctively tall, slim-pillared six-light canopy treatment.
Two cars were built (the second was sold by Pietro Frua to King Juan Carlos of Spain) and were believed to have been developed to production standards, so it remains unclear as to why this attractive and comparatively cheap to produce design was not proceeded with. It’s been suggested by some marque aficionados that pressure was exerted from Quai de Javel to employ Citroën hardware, but the truth is that the impetus came entirely from Ing. Alfieri himself.
Carrozzeria Bertone was engaged to produce the AM 123 body design, which must have been something of a snub for Pietro Frua at the time. Creative Director, Marcello Gandini oversaw a modernist three volume shape, which thanks to the SM powertrain’s longitudinal positioning (mounted well back in the engine bay), avoided the usually unsightly dash-to-axle ratio which otherwise would have dictated the proportions.
Bearing a notable thematic similarity to Gandini’s Jaguar XJ40 proposal of the same year, the AM 123 Quattroporte carries its 1970 BMW Garmisch cues in an even more overt manner, not just in the surfaces and volumes, but in the bonnet and bootlid treatments, which are far more BMW in execution than anything previously associated with the Casa del Tridente. Only the nose treatment, which combined the fabled Maserati emblem with a Citroënesque six-headlamp arrangement suggests otherwise, although a set of kidney grilles would undoubtedly have sealed the deal.
Unlike the Jaguar proposal, the Maserati was a relatively harmonious form, but in essence, there was, just as with the Browns Lane study, little marque-specific resonance in its slightly bland overall appearance – Gandini again resorting to liberal use of brand iconography by way of compensation. The cabin too, while distinctly modernist, was not particularly attractive – a massive slab of dashboard with digital readouts for instrumentation and a sprinkling of SM goodness here and there, which combined to offer a rather mixed set of visual metaphors.
The 3.0 litre Maserati V6 was said to have provided less than vivid performance in the heavy Quattroporte bodyshell, but a larger capacity V8 derived from the same power unit was in the process of being developed. However as the car neared production – it had made its world premiere at that Autumn’s Paris motor show – the already precarious financial situation of their French parent reached a tipping point.
Maserati was placed in administration and with full homologation for the Quattroporte incomplete, the programme was cancelled with only thirteen cars built. Three are said to now remain. Under new owner Alejandro de Tomaso, a further attempt was made at replacing the Quattroporte, the resultant Quattroporte III being a hybrid of Tridente and de Tomaso genes, with body styling from Ital Design, itself believed to have been derived from another rejected Jaguar proposal. All roads, it would seem, lead to Browns Lane.
Marque aficionados remain divided on the subject of the Quattroporte II. Simply a four-door Citroën SM as some maintain, or a technological pathfinder of a new, less hidebound direction for il Tridente? Certainly its technical specification lends it an element of intrigue lacking in many of its stablemates.
There remains one area where it’s possible to speak with clarity however. Because Quattroporte II’s styling abundantly underlines that not only did Bertone’s resident design genius have more than his share of off-days, but that the fabled Italian carozzieri really struggled with the concept of the luxury saloon, especially when it came to the grand marques.
This fine concept from Maserati’s coachbuilt days illustrates how far from home the Tridente has drifted.
Maserati, at the height of their gilded age as an exclusive automotive atelier, produced a bewildering array of suave gran turismos and more overt sporting machinery, along with the occasional one-off for their more discerning clients. At the 1965 Salone di Torino, Carrozzeria Vignale, who carried out a sizeable proportion of Maserati’s styling duties displayed an elegant four-seater concept.
Is FCA’s Poseidon Adventure approaching its climax?
Last week, we examined FCA’s stewardship of Maserati and concluded that under the leadership of former CEO, Sergio Marchionne, several significant mistakes were made. Now that the carmaker is being lead by a newly constituted management team, what fate lies in store for the Trident of Bologna?
