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The Panoramica by Zagato

Zagato cars were always characterized by a magnificent balance between sleek and clean lines and innovative light materials. This combination, maintained and developed more and more in the over 100 years of Zagato’s history, largely depends on the aeronautical roots of founder Ugo who, in WW1, designed and built biplanes that had to be fast, light and capable of performing quick and surprising maneuvers. Just think of Gabriele D’Annunzio’s flight over Vienna in 1918, with a plane built by Ugo Zagato himself, who at the time worked for Officine Pomilio.

When Ugo Zagato left the aeronautical sector for starting his coachbuilding business in 1919, the automobiles were heavy and massive. He introduced a revolution by adopting lightweight materials such as aluminum, just like for the design of an airplane. In the 20’s and 30’s Zagato first began to establish itself for its racing models, where the wood chassis was replaced by steel and the bodies were built of alluminum. Thanks to his creations, he began to collect victories after victories in all racing categories. Afterwards he started focusing also on the aerodynamics, creating streamline bodies for Alfa Romeo, Fiat and Lancia which looked like torpedoes. These cars,  without mudguards and external headlights, were built specifically to achieve new records.

In the 40s, after WWII, Zagato gave shape to an original automotive concept, the so-called “Panoramica”, destined to mark the rebirth of Carrozzeria Zagato after the war.

Vieri Rapi (not to confuse with Fiat designer Luigi Rapi), a Isotta Fraschini engineer who at the time collaborated with Zagato, (the companies were basically neighboors), used Plexiglas for the upper part of the windshield, and for the rear  and side windows. A very modern solution that offered the driver a wide visibility and the passenger a panoramic view. This type of car received a patent that Zagato used for its automotive creations between 1947 and 1950 producing around 100 “Panoramica” cars.

Due to Zagato’s past as plane builder, the “Panoramica” name took inspiration from the “panorama” that could be appreciated while piloting an airplane, the fact is that the cockpits looked like bombers cockpits. New materials,  such as Plexiglas, were used to archive this concept, which allowed the curvature of the glass surfaces and significant weight savings. The “Panoramiche” were cars with clean lines, fast, but also very comfortable for interior habitability and brightness. Those are the most important models.

1947 Fiat 1100 Panoramica

One of the first “Panoramica” was built by Zagato based on the Fiat 1100 chassis. The concept was simple: a raised roofline and glass areas (plexiglas) that curved up into the roof. With this feature, the driver and passenger window was fixed and couldn’t be opened. Not the best solution for hot summer days but race drivers apprechiated the improved visibility: Basically a fast greenhouse!

1947 Isotta Fraschini 8C Monterosa

After the Second World War, Isotta Fraschini attempts a return to automotive production with the 8C Monterosa, heir to the pre-war Tipo 8. The new model is presented in 1947 and is distinguished by the unusual design with a cantilevered rear engine. Between 1947 and 1949 several prototypes are completed, with bodies made by Zagato, Touring and Boneschi, but the model is too expensive and will never go into production. Zagato, which new workshop was next to Isotta Fraschini’s headquarters, built 3 prototypes in which we can clearly see the “Panorama” influence.  The model was way too expensive and never went into production.

1947 Maserati A6 1500 GT Panoramica

Photo courtesy of bonhams.com

In 1948 Maserati sent a rolling chassis to Carrozzeria Zagato, where it was re-bodied with two-seater ‘Panoramica’-style coupé coachwork in aluminium. This was the first such co-operation between Maserati and Zagato. So unique, only the classic Maserati front grill permitted this car recognition as a model of the Tridente.

1947 Fiat 1400 Panoramica

Another “Panoramica” similar to the Fiat 1100, this time built on the more powerful 1400 chassis. On this particular speciment, the side glass areas are divided into two pieces by a metal frame allowing the windows (probably glass and not the lighter race-oriented plexiglas) to be opended. This feature, in addition to all the chrome decorations, suggests that this car was built for private use and not for race.

1948 Fiat 500B Topolino

From 1947 a production line dedicated to the Topolino B was started. Given the good success with the public, Zagato continued to produce this series on all Fiat Topolino models until 1950. 

