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1947 Mostra della Carrozzeria Italiana

The Desire for Rebirth

Lets step back in time to the year 1947, a momentous period marked by the end of a war that left both material and moral devastation in its wake. The echoes of those challenging years are etched in the memories of those fortunate enough to have lived through them. The Mille Miglia revives, symbolizing the resilient spirit of a society yearning for recovery.

As the pages of history turn, a new chapter unfolds with the birth of Ferrari, a beacon of hope and innovation. Alongside it, the automotive landscape welcomes the introduction of the new Isotta Fraschini and Cemsa Caproni, embodying the determination of car manufacturers to rise from the shadows of wartime struggles.

The war may have ceased, but the automotive industry refuses to slumber. Throughout the war, companies were busy preparing for the postwar era, eagerly anticipating the opportune moment to unveil their latest creations to the public. The Paris and Geneva motor shows have already come and gone, showcasing the progress made beyond the battlefield.

In the heart of Italy, however, the automotive scene seems momentarily still. Milan, recognizing the urgency to reconnect with its audience, takes the initiative to organize the inaugural “Mostra della Carrozzeria Italiana” (Exhibition of Italian Car Bodywork). The city, with a quiet confidence, asserts its perennial position at the forefront of this unique sector that seamlessly marries technical sophistication with the recognized style and refined taste of Italian designers.

This exceptional exhibition is not confined to sleek automobiles alone; it extends its embrace to include coaches and buses, emphasizing the comprehensive scope of Italian craftsmanship. Milan, undeterred by the absence of groundbreaking novelties from the local automotive industry, stands tall as a symbol of unwavering commitment to progress, heralding a new era of innovation and elegance in Italian car design.

The exhibition

For this special occasion, Milan and Turin come together in a collaborative effort, with the dynamic Triennale of Milan partnering with ANFIA, the organization that unites national manufacturers and coachbuilders.

The expansive Palazzo dell’Arte al Parco hosts an impressive lineup of renowned coachbuilders, including Balbo, Bertone, Boneschi, Castagna, Coriasco, Garavini, Ghia, Monviso, PininFarina, Savio, Stabilimenti Farina, Touring, Viotti and Zagato.

Among the highlights is a striking car by Alberto Rossi – CAR displayed outdoors. The event showcases approximately 100 cars, providing visitors with a captivating overview of the craftsmanship of Milanese and Turin-based coachbuilders. The inauguration is graced by the presence of Hon. Corbellini, the Minister of Transport, and is extensively covered by the magazine L’Auto Italiana. Twin photographs in the publication capture Avv. Bianchi Anderloni, the patron of Touring, and Pinin Farina, presenting their latest creations to the attendees.

The event proves to be a tremendous success, drawing enthusiastic crowds. Numerous foreign delegations express keen interest in gaining insights into the current state of the Italian industrial landscape. The collaboration between Milan and Turin showcases the rich legacy and innovative spirit of Italian automotive craftsmanship, leaving a lasting impression on all attendees.

The risk of experimenting

The opportunity to own a car may be limited to a select few, but the allure of admiring and even touching luxurious new models captivates everyone’s imagination. People yearn to dream, envisioning themselves cruising in a convertible, the wind tousling their hair. Amidst the array of cars on display, each captivating the attention of a long-awaiting audience, the spotlight shines brightest on the recently unveiled Isotta Fraschini Monterosa, boasting a distinctive rear engine.

Although history reveals that this particular car won’t see continued production, the fervent hope of witnessing the revival of the esteemed Milanese brand, renowned globally, permeates the air. The bodywork, crafted by Milan’s own Touring, stands out for its exquisite aesthetics—light, graceful, and a testament to Federico Formenti’s design prowess as Touring’s chief designer. Other Touring creations, such as the Alfa Romeo 6C 2500 and Lancia Aprilia, further showcase elegance and a commitment to pure design principles.

The Pinin Farina booth proudly showcases a true icon, the Cisitalia 202, a design destined for global acclaim as the epitome of style. Its significance is underscored by its official recognition at the Museum of Modern Art (MoMA) in New York.

Meanwhile, Bertone presents an intriguing fish-mouth front end design on the Healey Cabriolet, a design that will reappear on other subsequent chassis.

In the words of Giovanni Canestini, who aptly notes, “What stands out in these exquisite creations within the Exhibition complex is the meticulous craftsmanship evident in every detail, particularly in the interconnected forms. This reflects the use of a highly skilled and exceptionally experienced artistry, which can be described as nothing short of exclusive.”

This exhibition should also be celebrated for showcasing a collection of flamboyant-style coachwork that exudes opulence, perhaps as a response to the conspicuous need to counter the deprivations of the war period and its aftermath. Notable examples include extravagant wraparound bodies enveloping all four wheels, such as those crafted by Castagna, Stabilimenti Farina (mounted on Lancia Astura chassis), and Ghia (adorning Fiat 1100s and 1500s with Buick-inspired snouts).

