Search Results

In a quest for the ultimate sports car, Brothers Jim and Ed Gaylord commissioned the famed Brooks Stevens for the 1950s Gaylord concept car design. Stevens was an industrial designer, and the brothers asked him to build the first of their Gaylord concept cars for the 1955 Paris Auto Salon. His prototype was hastily completed and arrived just in time. A flashy, finned affair with a de rigeur-wrapped windshield, it carried a vertical grille opening reminiscent of the Classics of the 1930s. The grille was flanked by two huge headlights that one would expect to see on a prewar Rolls-Royce, but in a front thrust rakishly forward at the top. Front fenders were angled to match and cut back around the front wheels to leave them fully exposed. A contrast-color panel swept back from the fender hollows to the bottom and trailing edges of the doors, an effect Stevens called the “Washington Coach Door Line.” This was finished in ivory to contrast with the black used elsewhere — Stevens’ favorite color scheme. The rear end was topped by moderately tall fins, which were coming into fashion when the car was designed. Taillights were nestled into chrome bezels that capped the ends of the fins. Vertically ridged bright trim suggested rear grillework, which housed additional rear lights. Dual exhausts exited just above the narrow rear bumper. Seven chrome strips rode on top of the back deck, a feature DeSoto would adopt later for its hot Adventurer—extremely deep side sculpturing allowed for fully exposed front wheels and tires. A second, somewhat cleaner-looking car was soon constructed with smaller headlights but conventional fenders instead of the cutaway type. The biggest change in the rear was that the rear bumper had disappeared; in its place was a two-piece bumper that housed the exhaust outlets and left the entire center section of the car vulnerable. A retractable hardtop was again on hand per Jim’s instruction, with a recessed rear window and integral air-extractor vents, thus pioneering “flow-through” ventilation. The rear deck lifted at the touch of a button, and a chain drive pulled the top back into the trunk. In this, the Gaylord was a full year ahead of Ford’s 1957-59 Skyliner, which was considerably more complicated. The chassis was Jim Gaylord’s design, a solid chrome-moly tube type with coil springs and A-arms in front and a beam axle on leaf springs at the rear, all very well-damped. The first prototype carried a 331-cubic-inch Chrysler Hemi, but Cadillac V-8s were installed in two later cars (which also had full front fenders) and in one unibody chassis. The chosen transmission was GM Hydra-Matic, modified so that full-throttle automatic upshifts came at peak revs. Source: OldConceptCars.com

In the world of automotive history, there are concept cars that leave a lasting impression, even if they never make it to mass production. One such marvel is the 1956 Nash Rambler Palm Beach Concept, a stunning prototype developed by Pinin Farina at the request of Nash designer George W. Mason. Origins and Design: Named after the sunny and upscale location of Palm Beach, Florida, this concept car was built on the Nash Rambler platform, a project dear to George Mason's heart. George Mason had a keen interest in small-car designs and had previously collaborated on the development of the popular Nash Metropolitan with Austin of England. The Palm Beach Coupe shared similarities with the Metropolitan's chassis but featured a unique built-up box section around the sills to support its exquisite body. Jet Age Influences: The Palm Beach's design drew inspiration from the Jet Age of American design. Its sleek and aerodynamic profile boasted prominent rear tail fins, reminiscent of the era's futuristic aesthetic. Adding to its charm, the circular front intake was borrowed from the PF 200 Lancia, another Pinin Farina creation from 1953. Despite its American roots, the Palm Beach retained a touch of European flair thanks to Farina's design expertise. Interior and Features: Inside the Palm Beach, comfort and style took center stage. The car provided ample room for two passengers, featuring bucket seats with luxurious leather upholstery. The driver enjoyed a two-spoke wooden steering wheel positioned in front of a custom binnacle housing Nash-Healey gauges. The vehicle boasted a floor-mounted 3-speed manual gearbox, deep pile carpets, and adjustable bucket seats, creating an ambiance of elegance and sophistication. Promising Debut and Unfortunate Fate: The Palm Beach made its grand debut at the Turin Auto Show alongside prestigious vehicles like the Alfa Romeo Super Flow I and the Lancia America. It was poised to become the production replacement for the Nash-Healey, but fate had different plans. The project never reached fruition, and the Palm Beach remained a one-of-a-kind prototype. A Legacy Preserved: After AMC (American Motors Corporation) canceled the Nash and Hudson brands, the Palm Beach ended up in the personal collection of Roy Chapin Jr., Chairman and CEO of American Motors. Eventually, it found a new home in the collection of Joe Bortz, a passionate collector of dream cars. Jacques Harguindeguy later acquired the car and undertook its first restoration, showcasing the car at the 2009 Pebble Beach Concours. A Glimpse into the Past: The 2010 Amelia Island Auction saw the Palm Beach on the bidding block, but it did not change hands. Nevertheless, this iconic concept car continues to captivate automotive enthusiasts, standing as a testament to the ingenuity and creativity of its era. The Legacy Lives On: Although the Palm Beach never became a mass-produced reality, its legacy lives on. It remains an emblem of the era's design innovations and a cherished reminder of what could have been. Its striking appearance, forward-thinking features, and Pinin Farina's visionary touch make the 1956 Nash Rambler Palm Beach Concept an unforgettable gem in the rich tapestry of automotive history. Sources: by Jessica Donaldson, ConceptCarz.com

