2023-12-31 20:00:00
We hear it, but we also think it. All cars look the same. This often true but slightly pessimistic assertion is often followed by explanations justifying this uniformity of style by the fact that all cars are designed by computer. The truth is much more complex. Manufacturers have always been spying on each other, and the good ideas of some are often found in others.
On the left, the Chrysler Airflow from 1934, on the right, the Peugeot 402 limousine released in 1935. Here again, the inspiration is clear, right down to the decoration of the rear wing…
For example, the Chrysler Airflow of 1934, although it was a commercial failure, saw its aerodynamic design inspire a number of brands. Among them, we can cite Peugeot, whose “Fuseau” line from the 1930s, visible on the 02 series models, like the 402 from 1935, owes a lot to the American style.
The Lancia Florida concept from 1955 heralds many cars: Lancia Flaminia, Peugeot 404…
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Besides inspiration, another practice explains the resemblance of many models. Until recently, manufacturers delegated the design of their productions to external parties, designers but also bodybuilders.
We will notably mention Pinin Farina, which officially became Pininfarina in 1961. Famous for having magnificently designed Ferraris, Pinin Farina works with Peugeot from the early 1950s, which led to the strangely dull 403.
In 1957 the Lancia Flaminia was released, an almost unchanged application of the Florida concept.
The Italian also collaborated with Lancia, which then produced the Aurelia. On the basis of this ultramodern car, he developed the Florida concepts, presented in 1955, one in two doors, the other in four doors.
The stern of the Pinin Farina Florida in 1955 already contains the rear window of the 404, but also the lights of the latter as an estate, almost identical to those of the Lancia Flaminia…
The Lancia Flaminia seen from the rear, incorporating the lights, wings and window of the Florida from 1957.
It is in station wagon that the 404 recovers the rear lights/bumper arrangement of the Florida.
They stand out with their fine and taut lines, at a time when the automobile industry still gives pride of place to curves. Their design was quickly found on a production model: the Lancia Flaminia, from 1957.
Note, however, that the Italian bodybuilder has recovered an element that was very fashionable at the time: the rear fins, due to Harley Earl, GM design boss. He introduced them to Cadillac in 1948, having been inspired by the fins of the Lockheed P-38 Lightning.
The Pinin Farina Florida II concept announces the Lancia Flaminia coupe, but also the Peugeot 404, even the Fiat 1800 and the Austin Cambridge.
In 1957 the Florida II concept appeared, even closer to what was to come in series. Then, in 1959, in a slightly less obvious way, on the Fiat 1800 and the Austin A55 Cambridge Mk II. This was cloned in other British Motor Corporation brands: Morris Oxford, Wolseley 15/60 and Riley 4/68. An additional element explaining the great similarity between the cars.
Pinin Farina Florida II? No, Lancia Flaminia Coupé.
Followed in 1960 by Peugeot 404, whose sedan and station wagon turn out to be surprisingly close to the Pinin Farina concept. The 404 will also be available as a convertible and coupe, which will be almost exact copies of the equivalent versions of the Fiat 1200/1500.
A Lancia? No, the Peugeot 404, launched in 1960.
At the time, we cared less about it than now. One explanation: the markets were very national, because of high customs duties, so customers were not necessarily aware of what was happening across borders.
The 1953 Studebaker Champion and the Citroën DS, which appeared in 1955. Yes, Bertoni, author of the second, was certainly inspired by the American!
Thus, few people noted that the Citroën DS, considered revolutionary in 1955, actually borrowed a lot from the Studebaker Champion of 1953… What was valid before the war is still valid today, notably because of ever-increasing standards. numerous, designers often coming from the same schools (before moving from one brand to another) and the reluctance of shareholders too often pushing manufacturers to reproduce what works elsewhere…
The Peugeot 404, seen from the rear in 1960. We find the inlaid bezel, dear to Pinin Farina, and seen on the Florida from 1955.
A colorful 404? No, an Austin Cambridge A55 Mk II, released a year before in 1959. A work by Pinin Farina.
Nice in green, the 404. Except that it’s a Fiat 2100, which appeared in 1959 and was designed with Pinin Farina. Photo: RM Sotheby’s.
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