Shadow Revival - There’s something inherently magnetic about the moment a concept car rolls into the spotlight—an ephemeral glimpse at what might be, blending imagination with engineering prowess. Back in 2009, amidst the swirling rumors and digital renderings surrounding the next-generation Corvette, Chevrolet delivered one such vision: the Corvette Stingray Concept. It wasn’t just another tease; it was a vivid reminder that the Corvette lineage thrives on daring creativity, bridging the past and future with unapologetic flair. The Stingray Concept was a statement, a bold exercise in design exploration, and a piece of automotive history that few remember in detail today.
The 2009 Corvette Stingray Concept, developed under Chief Designer Tom Peters, was never meant for production but served as a full-scale design study to explore bold styling and structural ideas beyond showroom limits. (Picture from: Motor1)
Developed by Chevrolet’s skilled design team under Chief Corvette Designer Tom Peters, the Stingray Concept was never intended to be a production car. Instead, it functioned as a three-dimensional sketch, where designers could test styling cues and structural ideas beyond the constraints of a showroom model. Drawing inspiration from Corvette heritage, the team revisited iconic elements from the 1959 Stingray Racer, the C2, and the C3, merging them into a contemporary silhouette. Split rear windows, pronounced fender humps, and sculpted side coves were amplified but still unmistakably Corvette, creating a look that was both nostalgic and forward-thinking.
The 2009 Corvette Stingray Concept pushed boundaries with a body 3.1 inches longer, 5 inches lower, and 6.6 inches wider than the C6, its crisp, sharply defined surfaces echoing Bill Mitchell’s precise “pressed suit” design philosophy. (Picture from: Corvettes.nl)
From an exterior perspective, the concept’s proportions pushed boundaries. It stretched 3.1 inches longer, dropped 5 inches lower, and widened 6.6 inches compared tothe C6, giving it an aggressive, planted stance. Every surface was crisp, almost surgical, reflecting a philosophy reminiscent of GM Styling legend Bill Mitchell’s “pressed suit” approach—where precision and elegance coalesce in a visual statement. The clamshell hood revealed a Formula 1-inspired front suspension, bright red coilover shocks, and a hybrid of stock and custom components that spoke to the playful experimentation behind the project. Massive wheels with staggered dimensions—20x9.5 at the front and 21x13 at the rear—underscored its performance-ready demeanor.
The 2009 Corvette Stingray Concept featured a clamshell hood exposing an F1-inspired front suspension with red coilovers and mixed stock-custom parts, while massive 20x9.5 front and 21x13 rear wheels reinforced its performance-focused stance. (Picture from: Motortrend)
Under the hood, the Stingray Conceptoffered a surprising twist. Labelled as “Hybrid Stingray,” the engine compartment housed a standard LS3 V8 rather than a full hybrid system. The “hybrid” moniker hinted at emerging technologies such as cylinder deactivation and potential electric assist, a far cry from the purely combustion-focused V8s Corvette enthusiasts expected. The automatic transmission, borrowed from the C6, further emphasized that the car was a canvas for ideas rather than a high-speed prototype meant to shatter records. Its technical choices balanced visionary styling with practical feasibility, allowing designers to explore innovation without sacrificing reliability.
The 2009 Corvette Stingray Concept elevated the C6’s simple cabin with a dual-cockpit design, bold bolsters, carbon fiber trim, and ambient LED lighting for a more driver-focused feel. (Picture from: Motorauthority)
Inside, the Stingray Concept was a deliberate evolution from the C6’s somewhat understated cabin. The dual cockpit layout, with pronounced bolsters, carbon fiber accents, chrome highlights, and ambient LED lighting, suggested a more luxurious, driver-centric experience. Navigation and media integration were modernized, and the interior reflected lessons learned from competitors that had raised the bar on cockpit refinement. In essence, the cabin was a laboratory for future Corvette interiors, many of which found their way into the C7’s production design.
