Car advertisements offer a snapshot of a different time. Welcome to a vision of Italy – mid-’70s style.
Today’s visual meditation rests upon that perennial DTW favourite, featuring press ads for two of the more indulgent offerings from Lancia’s abundant Beta family. These were expensively shot advertisements featuring high production values, and targeted at a discerning audience. During the 1970s, (before it all unravelled for them) Lancia’s UK importers spent a sizeable portion of their ad budget with publishers, Conde Nast, between full-page colour ads like these, and multi-page spreads made in conjunction with a fashion house(s) of choice.
Designer, Tom Tjaarda took two very different bites at the Lancia Flaminia during the 196os. Only one however is truly memorable.
During the Autumn of 1969, carrozzeria Ghia debuted the Marica concept at the Turin motor show, a styling study based upon the platform of the Lancia Flaminia, a car which had already ceased production. Not only that, but its maker had also gone bankrupt and was desperately seeking a benefactor.
Enter Alejandro de Tomaso, a phrase which would be uttered with increasing regularity within the Italian motor industry over the coming decade or so. Having purchased carrozzeria Ghia in 1967, he is alleged to have sanctioned the Marica study as a means of assisting Lancia’s bid to find a buyer – a statement which sounds suspiciously altruistic for such an automotive opportunist as he. But we are perhaps getting a little ahead of ourselves. Allow me to Continue reading “A Right Pair of Nymphs”
A Greek fable of a horse which was transformed into a crab.
“The public don’t know what they want – it is our job to tell them…” Sir Alec Issigonis.
Even as Britain entered the 1960s, product planning remained something of an alien concept to its native carmakers, the majority of whom viewed such matters as being the sort of recondite nonsense invented in the United States, and best left there. So too, in the eyes of BMC’s benighted Technical Director was the art of automotive styling, which which he famously once stated “tends to date a car.”
It’s a timeworn nostrum that any creative endeavour is only as good as the brief which underpins it, and in the case of ADO17 (or XC9001), brought to market in 1964 as the Austin 1800, the brief appears to have been a somewhat confused one. Was the car to have been a direct replacement for the ‘Farina’ A60 series, or a larger, more overt statement car? That seemed to depend upon who one spoke to.
We continue our examination of Sir Alec Issigonis’ BMC legacy.
While development of the Mini was progressing at Longbridge, the XC/9002 family car project, now carrying the ADO16 development code, was initiated. Issigonis envisaged ADO16 in very much the same austere style as the Mini, simply larger and with four doors. A prototype Big Mini was built at Longbridge and shipped to Cowley for further development.
Pininfarina and Mercedes – it wasn’t all bad. Just good – in parts.
There are certain carmakers and design consultancies who despite all positive signs to the contrary, never quite gelled creatively. Certainly, in places where the incumbent design heritage is sufficiently strong and embedded, there are few if any instances of a coachbuilder or styling house crafting a superior design to that created in-house. Mercedes-Benz during its patrician heyday and carrozzeria Pinin Farina (during its own) are cases in point, especially so if you Continue reading “Four Lessons from History”
Andrew Miles recalls an Italian-American design highlight from the creative heyday of the Latin carrozzeiri.
The late and prolific Tom Tjaarda left behind an amazing legacy of work; take at look at Richard Herriott’s obituary to him from June 2017, but for me there is one unusual, yet standout design I knew nothing about. That is until Matteo Licatta and his Roadster-Life website introduced a conceptual one-off from the hand of Michigan born, but Italian based sculptor, the Rondine.
Pronounce it Ron-deen -ay and to these eyes, this car is as pretty as a peach, as distinctive as any Ferrari whilst offering a symphony of speed that only the Hirundinidae can deliver. For the Rondine is underneath a Chevrolet Corvette C2. And here’s an unusual twist; General Motors’ Bill Mitchell commissioning Pininfarina to give the bodywork a good scrub up and tailor a new suit which made its Paris Motor Show debut in 1963.
As if the Corvette requires any form of introduction, but the Rondine, with that sharp suit of fibreglass adds a divine lightness to the form. Whereas the Corvette might Continue reading “The Italian Swallow”
Deep breath. I don’t think the 604’s styling has been given this level of consideration before.
Peugeot had a long standing relationship with carrozzeria Pininfarina, who prepared the basic design of the the 604. As was typical for Pininfarina, the design owed as much to other work they had done as it did to the character of their actual clients’ cars.
The exterior design was by what we might call the school of Paulo Martin, designer of the Fiat 130 coupé and Rolls-Royce Camargue. The record is not clear on the matter of authorship but a clear affinity among these cars can be seen in the angularity of the surface transitions and the flatness of the panels. Continue reading “An afternoon like dusk – The 604 story, Pt. 6”
A brake (or should that be a break?) from the norm for the Lion of Belfort.
The idea of the three-door shooting brake estate probably originated in the US (the 1955 Chevrolet Nomad being a prime example), but it was popularised – if such a term can be considered appropriate for such a rarefied product – by Ason Martin’s 1965 DB5; itself initially a one-off, built for AML’s chairman, David Brown, and later produced in miniscule numbers at owners’ behest by the Harold Radford coachworks.
In 1968, the Reliant Scimitar GTE also employed a shooting brake silhouette to positive effect, which not only proved transformative for the carmaker’s profile and reputation, but also gained them patronage from the British Royal family. Continue reading “The Riviera Set”
It can be stated without a trace of hyperbole that the Series III XJ remains the most commercially significant Jaguar of all time. Not the most successful, mark you; other XJ generations have sold in greater numbers, others still to come may yet again transform its fortunes, but the Series III remains to this day the car that single-handedly saved the company.
To quite some degree, the western view on Chinese tastes in car design has been informed by awe and condescension. This year’s Shanghai motor show suggests that may have to change sooner, rather than later.
China, as every donkey knows, is the centre of the automotive world these days. Without it, some of the fundamental changes to the business model of the western world’s car makers that are now on the verge of being addressed would have needed to be tackled a decade ago.
China is the lifeline of the car business as we know it, yet the dramatic dependance upon this market hasn’t resulted in similar levels of respect for it – quite the opposite, in fact. ‘That’s what the Chinese demand’ has been used as an excuse for a great many a dubious product and design decisions in recent years, often spoken with an expression of regret on the face of those so obviously forced by the Middle Kingdom to Continue reading “Auto Shanghai 2019: Misunderestimation”