It has been said before, but bears repeating: no single European car designer has done more to shape the modern everyday motor car than Giorgetto Giugiaro, either during his time working for Bertone, Ghia or later for himself at ItalDesign.
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]”
Giugiaro’s favourite. Popular too with over 4.5 Million owners, the Panda was as good as it was clever – but was it great?
The most significant designs carry within them an essential seam of honesty – call it a fitness for purpose, if you will. This was especially apparent at the more humble end of the automotive spectrum; cars like the Citroën 2CV and BMC Mini bear eloquent witness to a single-minded approach to a highly specific brief. And while some of the more notable utilitarian cars appear to have taken an almost anti-styling approach, they were for the most part, sweated over as much as anyone’s carrozzeria-honed exotic.
Fiat’s original Panda is a case in point – appearing to some eyes as being almost wilfully unfinessed upon its Geneva show debut in 1980, it was in fact not only the brainchild of some of the finest creative minds of its era, but probably the final product from a mainstream European carmaker to Continue reading “Anima Semplice”
An Italo-American curiosity receives a broad DTW brushstroke.
Some cars emerge into the world fully formed, and regardless of where one lands upon their aesthetic merits, defy the facelifter’s scalpel, or indeed much in the way of subsequent enhancement. In stating this, I must add, I am not suggesting these cars were never the subject of facelifting exercises, more that perhaps they really ought not to have been.
Well, what is one supposed to do on vacation anyway?
As regular readers may have appreciated, I have of late been on holiday. I don’t do this sort of thing as often as I ought, but when I do, I like to set myself a little intellectual challenge, and given that my predilections tend towards the automotive, it is here these exercises more than usually rest.
The last time I ventured to this part of Southern Spain, the task I placed before myself was that of Green Car Bingo, which was an enjoyable (for me at least) divertion, but not really replicable. So given that the Andalucían city of Marbella would form my base for the duration, the quest I set myself was to was to Continue reading “Dos Marbelleros”
When maestro Giorgetto shuffled the deck in 1973, he certainly got his money’s worth.
The Ital Design Asso di Picche (Ace of Spades) concept emerged during what can perhaps be described as Giorgetto Giugiaro’s purple patch, when the maestro could barely put a stylistic foot wrong. An expressive styling study for a close-coupled four seater coupé, in this instance created in conjunction with both Audi and Karmann, it made its public debut at the Frankfurt motor show in 1973. Continue reading “Aces High”
The relative conventionality of the Delta dismayed marque aficionados in 1979, but it would go on to embody marque values of both performance and commercial longevity far beyond its seemly narrow remit.
The old guard was falling away. After a decade on sale, Lancia’s entry level Fulvia Berlina ceased production in 1973. The patrician compact saloon had proven a modest commercial success in its native Italy over that period, appealing to those who had both the means and the discernment to appreciate a such a finely wrought and technically noteworthy vehicle.
But while its mechanical specification left little to be desired, the level of complexity it incorporated would not square with that of Lancia’s new owners, who were masters of cost-control. Furthermore, its uncompromisingly rectilinear three-volume style had become widely viewed as outdated.
Unusually for the company, BMW’s large coupés have traditionally been rather fickle creatures.
The success of the German car industry is founded upon consistency and evolution. BMW is no exception, as exemplified by its core 3 and 5 series models, which have rarely deviated from the proven and tested formulae.
While other BMW models haven’t been as consistent and successful what with the 7 series never quite recovering from the after effects of the very disruptive E65 generation, it’s the brand’s large coupés that have been by far the most systematically unsteady. Continue reading “What’s It Going To Be Then, Eh?”
To try and understand what exactly went wrong with the proud Alfa Romeo brand over the past 15 years, there is no better example than this ItalDesign concept car.
Admittedly, there is a production car by the name of Alfa Romeo Brera, of which 21,661 units were built between 2005 and 2010 at Pininfarina’s Grugliasco factory. It even shares some visual traits with the 2002 concept car of the same name. But little of its character.
For the Brera, as originally envisaged by Giorgetto Giugiaro, was a genuine halo car. Which isn’t as far-fetched a proposal as it may appear at first, for Alfa had commissioned quite a few of these over the decades: From the outdated-yet-pretty 33 Stradale, over the charming-but-ill-conceived Montreal to the bold-for-boldness’-sake SZ. Continue reading “Denied: Alfa Romeo Brera (2002)”
With no regard to the risk of either opprobrium or canine displeasure, we stop to appreciate a flawed rarity.
While it could never be considered an outright penance, Alfa Romeo ownership could nevertheless be classified as something more akin to a calling, much like medicine, the religious orders, or perhaps, care work. Certainly here at Ireland’s Southern tip, the Biscione tends to be regarded with dark suspicion and their owners with a mixture of pity, mystification and at times, outright horror. In previous, less secular times, some might even have Continue reading “Our Love to Admire”
When it came to translation a car design sketch into a tangible object, craftsmanship and even cultural background used to be of the utmost importance.
As described earlier on, the technique and style any car designer chooses to depict his ideas is highly informative.
Back in the golden era of the Italian carrozzieri, however, this did not matter as much, as most of the legendary Italian car designers didn’t much care for impressive illustrations. Viewing the sketches of the likes of Leonardo Fioravanti, Marcello Gandini or Aldo Brovarone from today’s perspective, their artistic qualities appear rather naïve, to put it mildly. Continue reading “Adding Dimensions (II)”
The car designer’s sketch, and how it is turned into a three-dimensional object, are no mere technicalities.
How a designer illustrates his work matters. For any sketch betrays not only one’s technical skills, but one’s sense of proportion, style and, indeed, taste. To compare and contrast illustrations by some of the great car designers of the past with their descendants is therefore rather instructive.
Not just due to changing techniques and technology, the way in which designers depict their designs has dramatically changed over the past six decades. Whereas those stylists who had to rely purely on their hands, eyes and a few templates to create an impression of what they had in mind used to Continue reading “Adding Dimensions (I)”
For Robertas Parazitas it’s been a strange Salon. Great for star-spotting and social interaction, but none of the new crop of premieres and concepts lit the flame of his desire, or the warm feeling that the future of motordom is going to be all right, after all.
Continuing his review of the 88th Geneva motor show press days, Kris Kubrick consults with the oracles at GFG Style.
Last week, we presented the CAD-rendered images of GFG Style’s newest concept. GFG is the latest business venture of perhaps the World’s most famous (certainly most influential) car designer following his surprise departure from the VW-owned Ital Design, a carrozzeria now rendered doubly irrelevant.
Recently we posted an article about a concept car from GFG Design and we didn’t much like it. So, asked reader Adrian Tebby, what do we like? And why?
Even if this article might end up being a bit of a restatement, we might get to extract some general attributes of a worthwhile design. I have taken a little while to think about recent cars so if they are here again they can be judged in a broader context and over a longer time. In a sense this article is a “best of” the concept designs we’ve been writing about for the last few years.
Apart from contributing more than a few inventions of enormous importance and automobiles of superior significance, Fiat have also established themselves as true masters of the counterproductive facelift.
Italy unquestionably is a country of immense creative energy. More to the point, it is one of the hotbeds of automotive design and style, not to mention: taste.
And yet few marques have so comprehensively struggled to give its products a stylistic boost halfway through their respective productions runs as Fiat has. So much so, in fact, that describing any facelift effort as ‘Fiat bad’ acts as a fixed term denominating a particularly ill-advised attempt at refreshing a car’s design.