The 2009 Corvette Stingray Concept carried a “Hybrid” badge but actually ran a standard LS3 V8, with the name hinting at cylinder deactivation and possible electric assist rather than a true hybrid system. (Picture from: Motor1)
Thoughthe Stingray Conceptnever saw high-speed testing or aerodynamic validation in a wind tunnel, its impact on Corvette culture was significant. It captured imagination not through speed or specifications but by presenting a cohesive vision—a car that was unmistakably American, unmistakably Corvette, yet unshackled by production limits. By the time Chevrolet showcased it at the 2009 Chicago Auto Show and featured it as Sideswipe in Transformers II, the vehicle became an emblem of creative freedom in automotive design, reminding fans that Corvette’s allure isn’t just in performance but in artistry and possibility. | hJRznWy00jo |
Today, the 2009 Corvette Stingray Conceptremains the last of Chevrolet’s all-out, show-stopping Corvette concepts. In an era where mid-engine Zoras and production-ready innovations dominate the headlines, it stands as a testament to a time when designers could indulge in “what if” scenarios, blending legacy with experimentation. Its lines still draw eyes and provoke discussion, quietly asserting that some of the most memorable cars aren’t those you drive on the street, but those that ignite imagination in the minds of enthusiasts everywhere. *** [EKA | FROM VARIOUS SOURCES | GM | CORVETTES.NL | MOTORTREND | MOTORAUTHORITY | MOTOR1 ]
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Forgotten Thoroughbred - The history of Italian sports cars is often told through legends adorned with prancing horses and powered by roaring V12 engines. Yet quietly nestled between those thunderous icons is a smaller, nearly forgotten chapter—one that dared to reinterpret Ferrari brilliance in a more compact and accessible form. That chapter belongs to the ASA 1000 GT, affectionately known as the “Ferrarina,” or “baby Ferrari,” a car that once promised to reshape the sports car landscape of the early 1960s before gradually fading into obscurity.
The ASA 1000 GT, affectionately known as the “Ferrarina,” or “baby Ferrari,” a car that once promised to reshape the sports car landscape of the early 1960s before gradually fading into obscurity. (Picture from: Hagerty.co.uk)
The idea was born at the end of the 1950s, when Ferrari—renowned for powerful, large-displacement engines and elite clientele—considered venturing into unfamiliar territory. The goal was ambitious: create a smaller four-cylinder sports car capable of competing in a segment dominated by Fiat. Engineer Franco Rocchi developed a cutting-edge prototype engine in just a few months, drawing technical inspiration from Ferrari’s own V12 units. Codenamed 854, the engine followed Ferrari’s naming logic, referencing approximately 850 cc divided across four cylinders. Under the supervision of Giotto Bizzarrini, early testing began in 1959, discreetly hiding the experimental engine inside a Fiat 1200 to avoid unwanted attention. By December 19 of that year, the refined engine—producing around 100 horsepower—was presented to Enzo Ferrari. Although impressed by its performance and potential for a compact touring car, Ferrari ultimately considered the project too costly for his standards.
The ASA 1000 GT was built on a lightweight tubular chassis and equipped with four-wheel Dunlop disc brakes—advanced for its era—paired with a finely tuned sporty suspension system. (Picture from: Hagerty.co.uk)
The concept refused to disappear. In 1961, Carrozzeria Bertone unveiled a sleek coupé version called the “1000” at the Turin Motor Show. Designed by a young Giorgetto Giugiaro, the car measured just 3.9 meters in length yet carried itself with the proportions and elegance of a true gran turismo. Its updated 1,032 cc engine delivered approximately 97 horsepower, an extraordinary figure for its size and era. Specialist magazines quickly labeled it the “Ferrarina” or “Volk-Ferrari,” acknowledging both its lineage and its more attainable positioning. In February 1962, industrialists Oronzio and Niccolò de Nora acquired the project’s rights from Ferrari, and by April they had established ASA (Autocostruzioni Società per Azioni) in Lambrate, near Innocenti. Later that year, the ASA 1000 GT officially debuted at the Turin Show with a price tag of 2,250,000 Lire.