1948 Fiat 750 MM "Scansina"

The “Scansina“, built in only 8 speciments, is also based on the Fiat Topolino. It was a more powerful version with its engine increased to 750 cc. Elio Zagato repeatedly brought it to victory in numerous competitions. On this model was also born the “Z” logo, which later became the official company logo: a darting Z which was initially put on the front grille: an idea of ​​twenty-year-old designer Gianni, Elio’s brother.

1948 MG 1500 Panoramica

The “Panorama” bodies were also built on english chassis. This MG 1500 Y-Type was successfully exhibited at the 1948 Earl’s Court Motor Show in England. The car partecipated also at the 1949 Concours d’Elegance in Lugano, CH.

1949 Alfa Romeo 8C 2300 M

Built on a Alfa Romeo 8C 2300 chassis, it features a Panorama body mixed with Flamboyant style elements. Built in a single speciments on the chassis of the 1933 Alfa Romeo 8C 2300 Monza no 2211114, a race car that crashed several times. It was equipped with a 6C 2500 engine. This 1949 built car was found in Africa somewhere in the 1960s and later rebodied to its original “Monza” racing look. 

1949 Ferrari 166 MM Panoramica

The “Panoramica” concept reached its peak in terms of compromising the lightness of the shapes and the elegance of a GT, with the creation of this Ferrari 166 commissioned in 1949 by the gentleman driver Antonio Stagnali and was the first of a long series of Ferrari bodied by Zagato (read our post). This car is considered a milestone in the evolution of the concept of the coupé body and in 2007, on the 60th anniversary of the Ferrari brand, Zagato recreated the vanished coupé thanks to the photometric process and to the support by Ferrari Classiche.

1949 Lancia Ardea Panoramica

Zagato’s proposal on the Lancia Ardea chassis made in 1949, probably a one-off. The bodywork is very aerodynamic with a futuristic line for its time, features we’ve already have seen on the other “Panoramica”

1950 Fiat 1100 Giardinetta

The Panoramica concept was also used to create  “Giardinetta’s”, Fiat’s word for “Station Wagon”. At least 2 models were built in unknown speciments: The Fiat 500C Topolino and its bigger sister, this 1100 Giardinetta.

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One of the subtle pleasures that the study of history offers is the discovery of the debatability of a common belief, of a consideration accepted supinely out of mental habit.

Italy witnessed the emergence of a wide variety of automotive companies, especially between Turin and Milan, at the beginning of the last century. However, over the following decades, these companies gradually disappeared, culminating in recent years with all surviving brands converging under a single entity: Fiat. This phenomenon has seldom been compared to another, equally significant but fundamentally different occurrence, namely the proliferation of automotive coachbuilders. Unlike the automotive companies, the coachbuilders did not experience a similar disappearance, but rather a gradual consolidation, with some even transforming their operations into robust industrial entities.

From Flourishing Diversity to Consolidated Excellence

As the onset of the First World War loomed, approximately fifty coachbuilders emerged in the bustling regions between Turin and Milan. Similarly, another fifty establishments emerged during the interwar period, followed by an additional twenty-five from the post-war era up to the 1960s. Today, only a handful of names remain, predominantly acquired by foreign funds or companies such as Italdesign, Pininfarina, Touring Superleggera, Zagato, and the new Ares Design from Modena, all of whom continue to champion the legacy of Italian design excellence.

What accounts for this discrepancy, particularly within the same timeframe and geographic area, namely the Turin region? One would logically assume that the same forces driving the emergence and subsequent decline of numerous automotive factories would also impact the birth and closure of many coachbuilders.

In the 1930s, as the aftershocks of the American economic crisis led to the downfall of illustrious automotive brands unable to compete with Fiat’s dominance, Garavini, a modest artisanal coachbuilder, unveiled the breathtaking Fiat 508 Cabriolet. This cabriolet by Garavini swiftly became emblematic of sportiness, elegance, charm, grace, and affordability. Carrozzeria Garavini’s craftsmanship extended beyond Fiat vehicles; they collaborated with Lancia, Alfa Romeo, Itala, Bugatti, Delahaye, Citroen, boasting clientele including the King of Belgium, Menelik, Emperor of Ethiopia, and even a Maharaja, for whom they crafted an Isotta Fraschini featuring an ivory steering wheel and a gold-plated engine.

