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”
The FIAT Uno was one of the biggest selling and most significant cars of the 1980s. Then, it was such a common sight that one barely took note. Now, it’s invisible just because so few remain. Out of sight, out of mind; does anyone care anymore about the Uno?
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)”
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.
Has Centro Stile Fiat ever produced a design of lasting significance?
This is the question I found myself asking following a recent Driven to Write piece on Lorenzo Ramaciotti – (which I urge you to read). Because like many, I held firm to the view that Turin’s fabled carrozzerie were responsible for every design worthy of note. On the other hand, memory can sometimes prove a faulty co-driver, so I did what any self-respecting autophile would do at this point and revisited the Fiat group’s styling back catalogue in a quest for answers. So what I offer here is a list of significant Fiats of the last 50 years and who is believed responsible for their styling. Continue reading “A Question of Form”
This being, unofficially, the Fiat/FCA themed month, I feel like shedding some light on Fiat’s current styling policy and the man responsible for it.
And when I say “shedding some light”, I actually mean pointing out all the dark and shadowy areas that currently make up Fiat’s styling. More questions will be asked than answered, inevitably.
Superficially, the reorganisation of Fiat’s different Centri Stile in the wake of the company’s Marchionnisation seems to have been a straightforward example of streamlining. And, unlike the most famous jumper lover’s financial and fiscal shenanigans, this move appears to be both easily graspable and logical. Continue reading “What Exactly Is Lorenzo Ramaciotti Doing?”