Fiore's much less elaborate coupe for the Ford V8-engined TVR Trident is very different from his provocative Elva-BMW seen at the London Show. While the car exhibited was incomplete mechanically and not quite to production specification in certain other respects, a demonstration car is doing the rounds. At the back is an enormous expanse of windows set at a rakish angle. It is all very striking, if unlikely to suit the majority taste. Trevor Frost persuaded Carrozzeria Fissore to build two Tridents (no 1 and no 2) on a Grantura/Griffith chassis. They were finished just in time for the 1965 Geneva Motor Show. The Tridents were nothing like a TVR had ever been; in some respect, they resembled more an eighties' 350i Coupe than a classic TVR. The 'wedge' bodywork was steel with a one-piece aluminum bonnet. Power came from a 4.7 liter Ford Cobra V8, developing 270 bhp, linked to a four-speed gearbox. The wheels were Dunlop 72 spokes. The Italian roots were reflected in the Alfa Romeo rear lights, Fiat front lights, and many Alfa Romeo switches inside. The new TVRs got a warm welcome from the motoring press, and according to the Daily Mail, the Trident was the most beautiful car in the world. When the Geneva show closed its doors, TVR had received orders of over £150,000. Inspired by this success, TVR ordered two more Tridents from the Fissore workshops, this time a coupe (no 3) and a convertible (no 4). These two cars were to become test cars to make the development of the Trident possible. Sources: www.classiccarcatalogue.com - Geneva report; www.pistonheads.com Images: Andre LE ROUX; www.forum-auto.com; www.classiccarcatalogue.com

Bold is the look of the "V. I. P.", Plymouth’s new idea car, which will be shown for the first time at the Chicago Auto Show, starting on February 20. The over-all car has a futuristic design. The metal part of the top is a longitudinal roll bar, which acts as a guide for the upper portion of the flexible top glass. This glass retracts into the trunk area making it virtually an open car. The car’s external paint is new and unique. Although the basic color is magenta, the paint is iridescent and changes in various shades from pink to brown, according to the way the light strikes it. The interior of the car is designed for maximurn соmfort and on the instrument panel, a television set which can be viewed by all passengers, but is shrouded from the driver’s eyes. For auto show sections. Plymouth XP-VIP, Plymouth's new idea car, which is designed to provide the ultimate in comfort, convenience, communication, entertainment and safety for freeway travel. The metal part of the top is a longitudinal roll bar, which acts as a guide for the upper portion of the flexible top glass. A striking new chameleon-type exterior paint in magenta features iridescent tonal changes from pink to brown to copper according to the way light strikes it. Power-operated head rests in front and reclining seats in the rear highlight the car interior. In the center console are a tape recorder, stereo and telephone, and on the instrument panel, a television set that can be viewed by all passengers, but is shrouded from the driver's eyes. Source: CHRYSLER-PLYMOUTH DIVISION - Press Release, February 17, 1965 Images: Chrysler Corporation, www.autoweteran.gower.pl; Getty Images; oldcarbrochures.org

This special one-off Kadett by Vignale was initially built as a Convertible on the underpinnings of '64 Opel Kadett A and shown at the '65 Geneva Motor Show. The same year this open-top Kadett was converted to a Coupe and to be shown at the Turin Motor Show. Images: www.vignale.org

