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A closer look24 April 2024 by Andreas 458 Viewed

The Jaguar B99: A Missed Opportunity

In the dynamic realm of automotive design, certain moments stand as testament to the boundless creativity and collaborative spirit that drive innovation. The Jaguar B99, born out of the partnership between Bertone and Jaguar, emerges as one such extraordinary episode. In an insightful interview with Michael Robinson, the former president of design at Bertone, we unravel the captivating journey of bringing the B99 concept car to life, a journey marked not only by triumphs but also by the industry’s reluctance to embrace change.

Reviving Bertone's Fortunes

When Michael Robinson assumed the mantle of director of design at Bertone, the design house was grappling with the shadows of obscurity. Undaunted by the challenge, Robinson and his team undertook a mission to resurrect Bertone from its dormant state. Securing projects from China became the springboard for Bertone’s resurgence, transforming it into a creative powerhouse that generated a staggering 26 million euros in invoices annually.

The Birth of the B99 Concept

Amidst the myriad of projects, a fateful opportunity emerged when Sir Norman Foster, representing Tata, the owner of Jaguar, approached Bertone with a request for a model. The challenge presented was captivating: create a modern, compact Jaguar that would rival the size of the Mercedes C-Class. Robinson, driven by his unwavering passion for design, proposed the B99, a revolutionary concept that would not only redefine Jaguar’s design language but also reflect the brand’s rich DNA.

Crafting the B99: A Race Against Time

The timeline for developing the B99 was a mere fraction of what is typically allotted for such a grand undertaking – less than three months. In an age where digital design dominates, Robinson and his team chose to tread a different path. Adrian Griffiths, a seasoned English designer with an intimate understanding of Jaguar’s legacy, took on the Herculean task of sculpting the B99 entirely by hand, using a giant clay block. The result was a tangible expression of artistry that set the B99 apart, a stunning deviation from modern design norms.

Exploring Jaguar's Heritage

To infuse the B99 with the essence of Jaguar, Robinson and his team embarked on a journey into the brand’s rich heritage. Beyond scrutinizing the iconic cars that had graced the roads, they delved into the symbolism behind the name “Jaguar.” The Mayan origin, meaning “to kill with one leap,” inspired the inclusion of a leap sculpture on the hood – a subtle yet powerful nod to the car’s agility and prowess.

The B99 GT: Unveiling Jaguar's Dual Personality

Recognizing Jaguar’s historical duality – a luxurious weekday cruiser and a performance-driven track car for weekends – Robinson and his team elevated the concept further. In a remarkable twist, they transformed the luxury B99 into the B99 GT, a track-oriented variant with widened proportions, lowered stance, and a striking spoiler. This dual personality showcased the versatility ingrained in Jaguar’s identity.

The Geneva Motor Show Unveiling

The unveiling of the Jaguar B99 at the 2011 Geneva Motor Show marked a pinnacle for Bertone’s design team. Sir Norman Foster, set the tone with an enthusiastic “Wow, it’s fantastic!” His endorsement was followed by a visit from Ratan Tata himself on the first day of the show, declaring the B99 “the most beautiful Jaguar I’ve ever seen.”

jaguar b99

This resounding praise from the upper echelons of Jaguar was not just a professional triumph but a personal validation for Michael Robinson and his team at Bertone. However, despite the enthusiasm, when Robinson suggested to Tata that Jaguar should proceed with producing the B99, Tata, displaying a reluctance to interfere with management decisions, responded with, “No, I don’t want to interfere with the management.”

This exchange encapsulates the dynamics and challenges within the automotive industry. The reluctance to interfere with management decisions, even in the face of overwhelming endorsement, sheds light on the complex internal dynamics that often influence the fate of innovative projects.

Encountering Resistance

The pivotal moment arrived when the upper echelons of Jaguar, including Ian Callum, the renowned design director, and the CEO, visited the Bertone exhibit to witness the unveiling of the Jaguar B99. What followed was a confrontation that underscored the clash between traditional Jaguar design principles and the audacious vision embodied by the B99.