As has been reported, Maserati has seen a torrid 2018, shedding volume, margins and becoming an increasingly onerous drain upon the FCA business. At the end of October, as part of their responsibility to Continue reading “Fontana di Nettuno”
Maserati’s cornerstone product also happens to be its oldest, and by some margin. Where now for the GranTurismo?
Prior to his untimely demise, former FCA helmsman, Sergio Marchionne was frequently characterised as a heartless technocrat entirely lacking in marque fealty. It was a narrative he did little to disavow and while the truth may not have been quite as cut and dried as his many detractors alleged, there can be little doubt that he was a gimlet-sharp pragmatist who would employ all tools at his disposal to Continue reading “L’anima di Tridente”
Earlier this week, we reported on Maserati’s current woes. Today, we continue our analysis and pose a few uncomfortable questions.
In the aftermath of Sergio Marchionne’s untimely death earlier this year, many observers offered a range of views as to the former FCA Chief Executive’s legacy. As is customary in times of personal tragedy, criticisms were muted and delicacies were observed. In his stead has stepped new CEO, Mike Manley, tasked with steering the still-listing FCA vessel through another four-year plan unlikely to be worth the powerpoint programme upon which it was scribed – both then and given the subsequent turn of events, now.
Armed with a hefty fire extinguisher, a hastily re-scribbled plan (subject to further change, no doubt), and a reshuffled team, his task, even for the more successful of FCA’s brand portfolio looks onerous. But for the ill-performing upmarket end of the spectrum, and especially its embattled Maserati business, it’s impossible to Continue reading “Blunting the Trident”
Towards the end of ANE’s article is this bit: “Former FCA CEO Sergio Marchionne’s 2014-18 business plan for Maserati envisioned full-year vehicle sales of 75,000 units in 2018.” And I notice that in 2017 Alfa Romeo sold about 86,000 cars. FCA’s new boss, Mr Mike Manley has conceded that when Maserati was bundled with Alfa Romeo it ended up being treated like a mass market brand. By that he meant its interests were placed second to Alfa Romeo and there was not enough focus on the brand.
The history of the motor industry is littered with lost causes and alternative realities. Today, we look at one of the more poignant examples.
Even in automotive terms, Karl-Heinz Kalbfell is not a household name, although perhaps he ought to be. The late German engineer and product supremo enjoyed a stellar career at BMW and in 2004, landed what appeared to be not only a dream job, but one which promised truly great things.
Another year, another Maserati sales crisis. But just how tarnished are the Trident’s prongs?
It does appear at times that the only Maserati news is bad news. When we last reported on the Tridente’s fortunes in 2015, a woebegone tale was unfolding, with FCA’s Harald Wester revising his forecasts downwards in the wake of disappointing sales.
Last Autumn it was widely reported that production at the Mirafiori plant which builds the Levante crossover (and Alfa MiTo incidentally) was temporarily halted, owing to changes in Chinese regulations regarding the manner in which manufacturers and dealers should Continue reading “Hammer Time”
This post is something of a ragbag and it’s missing one photo.
A Maserati Ghibli pulled up next to me at traffic lights yesterday. As ever, I checked out the brightwork around the sideglass. Much to my amazement, Maserati opted for two pieces, instead of one, around the rearmost pane. For the kind of money Maserati want, I’d expect one single part. Opel and Kia can do it.
The Biturbo’s bigger brother appeared very much the sober Italian aristocrat. Unfortunately, both breeding and manners were slightly suspect.
The Biturbo could be said to have saved Maserati, yet is perhaps best remembered for its troubled reputation than any commercial, aesthetic or performance-related virtues. Whether such a reputation remains entirely justified is perhaps a question for another time, but what is often forgotten amid the flow of water under the Tridente’s bridge is what a significant step the Tipo AM331 was when first introduced in 1981. Continue reading “Trident Inversion”
In 2008 Touring Superleggera showed their reimagining of the 2003 Maserati Quattroporte, the Bellagio.