Garavini was not alone; numerous other coachbuilders thrived during the golden age of Italian coachbuilding, from Stabilimenti Farina to Castagna, from Balbo to Touring, Allemano, Vignale, Zagato, Francis Lombardi, Fissore, Savio, Boneschi, Boano, and beyond.

Fiat's Paradox: The Lifeline for Italian Coachbuilders

Only Italian coachbuilders seemed to flourish, while foreign counterparts – some renowned names like Labourdette, Saoutchik, Figoni and Falaschi, Chapron, Van den Plas, Mulliner, Fleetwood, Le Baron, Rollston, Graber – mostly faded away by the 1950s.

Hence, the explanation must lie within Italy itself, specifically with Fiat. Despite often being associated with the decline of numerous automotive manufacturers, Fiat paradoxically played a crucial role in the survival of many coachbuilders.

Towards the end of the 1930s, most car manufacturers ceased producing chassis, a vital component for coachbuilders, opting instead for monocoque construction. This shift significantly increased costs for coachbuilders, leading many to struggle.

However, Fiat continued to offer chassis, even when it became economically burdensome. This availability allowed Italian coachbuilders to remain operational. As the automotive industry moved towards monocoque designs, coachbuilders survived only where there was a partnership with a factory willing to supply mechanized platforms and support sales.

The importance of this partnership cannot be overstated. While competing automotive brands required independent sales networks, coachbuilders benefited from utilizing the factory’s sales channels. This unique dynamic turned what would have been a differentiation challenge in a competitive market into a unifying and economically beneficial relationship between factory and coachbuilder.

Evolution of Italian Coachbuilding: Creativity in the Face of Industrialization

Of course, nothing unfolds arbitrarily. At the core lies the ingenious inventiveness and creativity of Italian coachbuilders, alongside distinct historical and economic conditions. In the early automotive era, Italy, though not a frontrunner, kept stride with other European automobile-producing nations like France, Germany, and Great Britain. However, as automobiles transitioned from elite novelties to industrial products, Italy lagged behind. Its market resembled that of a less affluent nation, unprepared for such costly commodities. Meanwhile, other countries, including the United States, recognized the vast commercial potential of motor vehicles and geared up to offer comprehensive products.

In this shift, the aesthetic intricacies of automobile design took a backseat to factors like reliability, affordability, and mass production. The skilled artisan coachbuilder, proficient in various crafts like saddle-making, bodywork, painting, and upholstery, was gradually supplanted by efficient machinery capable of mass-producing car parts in a fraction of the time. While industrialization adopted a pace akin to Charlie Chaplin’s “Modern Times,” automobiles became commonplace commodities.

In contrast, Italy retained a relatively underdeveloped motorization landscape, which, while presenting challenges, also served to preserve the craft of coachbuilding. Despite Italy’s slower adoption of automobiles on a mass scale, its coachbuilders continued to cater to discerning clients with their exquisite and refined products, largely undeterred by the changing industrial landscape.

The Fiat Carrozzerie Speciali Department

Within the rich collaboration between Fiat and coachbuilders lies a lesser-known period spanning from 1910 to 1931. During this time, a “Fiat Bodywork Department” (Carrozzerie Speciali) operated from its headquarters on Via Madama Cristina in Turin. This department housed sections for body framing, metalworking, finishing, and notably produced elegant and sophisticated body styles with grandiose names of foreign origin: Run-about Courreuse, Gun boats, Double Phaeton Embouti, Landaulet Limousine, Coupé Berlina, Char à Bancs. Adorning the establishment’s façade was the name “Carrozzeria Italiana J. Rothschild & Fils” – a French coachbuilder that had established a presence in Turin.