As Ian Callum approached the B99, the air was thick with anticipation. His initial question, “What’s that?” echoed with skepticism, setting the stage for a dramatic exchange.

Callum’s immediate response was damning. He declared, unequivocally, that the B99 was not a Jaguar. His critique centered on a perceived flaw: the short front overhang. According to Callum, this deviation from the expected proportions rendered the B99 impractical for production.

In the face of such criticism, Michael Robinson, ever passionate about the B99 project, took a moment before responding. Counting to ten, he steadied himself before articulating a staunch defense. The crux of Robinson’s argument challenged the rigidity of Jaguar’s design orthodoxy, particularly the emphasis on a longer front overhang.

With a tone tinged with frustration, Robinson questioned Callum on the feasibility of the short overhang, bluntly asserting that the design had borrowed inspiration from the BMW “3 Series.” He invited Callum and his engineers to visit the BMW stand, suggesting that the short overhang had been successfully implemented elsewhere. In a bold and somewhat confrontational move, Robinson distanced himself from Jaguar’s reliance on the Ford Mondeo platform for their designs, emphasizing that the B99 was a truer embodiment of Jaguar’s essence than their current models.

The confrontation left both parties visibly agitated, emotions running high. Robinson’s defense of the B99 and his challenge to Jaguar’s design conventions reverberated through the automotive world. The exchange not only highlighted the clash between divergent design philosophies but also shed light on the internal struggles within Jaguar regarding the direction of their future models.

Missed Opportunity and Fan Discontent

Regrettably, the B99 project became a missed opportunity for Jaguar. The compact, sporty design, could have filled a void in Jaguar’s lineup, offering a genuine alternative for enthusiasts disenchanted with the brand’s recent direction. In an era where many Jaguar loyalists expressed dissatisfaction with the departure from the brand’s iconic aesthetics, the B99 could have been a beacon of hope, a return to the true essence of Jaguar.

The Unfortunate Demise

In an unforeseen twist, internal battles within Jaguar led to the untimely demise of the B99 project. Despite its undeniable success and admiration from the highest ranks, the project was abruptly shelved. The resistance stemmed from an inherent unwillingness to embrace an externally designed car – a lamentable manifestation of industry rigidity and territorialism.

Legacy of the B99

Though short-lived, the Jaguar B99 left an indelible mark on the automotive design landscape. It served as a beacon of Bertone’s revival and the innovative spirit that defines collaborative ventures in the industry. The B99 dared to challenge conventions, pushing the boundaries of design and leaving an enduring legacy as a testament to what could be achieved through creative collaboration.

Conclusion

The Jaguar B99, with its captivating narrative and missed opportunities, stands as a symbol of the delicate dance between tradition and innovation in automotive design. As the industry continues to evolve, the story of the B99 serves as a poignant reminder of the challenges faced when pushing the boundaries of design and the complex dynamics that shape the destiny of groundbreaking concepts. In a world where collaboration and creativity reign supreme, the B99 remains a beacon of inspiration for those who dare to dream beyond the constraints of convention.

the author

Andreas

Italian classic car enthusiast with German roots. Renowned as a respected figure in the classic car community, he serves as a jury member at various international concours d'elegance, including the Classic Gala Schwetzingen and Mantova. As a content creator, Andreas passionately shares his profound knowledge and appreciation for vintage automobiles. His heart beats for cars designed by Giovanni Michelotti, showcasing his discerning taste and dedication to preserving the timeless elegance of automotive history.