The ASA 1000 GT featured a cabin that reflected refined Italian craftsmanship, highlighted by fine leather upholstery, a Nardi wooden steering wheel, and thoughtfully chosen body colors that enhanced its premium character. (Picture from: Hagerty.co.uk)
Technically, the ASA 1000 GT was anything but modest. Built on a tubular chassis with lightweight construction, it featured four-wheel Dunlop disc brakes—advanced equipment for its time—paired with a sporty suspension setup. The 1.03-liter inline-four engine produced around 93 horsepower in production form, delivering lively performance in a compact package. Power was managed through a four-speed Bianchi gearbox with overdrive, enhancing both flexibility and touring comfort. Inside, the cabin reflected refined Italian craftsmanship, with fine leather upholstery, a Nardi wooden steering wheel, and carefully selected body colors that elevated its premium feel. Customers were drawn not only to its Ferrari-derived engineering but also to its balanced blend of sportiness and sophistication.
The ASA 1000 GT was powered by a 1.03-liter inline-four engine producing around 93 hp, paired with a four-speed Bianchi gearbox with overdrive that delivered lively performance along with impressive flexibility and touring comfort. (Picture from: Hagerty.co.uk)
In 1963, ASA expanded the lineup with a spider version presented at the Geneva Motor Show. Featuring a fiberglass body and weighing only 710 kilograms—significantly lighter than the 830-kilogram coupé—the open-top variant retained the same mechanical configuration while offering a more visceral driving experience.
The ASA 1000 GT Spyder made its debut at the 1963 Geneva Motor Show, featuring a lightweight fiberglass body and weighing just 710 kilograms—considerably lighter than the 830-kilogram coupé. (Picture from: RMSothebys)
However, behind the scenes, complications were mounting. Bertone withdrew from the project, prompting the de Nora brothers to commission Carrozzeria Ellena of Turin to continue production, which finally began delivering cars in the summer of 1964. Plans for further evolution emerged, including the aluminum-bodied 411 and a fiberglass spider variant known asthe RB, intended for 1965 production. Yet financial reality intervened: high production costs and limited profitability made the venture unsustainable. | zo69M1lywZw |
By 1967, ASA entered liquidation. Production of the 1000 GT ended after only 85 units had been built—70 coupés and 15 spiders—far fewer than the early excitement had suggested. Today, the ASA 1000 GT stands as a rare and intriguing artifact of automotive ambition. It represents a moment when Ferrari engineering briefly stepped into a smaller, more democratic arena, guided by talents like Bizzarrini and Giugiaro. Though its commercial life was short, the “baby Ferrari” now holds a special place among collectors and historians, not as a footnote, but as a bold experiment that dared to reinterpret Italian performance for a different audience—and, in doing so, left behind one of the most fascinating almost-success stories in motoring history. *** [EKA | FROM VARIOUS SOURCES | CARSFORGOTTENSTORIES | HAGERTY.CO.UK | RMSOTHEBYS | RMSOTHEBYS ]
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Resilient Velocity - The history of British sports cars is often told through icons that conquered racetracks and cinema screens, yet some of the most fascinating stories belong to machines that almost made it. Among those near-mythical creations stands The Ecosse Signature, a car born from ambition, reinvention, and the enduring belief that a compact British manufacturer could still challenge the established order. Emerging from the remnants of AC Cars’ turbulent 1980s chapter, the Ecosse Signature was not merely a facelift or a rebadge—it was a final, determined attempt to give a promising concept the future it once seemed destined for.