However, this department’s history merely represents a temporary yet illustrious phase in the ongoing dialogue between Fiat and coachbuilders since the company’s inception. Until 1903, Fiat primarily relied on Carrozzeria Alessio, a licensee of the Weymar patent, for its bodywork needs.

Carrozzeria Alessio

Marcello Alessio embarked on his career as a laborer at Locati & Torretta, quickly surpassing his mentor in skill and knowledge. Recognizing the burgeoning potential of the automotive market, he ventured out on his own, establishing a small coachworks factory at Via Dell’Orto Botanico 19 (now Via Cesare Lombroso). With immense passion and innovative construction methods, Alessio swiftly rose to prominence, attracting prestigious clientele and earning a reputation as one of Turin’s foremost coachbuilders.

His renown extended beyond serving wealthy private customers, as several new car manufacturers sought his expertise in crafting coachworks. Alessio collaborated with Michele Lanza, producing the Welleyes for Ceirano and crafting bodies for early Fiat models. Additionally, he worked on chassis from various other brands, including Darracq, De Dion-Bouton, Panhard, Mors, and Renault, among others.

Alessio’s success led him to represent French Kriéger and Rochet-Schneider cars, as well as German Mercedes, importing bare chassis and adding his bespoke coach-built bodies. This venture created tension with Fiat, prompting the automaker to shift its body orders to G. Lanza.

Navigating Turbulence: Fiat, Carrozzeria Alessio, and the Carrozzerie Speciali Department

The dynamic between Fiat and Carrozzeria Alessio wasn’t devoid of hurdles. At a pivotal Board of Directors meeting on January 17, plans for the establishment of Carrozzeria Industriale G. Lanza e C. were unveiled by Agnelli. This venture aimed at manufacturing automobile bodies, with Fiat proposed as a key participant to expedite bodywork tasks.

The proposal was met with mixed reactions among board members, with some interpreting it as a retaliatory measure against Alessio’s actions. In response, Agnelli passionately defended Fiat’s stance, highlighting instances where Alessio had diverted potential clients away from Fiat. He argued vehemently against facilitating competitors’ profitability, emphasizing the need to safeguard Fiat’s interests amidst a competitive market landscape.

Despite initial reservations, Fiat’s involvement in Carrozzeria Industriale was solidified, signifying a strategic move to streamline production processes and assert Fiat’s influence in the automobile industry. However, managing this partnership presented its own set of challenges.

Within a year, signs of strain began to emerge. Racca, tasked with supervising Carrozzeria Industriale, resigned from his position, citing issues regarding the autonomy of the managerial role. This development underscored the complexities inherent in navigating partnerships within the automotive sector, where competition and collaboration often intertwine.

In the wake of Racca’s departure, Carrozzeria Rothschild & Fils emerged as a significant player, acquiring Lanza’s operations and establishing a new branch at Via Madama Cristina 147. This transition marked a pivotal moment in the evolving landscape of Turin’s automotive industry.

By 1910, Fiat made a strategic decision to absorb Rothschild, effectively integrating its operations and resources. Consequently, Fiat’s bodywork department underwent a rapid transformation, emerging as a fully functional entity capable of catering to diverse demands.

Initially serving as Fiat’s primary client, the department gradually expanded its clientele to include external firms such as Lancia. This strategic pivot underscored Fiat’s commitment to innovation and adaptability in navigating the evolving automotive landscape.

Despite undergoing various transformations over the years, the bodywork department remained a cornerstone of Fiat’s operations. Its legacy endured through the establishment of the Carrozzerie del Lingotto in the late 1940s, symbolizing Fiat’s enduring legacy and influence in the automotive realm.

Conclusion

In conclusion, thus ended an important chapter in Fiat’s history. However, as we have seen, the productive and diverse relationship between Fiat and numerous coachbuilders continued to thrive, delighting our eyes and celebrating Italian creativity. This collaboration persisted over time, evoking admiration and showcasing the Italian flair for design. Fiat’s adaptability and willingness to collaborate helped keep alive the legacy of Italian coachbuilders, fostering an ongoing blossoming of automotive design. This underscores the crucial role that creativity and innovation play in the Italian automotive landscape.