Jalopnik calls it station wagon while Superleggera call it a fastback. I would call it a hatchback. All they needed to do to get it precisely in tune with our vexing Zeitgeist is to add 10 cm to the ride height and jam in a 4wd system. That is a distracting comment. As it stands, Superleggera have managed to respectfully turn the very nice Mk V Quattrporte into a believable semi-estate car. Should we tag it “is now” or “was then”? The car is still listed at Superleggera’s website. Other sources (ahem) say four have been built – which is somewhat fewer than I would expect given the general excellence of the basic car, the skill of Superleggera and the allure of the Touring name. While there are not many new cars I’d like to own, I could think of things Touring Superleggera could do to Continue reading “Uncertain Smile”
It’s nice to think that Giovanni Michelotti spent some of his creative time trying to think of a suitable ashtray for this car.
He might have sat at his desk with samples from suppliers or he might have drawn some simple sketches and asked the artisans to run up a few prototypes. At some point Adolfo Orsi, the firm’s president, could have been invited to review the shortlist of possibilities. Perhaps he sat in the car and had a smoke Continue reading “Ashtrays: 1972 Maserati Indy 4700”
It’s time for yet another SUV. And yet another object lesson in why either the modern automobile or myself has lost the plot.
This time, it’s Maserati’s turn to ‘go Sports Utility’. Which isn’t so terrible in itself – after all it’s a clear case of ‘join ’em in the chorus or die singing your own melody’, but the resultant car, dubbed Levante, is as disappointing as it is dull.
I’ve had the pleasure of seeing the car in the metal (and in quite dimly-lit circumstances) at its unveiling at a local prestige car dealership, which made for an interesting study on the people the Levante has been designed for. Continue reading “Smelling The Wind Of Change”
Once you cross a Rubicon, there’s no going back. Maserati probably had little choice but to go crossover, but they weren’t without options. Last week we looked at one. Here’s another.
I think it’s universally agreed most things sound better in Italian. In fact I’d be prepared to wager even the Italian for enema sounds vaguely appealing. A personal favourite however is the Italian term for coachbuilder – carrozzeria. For me it conjures faded monochrome images of artisans hand beating aluminium sheet into something far lovelier than was strictly necessary. Most carrozzerie’s created memorable work, but Touring Superleggera’s back-catalogue of innovative design, spanned from the 1930’s and some of the most significant body shapes created for manufacturers like Bristol, Alfa Romeo, Ferrari, Jensen, Aston Martin and Maserati. Continue reading “Parallel Universe Levante – 2”
Wind of change: As Maserati finally reveals its commercially critical SUV in production spec, we take another look at a distant ancestor: 2003’s Kubang concept.
The Levante has been a long time coming. How long? Well, it’s been thirteen years since Maserati first dipped a hand-tooled loafer in the crossover stream. In the intervening period that’s become a raging torrent, possibly explaining the tougher-looking, higher-riding vehicle we can see and purchase, subject to the mercurial whim of FCA’s masters.
In that time, there’s been two concepts named Kubang to speculate over, the first of which is this 2003 effort, created at a period when Maserati was being reinvented under the auspices of Ferrari’s Luca di Montezemolo; the prancing horse having assumed full control of the Tridente in 1999. Continue reading “Parallel Universe Levante”
It’s been a while since I did one of these design reviews. It’s the new Maserati SUV which is really a kind of raised pseudo-estate. It still looks good, and far better than I had feared.
Maserati call this a cross-over, making it somewhere between an estate car, hatchback and SUV. Whatever it is called it looks purposeful and is much the most successful Maserati design since the second last Quattroporte. Recent cars have been rather busy and fussily detailed. This one is calm with enough subtle touches to explain its purpose without drifting into the realms of cross-over cliché. Continue reading “2016 Maserati Levante Resign Review”
It’s probable Frank Sinatra’s 1966 standard, ‘That’s Life’ currently plays on repeat at Trident Towers, given Maserati’s latest reversal of fortune. But how bad is it looking for Modena’s second son?