The Ecosse Signature prototype built in 1988 based on the AC 3000ME Mark 2 prototype. (Picture from: AROnline)
The car’s roots stretch back to the mid-engined sports car formula that had captivated Europe since the 1970s. By the time the Ecosse Signature appeared, it carried forward a distinctive wedge-shaped silhouette—sharp, low, and unmistakably period-inspired—yet refined for a more modern audience. Its glassfibre bodywork preserved the lightweight ethos of its predecessor while subtle restyling softened some of the harsher lines, giving it a cleaner and more contemporary stance. The proportions remained compact and purposeful: a short nose, a cabin pushed forward, and muscular rear haunches that hinted at the engine mounted just behind the seats. Inside, the cabin followed a driver-focused philosophy typical of British sports cars of the era—intimate, functional, and built around engagement rather than luxury excess. The low seating position, straightforward instrumentation, and snug two-seat layout reinforced its identity as a pure driver’s machine.
What truly distinguished the Ecosse Signature, however, was the engineering evolution beneath its sculpted body. After earlier iterations had experimented with various powerplants, the team behind the reborn project opted for a turbocharged Fiat twin-cam engine sourced fromthe Croma Turbo, replacing the previously considered Alfa Romeo V6. This decision signaled a clear intention: deliver sharper performance while maintaining manageable weight and balance. With its mid-engine configuration and carefully developed chassis—featuring independent suspension and a rigid structural core—the car promised agile handling and lively acceleration. It was a combination that, on paper, aligned perfectly with the spirited driving culture of the late 1980s, when enthusiasts were rediscovering compact performance machines after the fuel-conscious years earlier in the decade.
The Ecosse Signature prototype debuted at the 1988 Birmingham Motor Show, several potential customers came in.(Picture from: AllCarIndex)
The Ecosse Signaturewas developed under the banner of the Ecosse Car Company Ltd, formed after the closure of AC’s Scottish venture. John Parsons and former BRM technical director Aubrey Woods acquired the remaining assets and relocated operations to Hertfordshire, determined to transform an unfinished prototype into a viable production sports car. Their reworked prototype made its public appearance at the 1988 Birmingham Motor Show, drawing genuine curiosity from potential buyers intrigued by its blend of British character and continental engineering influence. The car symbolized resilience—proof that even after financial struggles, failed crash tests in earlier phases, and missed production targets, the core idea still inspired belief.
The Ecosse Signature prototype debuted at the 1988 Birmingham Motor Show, several potential customers came in. (Picture from: AllCarIndex)
Yet ambition alone could not secure its survival. Despite the renewed interest and thoughtful mechanical updates, the Ecosse Signature required significant investment to move beyond prototype status. Funding proved elusive, and without the financial backing necessary to enter full production, the project quietly faded. Today, The Ecosse Signatureholds a unique place in automotive history: not as a mass-produced success, but as a reminder of how creativity, persistence, and engineering passion often outpace commercial reality. In an era when boutique manufacturers and restomod culture are thriving once again, its story feels surprisingly relevant—an echo of what can happen when bold ideas meet harsh economics, and a compelling chapter in Britain’s enduring love affair with the mid-engined sports car. *** [EKA | FROM VARIOUS SOURCES | ARONLINE | AC3000ME | WIKIPEDIA | SILODROME | ADRIANFLUX | ALLCARINDEX | CARSTYLING.RU | CLASSIC AND RECREATION SPORTSCARS IN FACEBOOK ]
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Digital Prophecy - Progress in the automotive world has never been driven by engines alone. Sometimes, the boldest leaps forward come from the technology hidden behind the dashboard rather than under the hood. During the vibrant, experimental spirit of the 1980s, when digital displays and electronic gadgets began reshaping daily life, one Japanese company dared to imagine how deeply technology could transform the driving experience. That vision materialized in 1985 as the Clarion C-AVCC, a one-off concept car that blurred the line between automobile and mobile electronics hub.
The Clarion C-AVCC, a one-off concept car that blurred the line between automobile and mobile electronics hub.. (Picture from: WorldCarsFromThe1930sTo1980s in Facebook)
First unveiled at the 1985 Tokyo Motor Show, the Clarion C-AVCCwas designed by Japanese automotive designer Takuya Yura and developed by Clarion, a company globally recognized for its car audio systems. Unlike traditional concept cars created by automakers, this project came from a car audio manufacturer determined to showcase its technological ambition. The name itself—Car Audio, Visual, Computer, and Communication—clearly expressed its mission. The C-AVCC was not built to race, nor even to properly drive; it was a full-scale mockup intended to demonstrate how integrated electronics could define the future of mobility.
