A trio of Citroën oddities in this take on that famous French creed – Liberté, Egalité, Fraternité.
1982 Citroen BX Coupé prototype
Seasoned Citroën fans are no doubt aware that Citroën toyed with the idea of a BX Coupé but never allowed it to reach the production stage; a full size mockup, looking somewhat like a mix of BX and Renault 11 3-door hatchback has survived and can be viewed at the Citroën Conservatoire.
There was however another, far more ambitious BX-derived Coupé in development for a time, also styled by carrozzeria Bertone. This project was initiated early in 1982, some months before the introduction of the BX hatchback at that year’s Paris Motor Show. Surviving documents reveal that this coupé was intended for a higher marketing segment and was also to Continue reading “Creativité, Rationalité, Pragmatisme”
Fifty years from the day it opened, we look back at the 1970 Salone dell’Automobile di Torino.
In late 1970 much of Europe was in the grip of a pandemic, but not one which hindered the annual motor show round which had started in neutral Amsterdam and closed in Turin with a high-art extravaganza where function took a distant third place after form and fashion.
The 1984 Alfa 90 was to all intents and purposes something of a placeholder. But does it deserve a better epitaph?
The early 1980s were difficult years for Alfa Romeo. Having abandoned its patrician pre-war roots for a more populist reimagining throughout the 1950s and ’60s, this once successful market realignment had started to unravel; partly due to its own failings as a business, both internally from a product, management and labour perspective, and also externally, owing to its close proximity in market terms to Lancia.
Unlike its Borgo San Paolo rival, who was by then reliant upon the financial support of the Fiat car giant, Alfa Romeo depended upon the largesse of the often reluctant Italian IRI state body for funding, while battling a depressed home market, ageing model lines and by consequence, little by way of genuinely new product.
We owe the existence of the gorgeous Giulietta Sprint Speciale to the racing career it never actually got.
From the moment the Giulietta Sprint was unveiled in 1954, it was clear that its technical specification made it a phenomenal contender for class wins in both circuit and road racing.
Alfa Romeo knew this well, and in 1956 the Sprint Veloce was born: power from the 1290cc twin-cam four was up to 90HP, while bonnet and doors (which got Perspex sliding windows) were aluminium instead of steel. Nevertheless, Portello was considering a Giulietta variant aimed even more explicitly towards motor racing, based on the short-wheelbase platform made for the Giulietta Spider.
More than two decades ago, two proud nameplates in the process of losing their lustre joined forces to create a splendid concept car perfectly in tune with its time.
During the mid-’90s, car buyers and enthusiasts were in an unashamedly romantic mood. Roadsters and coupés were the kind of niche models devised not just to polish a marque’s image, but to actually sell and earn money. Peugeot’s splendid (Pininfarina-designed and built) 406 Coupé being a particularly resonant example of this phenomenon.
In those days, Lancia not only offered a full range of models, but the marque’s image hadn’t been tainted quite beyond repair either. The recently launched Kappa executive saloon and second-generation Delta hatchback may have constituted the first steps of Fiat Auto CEO, Paolo Cantarella’s ambition to Continue reading “Denied: Lancia Kayak (1995)”
Marcello Gandini is rightly lauded as one of the great Italian car designers of the 20th century. However there is cause to suspect that he may have been allergic to cats.
The life of a design consultant is fraught with reversals. All that time spent scouting for commissions, late night oil expended preparing and revising proposals only to receive the thanks, but no-thanks brush-off from the prospective client.
For the Italian car design houses, this had become a way of life – some you win, some you lose. This was certainly the state of affairs in late 1973, when Jaguar’s then Managing Director, Geoffrey Robinson requested carrozzeria Bertone (along with rivals, Ital Design) to Continue reading “Genus Felidae”
Today, We enter the medios, and recall one of Lamborghini’s better efforts.
Automotive exotica are not what they were. Traditionally selfish devices, aimed at those who preferred to enjoy their pleasures in isolated splendour. Hence the requirement for additional perches not being terribly high on the exotic carmakers’ priority list. However, a gap in any market simply begs to be filled and Ferruccio Lamborghini was not an individual to Continue reading “Toro de Lidia”
Bertone’s Marcello Gandini had about as much luck with leaping cats as he did with prancing horses; this 1977 proposal being another in a long line of cars which could have been Citroëns. So much so, it ended up becoming one.
Over time, the Italian carrozzieri made numerous attempts to reimagine the work of Jaguar’s stylists, but with decidedly mixed results and limited success. Pininfarina, Ghia and Bertone had reconfigured various Jaguar models during the 1950s, while Michelotti also once rebodied a D-Type along radically different lines. But despite Jaguar’s Sir William Lyons maintaining both cordial relations and a weather eye on the major Italian styling studios, it took Bertone’s 1966 S-Type based FT concept to really capture his attention.
The first complete Bertone concept by senior designer, Marcello Gandini, the four-seater coupé was seriously evaluated at Browns Lane in both styling and engineering terms, with the Jaguar board that year exploring possible production. Gandini, like many within the Italian design community was keen to Continue reading “Gatto di Caprie”
The early promise of Fiat’s X1/38 design theme was quickly extinguished within centro stile Fiat. Was it a loss of confidence or something more seismic?
It was perhaps Fiat’s misfortune that the Ritmo arrived at a point where the design zeitgeist was shifting away from the stark modernism of the early ’70s to a more polished, yet more conservative aesthetic. This shift is vividly illustrated by the transition from Ritmo to the three volume Regata model upon which it was based. Continue reading “Broken Rhythm”