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A closer look 9 February 2024

The Porsche Moncenisio: Craftsmanship, Heritage, and Unforgettable Adventures

n the illustrious world of bespoke automotive design, the Porsche Moncenisio by StudioTorino stands as a beacon of artistry, seamlessly blending impeccable craftsmanship with a rich tapestry of automotive heritage. Beyond its role as an automotive marvel, the Moncenisio serves as a poignant tribute to Alfredo Stola’s father, the visionary founder of StudioTorino, while concurrently commemorating the pioneering Susa Moncenisio hill climb of 1908 – a pivotal event that marked the genesis of uphill racing.

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Madsteve
Madsteve
3 months ago

This should been put into production as a Daimler Sovereign.

More elegant than anything produced by Ian Callum.

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Andreas
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Andreas
3 months ago
Reply to  Madsteve

It’s fascinating how different perspectives on automotive design can be! Ian Callum’s approach to modern Jaguars has certainly been a departure from traditional styling, and opinions on this shift can be divisive. While purists may express dissatisfaction, others might see it as a bold evolution reflecting contemporary tastes. In the end, the diversity of opinions adds richness to the automotive landscape, and it’s intriguing to see the varied responses to design choices within the Jaguar enthusiast community.

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The early 1900s marked the birth of a new automotive concept: the station wagon. Originating in the United States around 1910, independent builders crafted wooden bodies for the chassis of Ford Model T cars. Initially conceived as commercial versions of sedan cars tailored for the working class, they were often referred to as carryalls, denoting their ability to carry a multitude of goods thanks to their spacious cargo compartments compared to traditional torpedo bodies.

In 1923, American manufacturer Star (a division of Durant Motors) made history by being the first to offer a station wagon assembled on its production line, utilizing a wooden frame bolted to the car’s body. However, these wooden structures demanded constant maintenance due to the natural expansion and contraction of wood, necessitating regular tightening of bolts and screws.

The tide turned when the Essex Closed Coach introduced the first mass-produced car with a fully enclosed steel body in 1929. Ford followed suit by officially producing Model T cars destined for wagon conversion in 1935, while General Motors unveiled its inaugural passenger transport station wagon, the Chevrolet Suburban, in 1935. This marked the onset of a wagon boom, as they were increasingly seen not only as spacious cargo haulers but also as versatile family vehicles.

One exemplary model was the 1941 Chrysler Town & Country, a luxurious wagon that positioned itself at the zenith of Chrysler’s lineup. In Europe, the first family-oriented cars emerged in the 1930s. Citroën introduced the Traction Avant Familiale in 1935, an elongated version of its Traction Avant model with three windows and a third row of seats, offering seating for nine passengers. In England, the Commer, based on the Hillman Minx Magnificent, debuted two years later.

Italy’s entry into the station wagon market came in the post-war years, courtesy of Carrozzeria Viotti‘s “functional body” design by Mario Revelli, built on the Fiat 1100 chassis. Revelli, who had previously worked on converting civilian cars into military vehicles during the war, envisioned applying similar solutions to civilian automobiles, facilitating versatile usage.

Despite its practicality, this new vehicle type faced lukewarm reception in Italy initially, perhaps due to its aesthetic resemblance to ambulances and hearses, from which it derived. Consequently, only compact family cars gained traction, as their diminutive size didn’t evoke associations with emergency or funeral vehicles.

Giardinetta or Giardiniera? Let's Clarify

Let’s clarify the distinction between the terms “Giardiniera” and “Giardinetta.” Is it accurate to label all station wagons from this era as “Giardinetta”? No, and here’s why: The debut of the first Italian family car, the Fiat 1100 Viotti Giardinetta, in 1946 marked a significant milestone. Vittorio Viotti, proud of his pioneering courage in bringing such a model to the market, had trademarked the term “Giardinetta.” Following this, other carrozzerie, such as Fissore, quickly presented their proposals. Even Fiat itself joined the competition two years later with the Fiat “Topolino” Giardiniera. 