The group also features the artistic contributions of Bonesch. Castagna’s exhibit boasts a pair of Fiat 1100s featuring patented Vistotal windshields and a uniquely arched front end, adding a touch of innovation to the display.

One notable convergence of design aesthetics can be observed in the CAR-bodied Lancia Aprilia, an avant-garde metallic silver convertible showcased outside the exhibition.

It’s intriguing to observe that the trend for covered-wheel bodies with what we’ve labeled as opulent lines, often described as “overflowing” by some enthusiasts, experienced a brief heyday in Italy. In contrast, this style endured in France, garnering significant attention through the creations of renowned names like Figoni & Falaschi, Saoutchk, Chapron, and Labourdette. This enduring popularity in France underscores a distinct inclination towards the extravagant designs of French automotive artists.

The critics

In 1947, Auto Italiana featured a pair of articles by Gianni Allosi, complemented by extensive photographs from Franco Degli Ubertie and Corrado Millanta. The articles shed light on the prevalent exaggerations in the automotive world, criticizing certain coachbuilders for pushing boundaries at the expense of taste. The comments were blunt: “Unfortunately, some signs of decay were evident in this initial display of coachbuilding. Some builders sought to impress with new designs at any cost—a commercial gimmick that failed to convince the discerning Italian public.” The critique emphasized the importance of a balanced stylistic evolution, cautioning against overemphasis that could lead to lapses in good taste.

However, amidst the criticisms, there were bright spots of pure and straightforward style. Auto Moto Avio – Interauto, featuring articles by Giovanni Canestini, added depth to the discourse.

Noteworthy in the realm of technical innovations was the introduction of front-wheel drive as a counterpoint to the Isotta Fraschini Monterosa. The Cemsa Caproni F11, a creation by Prof. Fessia, boasted a boxer engine and garnered significant attention.

This innovative design served as a precursor to the highly successful Lancia Flavia, showcasing the dynamic landscape of automotive developments in 1947.

The 1947 Mostra Carrozzeria Italiana, held at Milan’s Palazzo della Triennale, remains memorable for its impactful showcase of automotive craftsmanship. The event sparked crucial discussions on stylistic evolution, emphasizing the pitfalls of exaggeration while celebrating instances of pure style. Notable technical innovations, such as the Isotta Fraschini Monterosa and the forward-thinking Cemsa Caproni F 11, left a lasting imprint on the industry’s trajectory. As the curtains closed, the exhibition stood as a pivotal moment in the italian post war automotive history, blending style, critique, and groundbreaking technology within the rich tapestry of Italian automotive excellence.
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In the early 20th century, as the automotive industry rapidly evolved, comfort and performance became crucial aspects of car design. One of the most significant innovations to emerge during this time was the Weymann system, a lightweight and flexible body construction technique that greatly improved passenger comfort by reducing noise and vibration. Originally created for aircraft fuselages, the system quickly found its way into the automotive world, where it was embraced by luxury car manufacturers. Several Italian coachbuilders, such as Carrozzeria Touring, Stabilimenti Farina, Ghia, Bertone, and Zagato, adopted the Weymann system, making it a hallmark of high-end automotive design in the 1920s.

The system’s inventor, Charles Terres Weymann (1889–1976), was an early aviation pioneer with a fascinating background. Although he spoke fluent French and was generally regarded as French, Weymann was born on August 2, 1889, to a wealthy American father and French mother while they were on a cruise ship traveling to Port-au-Prince, Haiti. He earned his pilot’s license in 1909 (#24 with the American Aero Club) and soon gained fame by competing in European aviation events, including winning the Gordon Bennett Cup at Eastchurch, on the Isle of Sheppey near London, in 1911. During World War I, he worked as a test pilot for the French airplane manufacturer Nieuport, earning prestigious honors such as the Chevalier of the Legion of Honour and the Croix de Guerre. After the war, he remained in France, where his aviation background inspired him to develop a flexible automobile body based on aircraft design principles.

By 1921, Weymann had built his first motor vehicle body prototype in his small Carrosserie Weymann at No. 20 Rue Troyon in Paris. His design employed an ultra-light ash framework, joined with innovative steel plates instead of traditional mortise-and-tenon joints. The wooden frame components were separated by greaseproof paper and spacers to eliminate squeaks, while fabric coverings—typically pyroxylin-coated synthetic leathers such as DuPont’s Zapon—provided the outer skin. This multi-layered construction reduced vibration and noise, offering an unprecedented level of passenger comfort.