This special one-off Kadett by Vignale was initially built as a Convertible on the underpinnings of the '64 Opel Kadett A and shown at the '65 Geneva Motor Show. The same year this open-top Kadett was converted to a Coupe and to be shown at the Turin Motor Show. Images: ruoteclassiche.quattroruote.it

1965 Experimental GT: When we look at this icon of automotive design, it immediately becomes clear that this vehicle already embodied today’s design philosophy, “Sculptural Artistry meets German Precision,” to contemporary perfection. In 1965, the heart of every Frankfurt Motor Show (IAA) visitor beat faster at the sight of the Experimental GT’s breathtaking lines, while journalists and industry experts were impressed with the unique, front-mid-engined concept and the sporty two-seater’s novel, pop-up headlamps. Originally developed as a high-performance laboratory on wheels for testing chassis and engine components, the Experimental GT was never planned for production. But after the car's frenzy with the press and public, the concept became a reality three years later. Opel had set a precedent: the 1968 Opel GT was the first European concept car to go into series production. It was a role model for the industry: the trend-setting concept of an affordable, sporty dream car. Opel was the first car manufacturer to demonstrate its innovative power with a concept car entirely created in its design facilities. "Besides having a fantastic look, the Opel sports car was primarily designed to impress with sophisticated aerodynamics," explains Erhard Schnell, GT designer at the time. Even the headlights were shrouded to reduce air resistance. The Experimental GT followed a new design style often called the "Coke Bottle Shape," which could also be seen reflected in the design of the Corvettes of the time. A sleek front end with retractable headlamps, tapered flanks in the door area, and bulging rear fenders flowed into the rear with sharp separating edges and round brake lights - these were the Experimental GT's key design characteristics. The cockpit of the Experimental GT was unusually roomy and functional, with full instrumentation set in an impressive-looking dashboard with toggle switches, a competition steering wheel, and a short shift lever. A parcel shelf behind the seats could only be accessed through the main doors. Behind the parcel, the shelf was a fold-up panel that concealed a spare tire and jack. Source: www.opel.com Images: GM

This dream car was a high-performance roadster. The car was shortened sixteen inches and featured custom sheet metal, sequential turn signals, a white leather interior, and pearlescent blue paint. George Barris customized this Comet in six weeks. Source: www.wingedmessenger.net Images: Lincoln-Mercury

Mercury Comet Cyclone Sportster Concept, 1965. A customized Comet designed by Mercury and built by Gene Winfield. The Cyclone Speedster used the wrist-twist steering system Ford was experimenting with at the time. Source: carsthatnevermadeitetc Images: Ford

Based on a 1963 Lincoln 4-door sedan, the 1965 Continental Town Brougham show car had a 131-inch wheelbase, 8-inches longer than the production car. Under the long hood was a 320 horsepower, 430 cu. In. V-8, connected to an automatic transmission. Featuring an open chauffeur compartment, the exterior was finished in dark blue. The blue/green metallic-tone leather interior was accented by walnut moldings and large Continental emblems embroidered into the seatbacks. There was a limousine-type division window to separate the driver from passengers, but an intercom kept them in touch. An exterior styling update to the Lincoln Continental Town Brougham Show Car was done to reflect the current 1965 Lincoln Continental styling. This included the replacement of the front fenders, grille, front bumper, rear tail lamp lenses, and rear bumper. The front fender is turning light, and Continental Star emblems did not reappear on the 1965 car. A double chrome rocker panel molding was added, as was a simulated pull-out roof section over the chauffeur's compartment. Last year's Plaza Blue Pearl color remained the same, although it was renamed Dark Blue Pearl. The Town Brougham was still not designed to be driven other than for very short distances and at low speeds. It was never considered for production, although Automotive Mileposts has documented a 1965 Lincoln Continental Sedan that appears to have factory-installed S-bars on the roof sides. At the time of documentation, the car still wore its original Arctic White paint, White vinyl roof, and White and Black two-tone leather interior. The S-bar inserts were white to match the vinyl roof color. It is certainly possible the dealer added the S-bars at the delivery time. However, the original owner's grandson said the car was ordered that way and delivered from the factory with the S-bars in place. We've never found anything to indicate a special trim package for the 1965 Continentals. Still, it is certainly possible the additional trim could have been provided to Lincoln dealers in cities where the Town Brougham appeared. This particular car is one of two we have seen with the S-bar; the other one was Arctic White with a Black vinyl roof and Black leather interior. We could not document this car as we were the all-white one. The Town Brougham still exists today and is a rare example of a Ford show car that survived and was later sold to the public. Sources: www.chicagoautoshow.com; automotivemileposts.com Images: Ford; www.chicagoautoshow.com; www.barrett-jackson.com