The term “Giardiniera” was chosen to align with Viotti’s trademarked “Giardinetta,” which couldn’t be used by others. Consequently, other manufacturers adopted the term “Giardiniera,” although the public was accustomed to using “Giardinetta” due to Viotti’s early introduction of station wagons in Italy post-war. Eventually, the moniker “Metallica” was appended to these models to emphasize their metal construction rather than wood. This designation, “Giardiniera Metallica,” was primarily adopted by Francis Lombardi, Fissore, and Coriasco, distinguishing their models as contemporary interpretations of the classic station wagon, merging practicality with elegance.

Viotti: Pioneering the Giardinetta

In the aftermath of World War II, Viotti spearheaded efforts to revitalize the Italian coachbuilding industry, both within his own company and among his competitors. As a leader within the Carriage Builders Group of ANFIA (the National Fascist Association of Automobile Manufacturers, renamed the National Association of Automobile Industries), Viotti proposed the creation of a consortium to produce a new type of vehicle. This concept, developed in collaboration with stylist Mario Revelli di Beaumont, was named the Giardinetta.

The Giardinetta was a versatile vehicle designed for both passenger and cargo transport, constructed partially from wood to address the scarcity of steel immediately after the war. Its wooden body proved economical and adaptable, capable of being mounted on old Fiat 1100s and Lancia Aprilias still in use. The Giardinetta quickly gained popularity, with its formula being emulated by competitors, sparking a trend in the automotive industry within a few short years.

Despite skepticism from his colleagues, who viewed the concept as too American, Viotti forged ahead with production independently. By the late 1940s, he also resumed the production of custom-built luxury cars, particularly based on the Fiat 1100 and 1500 platforms. However, it was the Giardinetta that primarily occupied Viotti’s attention, leading to its development on various bases, including luxurious offerings such as those based on the Fiat 1900, Lancia Aurelia, and Alfa Romeo 6C 2500.

Designed mainly by Michelotti, these later iterations of the Giardinetta prioritized aesthetic appeal over functionality, transforming the utilitarian vehicle into a fashion phenomenon. Initially, other coachbuilders declined Viotti’s offer to collaborate, except for Carrozzeria Fissore of Savigliano, in the province of Cuneo. However, they later reconsidered as the Giardinetta gained immense popularity and was subsequently imitated by competitors, including Frua, Savio, Riva, and renowned Milanese firms such as Castagna, Boneschi, and Zagato with some speciments built with the Panoramica body.

The Fiat 1100 Panoramica Giardiniera by Zagato

It’s worth mentioning the station wagon based on the Fiat 1100/1200, dubbed the “Sleeping” for its ability to fold down the seats to create a space for sleeping. The last original small-series creations were the Fiat 1300/1500 Giardinetta, which didn’t achieve the anticipated success. This was partly due to Fiat’s decision to introduce its own family version of the model a few months after the sedan’s launch, offering it at lower costs and thus limiting the production of Viotti station wagons to just 50 units between the 1300 and 1500 models.

At that point, production was divided between “giardinetta” and “giardinetta metallica” convertibles, and customizations of standard vehicles. Indeed, Viotti was gradually moving away from building unique cars to focus, like other carrozzerie without their own chassis, on “American styling” standard vehicles such as the Fiat 600 and Lancia Appia, equipping them with chrome fittings and other accessories in vogue at that time across the Atlantic.

Following Vittorio Viotti’s death in 1956, the carrozzeria was engulfed in the crisis that affected manufacturers of derived cars and ultimately closed its doors for good in 1964.

The Fiat Topolino: Revolutionizing Mobility

In the aftermath of World War II, the Fiat Topolino became a symbol of resilience and adaptability in Italy. Used Topolinos were plentiful, sourced from the fields of ARAR (the Agency for Recovery and Disposal of War Surplus), with even damaged ones salvaged from bomb sites. If the bodywork was salvageable, repairs were made; if irreparable, they were transformed into racing barchettas. Topolino vans were converted into Giardinettas by adding two windows and a rear bench, offering a convenient solution to the nation’s pressing mobility needs in the post-war reconstruction era.