Weymann’s designs also included practical innovations such as adjustable seatbacks, which could be positioned to suit either upright driving or a more reclined seating preference. Patented and licensed to coachbuilders, this feature became widely popular in luxury cars of the 1920s and 1930s. To gain attention, Weymann equipped high-end European chassis—such as Voisin, Panhard, Hotchkiss, and Delage—with his fabric bodies, building a reputation for lightweight yet durable designs.

Rolls-Royce Twenty Limousine Farina
The Rolls-Royce Twenty Limousine Farina with Weymann body

While Weymann’s Paris shop could only produce a small number of bodies, his system gained widespread adoption through licensing agreements. By 1923, he had formed a British subsidiary with Rotax, and by 1925, a factory was established in Putney, London, under the name Weymann’s Motor Bodies Ltd. Licensing offices followed in New York City and Cologne, Germany. By 1926, with 123 licensees worldwide, Weymann had amassed a fortune from his patents. In Italy, Carrozzeria Touring from Milan became the official licensee for the Weymann system, solidifying its reputation as a hallmark of high-end automotive design in the country.

Weymann’s attempts to penetrate the American market culminated in a partnership with Fred Moskovics of Stutz. Together, they launched the Weymann American Body Co. in Indianapolis in 1927. Although Weymann’s system was initially met with skepticism by American bodybuilders, the lightweight, flexible design was well-suited to enhancing performance. The system’s use of materials like linoleum, felt, and synthetic leather, combined with the absence of paint, enabled significant weight reduction—an estimated 400 pounds lighter than conventional bodies—leading to improved speed, fuel efficiency, and road performance.

Weymann’s groundbreaking designs not only elevated luxury car manufacturing but also demonstrated the innovative potential of cross-disciplinary inspiration, merging the principles of aviation and automotive engineering to redefine comfort and performance in the 20th-century automobile industry.

What is the Weymann System?

The Weymann body used high-quality ash wood for its frame, connected with steel plates at flexible joints that allowed movement without compromising strength. Unlike conventional mortised joints, these steel plates avoided weak points and were virtually unbreakable. To smooth corners, small metal panels were used, while muslin, cotton batting, and a final layer of synthetic leather (commonly Zapon) or fabric were applied to the frame. Straining wires maintained the body’s shape, even during stress. The body’s fabric covering was durable and resistant to dents and scratches. Zapon, a cotton cloth coated with multiple layers of lacquer, was particularly robust, capable of withstanding impacts that would damage metal. Repairs were also simple: torn fabric could be replaced easily at a fraction of the cost of repairing metal panels, and the covering could be refreshed or replaced without exceeding the cost of a traditional paint job.

This framework was then covered with layers of fabric, offering several advantages:

Noise Reduction: The flexible joints absorbed vibrations, significantly reducing the squeaks and rattles that were common in rigid-bodied cars of the era.

Lightweight Design: The use of a fabric covering and a flexible frame made Weymann-bodied vehicles much lighter. This reduction in weight improved performance, fuel efficiency, and top speed while lowering the car’s center of gravity, enhancing both safety and handling.

Comfort: By eliminating road noise and vibrations, Weymann bodies provided a smoother, quieter ride. Additionally, the seats and floorboards were bolted directly to the car’s frame, further insulating passengers from body vibrations. Weymann cars were known for their luxurious and practical features. Doors could be closed with minimal effort, operating silently without the need for slamming. Adjustable front seats ensured a perfect driving position for passengers of all sizes, while riding comfort was further enhanced by the body’s ability to cushion road shocks. The lowered center of gravity also contributed to smoother handling and a more stable ride.

Safety: A key advantage of the Weymann body was its weight distribution. By significantly reducing the weight of the upper part of the car (above the frame), the center of gravity was lowered, making the vehicle much more stable and less prone to rollovers. Tests showed that a Weymann-bodied car, such as a Stutz, could safely tilt nearly 50% more sideways than a conventional car without overturning. Despite its light weight, the Weymann frame was incredibly strong, with parallelogram-based sections at key points (windshield, center pillar, and rear quarter pillar) providing structural integrity. These frames were so durable that they could support the car’s weight if overturned.

Appearance: Weymann-bodied cars stood out for their distinctive, European-inspired elegance. In the U.S., these bodies were most often seen on Stutz chassis, adding an aristocratic flair to the vehicles. The fabric exterior also had practical advantages: it was dent-resistant, flexible, and maintained its polished appearance with simple cleaning. Zapon’s colored lacquer coating, which penetrated through the material, ensured that the finish retained its vibrancy and durability over time.

Performance: The Weymann system’s light weight enhanced every aspect of a car’s performance. Reduced chassis strain improved acceleration, top speed, and hill-climbing ability, while also increasing gas mileage and tire life. The streamlined construction reduced wind resistance, further boosting efficiency and speed.