Touring’s proposal for the design of the Miura. Scale model codenamed ‘Tigre’, 1965. Images: Touring Superleggera; Car Styling Design - BBS

The beginning of the collaboration between Zagato and Lamborghini dates back to 1965, when the Milanese brand conceived two exemplars of the Lamborghini 3500 GTZ on the mechanical basis of the 350 GT. During an official meeting in Sant'Agata Bolognese with Ing. Stanzani - body division - and Ing. Dallara - technical division - Elio Zagato, first son of founder Ugo, proposed the construction of a 350 GT with a unique body for Marquis Gerino Gerini, former F1 pilot. The 3500 GTZ was officially introduced at the 1965 London Motor show. Zagato received a shortened chassis and dressed it with a light aluminum body with surfaces and volumes adopting the typical Zagato cut-tail: a solution that originated from the philosophy at that time for racing cars with a Zagato body and transferred with success to a more comfortable and well refined Gran Tourism car. Some weeks after, Zagato received a new order from Dani Gambirasi, cousin of Giuseppe Pesenti, at that time Head of Lancia. Source: Zagato Images: Zagato

At the 1965 Turin Auto Show, the public could admire an exceptional 350 GT; Touring had designed and built a convertible along the same lines as the closed model and designated it the 350 GTS (or 350 GT Spyder, as it was sometimes called). Only two were ever built, one was displayed on the Touring stand (the black one), and the second, a yellow/gold painted one, was put on the Lamborghini stand. Only marginal modifications were made to the original car; the roof was removed. Naturally, the windows were altered, and the trunk was redesigned to store the top. The dashboard and the central console in these GTSs were also slightly changed and looked even better than those in the GT-version of the 350. Touring even designed a hardtop for this car because it was thought this car would go into reduced production. Touring was going through a challenging period, so production remained at only two vehicles. Ferruccio wanted to create a quiet, all-wheater car with top performance, and a convertible didn't qualify. Source: www.lambocars.com Images: www.lambocars.com

As a side note to the successful X-Car program, and in the context of the enthusiasm present throughout the Ford Styling Department, Gene Bordinat directed the styling studio to create a second version of the Cougar II for him. Bordinat wanted a dream car of his own, much as Bill Mitchell was then enjoying at General Motors and what Harley Earl had done earlier. Always interested in innovation and good styling, Bordinat’s customized X Car was a stunning statement of the kind of elegant, droptop Ford sports car that could be created. Called alternatively the XP Cobra or, more authentically, the Bordinat Cobra, this iridescent honey gold iteration of the Cougar II was a beautiful roadster with a body fashioned from Royalex – a miracle "memory" material that recovered from minor dents. The Bordinat Cobra was the first coil-spring chassis Cobra, has a unique plastic body painted metallic silver, and features a 289 High-Performance engine with a C4 automatic transmission. The Bordinat Cobra was also built on a 427 Cobra (coil spring) chassis, # CSX3001, and, like the coupe, required the Ford small block motor to be set back in the frame to clear the low hood line. The Bordinat Cobra was an essential part of the Ford Division’s wonderfully creative explosion of practical – but still dramatically styled – concept cars that directly precipitated the production of the Ford Mustang and additional corporate show cars in the rest of the Sixties. Although it was in many ways a "dream car," the Bordinat/XP Cobra was never a part of Ford’s second generation X Car program. Apocryphal evidence and urban legends suggest that Bordinat used the car regularly for at least a year. Ford expert Jim Burgy notes, "...the Bordinat Cobra has not been restored -- it is in its original condition, complete with paint and drivetrain. It has been washed and waxed, but NOT repainted or restored." Source: www.saac.com; www.thelynxproject.org Images: www.shorey.net; Ford; Jim Burgy