Once again, the visionary behind this transformation was Revelli, who, undoubtedly familiar with pre-war American woody wagons, found in Viotti the ideal collaborator to bring his ideas to fruition. The “wooden Giardinetta” phenomenon was revolutionary, addressing the chronic shortage of steel even after the war’s end. It could be constructed relatively easily and was incredibly practical, serving artisans and small traders alike for both work and family needs. Moreover, it could be fashioned from heavily damaged used cars, offering a cost-effective solution for many.

Practically every professional in the automotive sector, from large firms to small workshops, seized upon this opportunity. In 1948, even Fiat joined the fray, producing the elegant 500B Giardiniera Belvedere at the Lingotto Special Bodywork Department. However, as conditions normalized, the market gradually shifted back to traditional custom-built vehicles, although the legacy of the Topolino Giardinetta continued to resonate as a testament to ingenuity and resourcefulness during a challenging period in Italian history.

The Success of the Giardinetta

Following their initial introduction, Giardinetta vehicles experienced remarkable success, becoming sought-after commodities in various automotive circles.

Carrozzeria Monterosa emerged as a key player in the station wagon construction niche, capitalizing on the strong demand for utility vehicles during the reconstruction period. Monterosa’s station wagons, primarily constructed on Fiat 1100 and Lancia Aprilia platforms, were renowned for their quality and versatility, seamlessly transitioning from commercial to leisure use. Initially focused on Giardiniera production, Monterosa occasionally ventured into crafting ambulances, hearses, and advertising vehicles, later extending their repertoire to include models based on the new Fiat 1400 and Lancia Aurelia.

Unlike Viotti’s wooden Giardinette construction, Monterosa employed initially metal, reaping the benefits of durability and ease of maintenance. The Giardiniera’s popularity soared to such heights that it even warranted dedicated categories in prestigious concours d’elegance events, such as the “Promiscua” category.

Noteworthy examples of Giardinette success include the Fiat 1100 C Saloncino, which won an award at the 1949 Pincio Elegance Concours in Rome, the Fiat 1400 Giardinetta Viotti at the Pincio in 1950, and the already mentioned Fiat 1400 Giardinetta Monterosa at the Venice Concours d’Elegance in 1950.

Another triumph was the Moretti 600 Giardinetta, which participated in the World Raid of 120,000 kilometers across Europe, Africa, Asia, and America. Piloted by Luciano Albiero and Giulio Piccoli from June 14, 1952, to June 12, 1955, the Moretti 600 Giardinetta’s robustness was attested by having its engine sealed by a notary.

The evolution of Giardinetta variants also witnessed creative innovations, exemplified by Carrozzeria Savio’s Venilia, a convertible Giardiniera. Such adaptations underscored the Giardiniera’s evolution from utilitarian work vehicles to leisure and family-oriented automobiles, reflecting the dynamic nature of automotive design and consumer preferences during the post-war era.

Conclusion

As we conclude our exploration of the remarkable journey of the Giardinette, it’s evident that these versatile vehicles left an indelible mark on automotive history. From their humble beginnings as utilitarian workhorses to their transformation into symbols of elegance and leisure, Giardinettes embodied the resilience, creativity, and adaptability of post-war Italy.

Driven by necessity yet guided by ingenuity, craftsmen and manufacturers alike found inspiration in the Giardinette’s blend of practicality and style. From Monterosa’s sturdy metal constructions to Viotti’s iconic wooden bodies, each iteration showcased the evolving aspirations and aspirations of a nation rebuilding itself.

Whether gracing the podiums of prestigious concours d’elegance or embarking on epic transcontinental journeys, Giardinettes captivated hearts and minds, symbolizing the spirit of a generation determined to forge a brighter future.

As we bid farewell to these timeless icons, let us remember the legacy they leave behind: a testament to the power of innovation, the pursuit of excellence, and the enduring allure of Italian craftsmanship.

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