A year ago, we reportedon Maserati’s unexpected sales success with an element of scepticism, but for a brief time it appeared as though CEO, Harald Wester’s plans for the Trident were working. With plans for additional new models including the now ubiquitous SUV, volumes in the region of 75,000 per annum by 2017 looked entirely feasible; catapulting Maserati into the luxury car mainstream while creating a buffer for FCA’s loss of Ferrari revenues. But since spring, reports have hinted at slowing demand which a recent Automotive News piece appears to confirm. Continue reading “Maserati: Flying High in April, Shot Down in May”
Cars no longer differ from country to country, but once they had definite national characteristics. What happened when two nations met – collaboration, collision or confusion?
We now seem to have reached a consensus that the type of car most should be is ‘Germanic’, being lazy shorthand for something efficient, hard riding, fast enough and, usually, a bit clinical. Some sports cars remain, possibly, more traditionally ‘Italianate’ in spirit, being nervy, noisy and involving to drive. Nowadays, though, car making is truly a global industry where an Italian car maker might produce a model exclusively in Poland, and where the designers and engineers come from scores of different nations. Nearly fifty years ago this wasn’t the case.
Maserati’s natural history came to an abrupt halt in 1975. Survival meant change – not just a new model, but an entirely fresh approach.
It’s tempting to view evolution as a continuous series of gradual mutations, but events throughout history have illustrated it only takes a single catastrophic event to propel it in an entirely different direction – or stop it entirely. The 1973 oil embargo for instance was the motor industry’s very own fiery catastrophe and 1975 the year when the conflagration really took hold, consuming a swathe of specialist carmakers. Continue reading “Theme: Evolution – Adaptation, Diversification, Survival”
Today’s weekend morsel is an example from Maserati’s darker days of recent times. It’s a 1992 Biturbo, yours for about €20,000 (if bought in Denmark).
The first Biturbos date from 1981. Maserati hoped that the car would gain sales from that champion of small, sporty saloons, the BMW 3-series. To do this, Maserati equipped the two-door, four seat car with a 2.0 V6 engine, larded up with two turbos. Depending on which way you look at it, by 1993 Maserati had either ironed out all the problems or else got bored making the Biturbo. Continue reading “Something Rotten in Denmark: 1993 Maserati Biturbo”
Maserati’s 2014 sales gain is astonishing, but is it a false dawn?
One of the reasons the motor industry continues to be such compelling subject matter is its almost limitless capacity to surprise. Last week, we looked at FCA’s decision to float off Ferrari as a stand-alone business – a move that surprised many – (if not ourselves). Now however, we are compelled to eat a portion of humble pie on the back of sales figures for Maserati that appear to demonstrate the storied brand’s continued growth to be no mirage, despite strong misgivings we expressed on the subject back in May. Continue reading “The Trident Sharpens Its Prongs”
Today I had the chance to experience a car I consider to be among the most disappointing of recent years – the successor to the flawed yet glorious Quattroporte V. Gone is the lithe elegance of Ken Okuyama’s styling, making way for considerably more competitive technology, as well as simply gargantuan proportions. Continue reading “Hasty & Superficial: Maserati Quattroporte GTS (2014)”
The second of a two part examination of FCA’s European operations and the feasibility of Sergio Marchionne’s four-year plan to revive them. Part two – There will be blood:
FCA’s presentation made a point of telling the financial and automotive worlds just how much Marchionne is prepared to accept for the sale of Ferrari, suggesting the fabled Marenello concern is for sale; despite firm denials from within FCA itself. Some might say that he would be insane to do so – the ‘Cavallino Rampante’ being probably the most valuable automotive brand in the universe right now.
A two part examination of FCA’s European operations and the feasibility of Sergio Marchionne’s four-year plan to revive them.
Now that the captives have escaped, the presentations are complete and fruit and vegetables been thrown, perhaps it is germane to take a look behind the figures and statistics at the state of affairs facing Fiat Chrysler Automobiles in Europe as they painfully inch towards their eventual fate.