The Clarion C-AVCC debuted at the 1985 Tokyo Motor Show, designed by Takuya Yura and developed by Clarion, the renowned Japanese car audio manufacturer. (Picture from: WorldCarsFromThe1930sTo1980s in Facebook)
Visually, the C-AVCC captured the unmistakable optimism of 1980s futurism. Its low, wedge-shaped silhouette hinted at a mid-engine, rear-wheel-drive layout, even though performance was never the priority. Inside, the cabin felt more like a command center than a cockpit. A distinctly digital instrument cluster reflected the era’s fascination with electronic displays, while a multifunction steering wheel packed with switches allowed the driver to control the audio system without taking their hands off the wheel—an idea that has since become industry standard. Instead of a conventional ignition key, Clarion introduced a credit-card-sized entry card to activate the vehicle’s systems, anticipating keyless technologies that would only become mainstream decades later.
The Clarion C-AVCC embodied 1980s futurism with its low, wedge-shaped silhouette suggesting a mid-engine, rear-wheel-drive layout despite performance not being its focus. (Picture from: JDM.Tarmac.Icons in Instagram)
What truly setthe C-AVCCapart, however, was its remarkable suite of electronics—astonishingly advanced for the mid-1980s. The dashboard featured a flat screen (not a bulky CRT) capable of displaying graphic information from any of the car’s 14 onboard systems, including feeds from a rear-view camera. Passengers could even watch 8mm video tapes on the screen, a level of in-car entertainment that many modern vehicles only recently matched.
The Clarion C-AVCC featured a cabin that resembled a command center, complete with a digital instrument cluster and a multifunction steering wheel that allowed audio control without removing hands from the wheel. (Picture from: WorldCarsFromThe1930sTo1980s in Facebook)
The concept also foresaw satellite navigation long before GPS became common. To use its navigation system, drivers had to place a call using the built-in phone; directions were then transmitted to the onboard computer and physically printed out. The same integrated system managed phone functions, connected to a number database, and even displayed real-time phone billing information—an early glimpse into connected car ecosystems.
The Clarion C-AVCC was not built to race, nor even to properly drive; it was a full-scale mockup intended to demonstrate how integrated electronics could define the future of mobility. . (Picture from: JDM.Tarmac.Icons in Instagram)
Althoughthe Clarion C-AVCC never ran and was never intended for production, its influence resonates today. Multifunction steering wheels, key cards, navigation systems, onboard computers, rear cameras, and in-car entertainment are now everyday features. In 1985, they were bold predictions. The C-AVCC demonstrated that the future of driving would be defined as much by information and connectivity as by horsepower. Decades later, even if its current whereabouts remain unclear, this singular concept stands as a vivid reminder that sometimes the most important revolutions in automotive history begin not with speed, but with imagination. *** [EKA | FROM VARIOUS SOURCES | RARECARSONLY | JDM.TARMAC.ICONS IN INSTAGRAM | CLASSIC AND RECREATION SPORTSCARS IN FACEBOOK | WORLD CARS FROM THE 1930S TO 1980S IN FACEBOOK ]
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Jetborne Tomorrow - Progress has always been fueled by bold imagination. From jetliners slicing through the sky to rockets piercing the atmosphere, the mid-20th century was a time when humanity believed the future would arrive faster than expected. Automakers, inspired by that same optimism, translated aerospace dreams into rolling sculptures. Among the most daring of these visions was the 1961 Chrysler TurboFlite, a concept that captured the spirit of the Space Age and dared to suggest that piston engines might soon become relics of the past.