The prototype was designed at the Ford Design Center in Dearborn, Michigan. Ford Division's experimental 1968 Mustang Mach I has many design features of the production Mustang and Font GT competition vehicles. The front end of the Mach I has a recessed grille, and rectangular headlights set horizontally in the fenders. A twin-louvered hood and 64-degree windshield angle accentuate the ricing’ look of the car. Air intakes in the body just behind the doors provide extra cooling to the rear brakes. Wheel openings are flared to accept special wide-oval, low-profile racing tires mounted on cast aluminum alloy wheels; side marker lights are mounted on the front and rear fenders. Mustang Mach I was designed at the Ford Design Center in Dearborn, Mich. Mach I was a Mustang fastback prototype with an extended front clip, functional air intakes, and a competition-type ducktail spoiler. Ford’s 427 V-8 engine powered the aluminum honeycomb panel chassis. The stock top was chopped, and the windshield angled back a rakish 64 degrees. Quick release filler caps were on roof pillars behind the fixed side glass. The hydraulics from inside the car opened the back glass and deck lid. Sources: the News Bureau FORD DIVISION of Ford Motor Company 12/28/67; www.chicagoautoshow.com Images: Ford

In 1965 Scott Bailey invited Bertone to have his say on the design of the popular Ford Mustang. The publisher of the prestigious "Automobile Quarterly" wanted to show that the Turin school of bodywork designers could achieve great things on cars that were very different from their usual projects. Bertone’s interpretation of the American car was put on a show for the first time at the 1965 New York International Automobile Show. It was one of the most admired numbers: the Bertone model featured a radiator grille dominated by the emblem of the original car. At the same time, the disappearing headlamps were hidden behind the grille. Overall, a personal interpretation turned out to be another coup in image terms for the Turin designer. Source: www.bertone.it Images: www.conceptcars.it; www.shorey.net

In 1964 Moretti began working with the Fiat 850, releasing that year a four-door three-box saloon, a two-door coupe (very similar to the 500-based design), and a spider. In 1965 the Sportiva emerged at the usual venue, the Turin Motorshow. It was powered by the 843cc engine with 47bhp, straight from the Fiat 850 and clothed in a body borrowing heavily from the design of the Dino spider. Versions were also available with an engine tuned by Giannini (70bhp) or a 982cc engine with 62bhp, the latter known as the '1000SC'. It was changed very slightly in 1968, then in 1969 the second series featured new headlights and grille. Around 400 series I cars were built, and 300 series II. A four-seat 'Berlinetta sportiva' was also built, which had similar styling to the two-seat coupe. Moretti 850SS/1000SC Sportiva Coupé/Trasformabile 2 Posti, 1965-68 Moretti 850 Sportiva S2 Coupé/Trasformabile 2 Posti, 1969-71 Moretti 850 Sportiva S4 Berlinetta 4 Posti, 1969-71 Designer: Dany Brawand Source: www.carsfromitaly.net Images: www.moretti-cars.net; tocmp.org

At the same time as the Coupé, Fiat also introduced the convertible sporty two-seater Spider, with the original 843 cc engine tuned to produce 49 hp (37 kW) which allowed it to reach a top speed of 145 km/h (90 mph). The body was designed and built by Bertone. The folding roof section made of fabric could be stowed away completely under a rear flap. The Bertone design also featured smooth, essential lines and simple yet elegant details, such as the recessed headlamps equipped with tilted plexiglass covers to follow the lines of the wings, and the dihedral side panels inspired by Bertone's 1963 Corvair Testudo. In 1968, Fiat revised the successful Spider and Coupé again and gave them an even stronger engine with 903 cc and 52 hp (39 kW). They were called Sport Spider and Sport Coupé. The Sport Spider body stayed essentially the same, but with a restyled front. The headlamps were moved forward slightly and the plastic covers were eliminated giving the car a "frogeye" look, and the original flush front turn indicators were replaced with units hung below the bumper. Several limited special edition versions of the Spider were offered, including the Racer featuring a body colored metal hard top and the Racer Berlinetta featuring a black vinyl hard top. Source: Wikipedia Images: Bertone

1965 saw a coupe sportivo Fiat 850, and Coupe and Spyder versions of the Opel Kadett. Source: www.uniquecarsandparts.com.au Images: www.vignale.org; www.fiat-850.nl

A special Ferrari cabriolet by Giovanni Michelotti was built by the order of Luigi Chinetti and was mounted on the chassis #6109 in 1965. Images: www.ferraridatabase.com