Durability: Despite their lightness, Weymann bodies were exceptionally durable. The tough Zapon fabric resisted ordinary bumps and shocks, and even in the event of damage, repairs were straightforward and affordable. The construction’s simplicity and modularity made Weymann cars a practical choice for long-term ownership.

The Weymann System and Italian Coachbuilders

While the Weymann system originated in France, it was quickly embraced by several Italian coachbuilders, who refined and adapted it for their luxury clients. The first Italian manufacturer to license the Weymann system was Carrozzeria Touring.

Carrozzeria Touring played a major role in popularizing the Weymann system in Italy. Touring’s lightweight yet elegant designs used the Weymann system on models like the Fiat 509 and the Alfa Romeo 6C 1500. Touring’s expertise in combining luxury with innovation made them a perfect fit for incorporating the Weymann system, which enhanced passenger comfort by reducing road noise and vibration, while still maintaining the performance expected from high-end Italian cars.

Touring stand at the 1927 Milano Salon.

Stabilimenti Farina, another key Italian coachbuilder, was quick to adopt the Weymann system, using it to enhance both the comfort and elegance of their designs. Farina’s designs, like the Lancia Lambda Faux Cabriolet Farina and the Rolls-Royce Twenty Limousine Farina, exemplified the luxurious appeal of the Weymann system. These models showcased the ability of the Weymann system to create quieter, more comfortable rides for long-distance travel while maintaining the refinement expected from such prestigious marques. The system’s ability to absorb vibrations and reduce road noise made it especially popular among elite clients seeking comfort in addition to performance.

Ghia, renowned for its stylish, elegant designs, also incorporated the Weymann system into their vehicles, including a Fiat 509. The system’s flexibility complemented Ghia’s lightweight designs, contributing to a smooth and quiet ride—important qualities for the luxury market.

Bertone also used the Weymann system for some of their creations, such as the Diatto 20. Bertone’s designs were known for their lightweight construction and aerodynamic shapes, and the Weymann system further enhanced the performance and comfort of their vehicles, aligning with the brand’s reputation for innovation.

Zagato, known for its aerodynamic and lightweight designs, was another Italian coachbuilder that embraced the Weymann system. Zagato adapted the system to models like the Itala 61, ensuring that their cars not only looked stylish but also provided a smoother, quieter driving experience thanks to the system’s unique construction.

Better Alternatives: The Kelsch System and Garavini’s Innovations

As innovative as the Weymann system was, it had its drawbacks, particularly when it came to durability and the potential for structural failure over time. In response, some coachbuilders turned to alternative systems that offered similar benefits while addressing the limitations of the Weymann system.

One of the main alternatives to the Weymann system was the Kelsch system, which was licensed in Italy by Carrozzeria Casaro. The Kelsch system utilized a different approach by anchoring the body to the chassis at three points, reducing stress and improving durability. The system featured special woods and patented fasteners, along with imitation leather over wire netting for strength. By 1928, Kelsch had introduced aluminum alloy outer panels, allowing for more advanced spray-painting techniques, making it a more resilient option than the Weymann system.

Giovanni Boneschi, known for his perfectionist approach and critical eye, was one of the coachbuilders who moved away from the Weymann system after seeing its flaws. He believed that the Weymann system, while innovative, had inherent weaknesses, particularly the fragility of the fabric covering and the tendency for the bodywork to deteriorate over time. Boneschi adopted the Kelsch system, refining it further to enhance its strength, longevity, and durability, while still maintaining the system’s lightweight and flexible characteristics. This made the Kelsch system a more reliable alternative, addressing many of the concerns he had with Weymann’s design.

Carrozzeria Garavini developed an innovative alternative to the Weymann System, addressing early car body design challenges. At the 1927 Milan Salon, it introduced the Pluemelastica and Plumacciaio systems, featuring rubber dampers between the body and chassis for improved comfort. Hailed as “the only true novelty” of the event, the Garavini system enhanced rigidity, durability, and noise reduction. Using a fabric-and-celluloid sandwich structure, it offered lightness and flexibility while solving issues like body “unhooking” under stress, a flaw in the Weymann design.

The Decline of the Weymann System

Despite the early popularity of the Weymann system, its use began to decline by the late 1920s and early 1930s. While the system offered improved comfort and performance compared to traditional coachbuilding methods, it also had significant limitations.

The Weymann system was prone to rot if not maintained properly, and its fabric covering could be easily damaged. Additionally, the system’s design was vulnerable to harsh stresses, especially on rough roads. These drawbacks made it less practical as newer, more durable body construction methods emerged.

As car manufacturers began to develop more rigid and durable body designs, the Weymann system fell out of favor, and its use was phased out within a decade.

Though the Weymann system was short-lived, it played a significant role in shaping the development of luxury car design during a pivotal period in automotive history. Today, Weymann-bodied cars are still cherished by collectors, a testament to the innovation and craftsmanship of early 20th-century coachbuilding.