The Chrysler TurboFlite Concept, a concept that captured the spirit of the Space Age and dared to suggest that piston engines might soon become relics of the past. (Picture from: Story-Cars)
Created through a collaboration between Chrysler and the Italian design house Ghia, the TurboFlite looked less like a family car and more like a personal spacecraft. Its low, aerodynamic nose reduced frontal drag, while the outer headlamps discreetly retracted beneath the fender edges when not in use. Instead of a traditional roof, the car featured a dramatic canopy that automatically tilted upward when the recessed door handle was pressed, transforming entry into a theatrical experience. Conventional side windows were abandoned in favor of large panels hinged from the roof that swung outward for ventilation. Inside, four passengers were surrounded by brushed aluminum seating and electroluminescent lighting that gave the cabin an otherworldly glow, reinforcing the feeling that this machine belonged to tomorrow.
The Chrysler TurboFlite Concept was born from a collaboration between Chrysler and the Italian design house Ghia, and it looked less like a family car than a personal spacecraft poised for launch. (Picture from: Story-Cars)
The rear design was even more audacious. Twin vertical stabilizers rose from the fenders to form a sweeping basket-handle wing, a shape that would later echo in high-performance Chrysler products built for NASCAR. Unlike those later race cars, however, the TurboFlite’s wing was not intended to generate downforce. It functioned as an air brake, automatically deploying increased drag when the driver pressed the brake pedal. The system could be disabled for urban driving, but at highway speeds it served a critical purpose. Turbine engines, unlike conventional piston engines, provided virtually no engine braking when the throttle was lifted, meaning the car relied almost entirely on hydraulic brakes to slow down. The air brake was Chrysler’s solution to reduce brake fade during repeated high-speed stops.
The Chrysler TurboFlite Concept featured a more audacious rear design, with twin vertical stabilizers rising from the fenders to form a sweeping basket-handle wing that would later echo in high-performance Chrysler models built for NASCAR. (Picture from: Story-Cars)
At the heart ofthe TurboFlitewas Chrysler’s third-generation CR2A gas turbine engine. Thanks to a variable turbine nozzle design, spool-up time dropped dramatically—from seven seconds in earlier versions to roughly one and a half seconds—bringing acceleration closer to what drivers expected from piston-powered cars. Chrysler even claimed impressive fuel economy during cross-country testing in a turbine-powered prototype based onthe Dodge Dart, though later independent tests were less flattering, sometimes reporting figures barely above 10 miles per gallon. High exhaust temperatures also posed engineering challenges. Still, the CR2A demonstrated that turbine technology had matured significantly compared to earlier experiments, offering smoother operation and fewer moving parts than traditional engines.
The Chrysler TurboFlite Concept extended its aircraft-inspired theme inside with a pyrometer gauge, oversized pedals for left-foot braking, and a horn activated by squeezing the steering wheel rim. (Picture from: Story-Cars)
Safety and driver awareness were central themes inthe TurboFlite’sdesign. The vertical fins integrated eye-level brake lights that used bright illumination for daytime visibility and dimmer output for nighttime driving—an idea that predated federally mandated high-mounted stop lamps by decades. Another forward-thinking feature was an amber warning light across the full-width taillamp panel, which illuminated when the driver lifted off the accelerator to signal a change in momentum to following traffic. Inside the cockpit, aircraft inspiration continued with a pyrometer measuring exhaust gas temperature, oversized accelerator and brake pedals encouraging left-foot braking, and even a horn activated by squeezing the inner rim of the steering wheel. Not every innovation proved practical, but each reflected a willingness to rethink convention. | f-xJi5zfTtA |
Althoughthe TurboFlite dazzled audiences on the auto show circuit, it never advanced beyond concept form. Chrysler continued refining turbine-powered passenger cars for years, yet technical limitations and real-world drawbacks ultimately outweighed the advantages. Even so, the TurboFlite’s influence stretched far beyond its brief spotlight. Full-width taillights later appeared on production models such asthe 1966 Dodge Charger, and the idea of a high-speed air brake would resurface decades later on hypercars likethe Bugatti Veyron. The future imagined in 1961 did not unfold exactly as predicted, but the TurboFlite remains a vivid reminder that progress is often shaped by ideas that arrive too early—concepts that time may forget, yet never entirely leave behind. *** [EKA | FROM VARIOUS SOURCES | HEMMINGS | TOPGEAR | STORY-CARS ]
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Elegant Finale - In the early 1950s, Europe’s automotive scene stood at a crossroads, caught between pre-war craftsmanship and the pressure to modernize fast. Many luxury marques struggled to stay relevant as mass production and new technologies reshaped expectations. It was within this fragile transition that Delahaye introduced one of its most intriguing final creations: the Delahaye 235M Pillarless Saloon by Ghia, a car that quietly embodied both the ambition and the vulnerability of a fading grand marque.
The Delahaye 235M Pillarless Saloon designed by Mario Felice Boano of Ghia, featured featured flowing, streamlined lines, dramatic proportions, and distinctive hinged wheelhouse fairings. (Picture from: RMW.lv)
The Delahaye 235 was born out of necessity. By 1951, sales of earlier models likethe Type 135 and 175had collapsed to just 77 units, forcing Delahaye to rethink its direction. Working under chief designer Philippe Charbonneaux, and with mechanical development led by Fernand Lacour, the company createdthe Type 235as a more modern evolution of its earlier luxury cars. The most visible change was its wide, full-width ponton-style front end, including a new grille that subtly referenced Delahaye’s distributor, Générale Française Automobile. Although it still relied on proven engineering, the car was meant to signal renewal rather than nostalgia.
The Delahaye 235M Pillarless Saloon by Ghia, a car that quietly embodied both the ambition and the vulnerability of a fading grand marque. (Picture from: RouteVehcchie.org)
Under the long hood sat a familiar but thoroughly refined 3.6-liter inline-six engine, derived from the 135MS. Equipped with three downdraught Solex carburetors, higher compression, and a revised camshaft, it produced around 152 horsepower and pushed the 235 to roughly 170 km/h, with some early prototypes exceeding that mark. Buyers could choose between a synchronized four-speed manual gearbox or the advanced Cotal pre-selector unit, reflecting Delahaye’s attempt to blend traditional craftsmanship with contemporary driving comfort. On paper, the performance matched its elite positioning, even if rivals offered similar speed at lower cost.
The Delahaye 235M Pillarless Saloon by Ghia features a cabin that reflects refined yet understated luxury, prioritizing craftsmanship over excess. (Picture from: RMW.lv)
What truly defined the Delahaye 235M Pillarless Saloon, however, was its bodywork. Delahaye sold the car primarily as a rolling chassis, leaving styling to Europe’s most respected coachbuilders. While many examples wore bodies by Chapron, Antem, or Letourneur et Marchand, the Ghia-built pillarless saloon stood apart. Designed by Mario Felice Boano, it featured flowing, streamlined lines, dramatic proportions, and distinctive hinged wheelhouse fairings. The absence of a central door pillar gave the car an open, elegant profile, emphasizing lightness and motion even at rest. Inside, the cabin echoed this philosophy with a refined yet understated luxury, favoring craftsmanship over excess.
The Delahaye 235M Pillarless Saloon by Ghia is powered by a refined 3.6-liter inline-six engine derived from the 135MS, equipped with triple Solex carburetors and delivering around 152 horsepower with a top speed of approximately 170 km/h. (Picture from: RMW.lv)
Despite technical competence and visual flair, the 235 arrived too late. Critics at the time noted its resemblance to earlier Delahayes and questioned its weight, price, and reliance on aging mechanical concepts. Even Delahaye’s bold promotional efforts—such as driving an aluminum-bodied prototype from Cape Town to Algiers in just over ten days—failed to revive demand. Between 1951 and 1954, only about 85 examples were built, including prototypes. By the summer of 1954, Delahaye was absorbed by Hotchkiss, and the brand quietly disappeared from the automotive world.
The Delahaye 235M Pillarless Saloon by Ghia was produced in limited numbers between 1951 and 1954, with only about 85 examples built, including prototypes. (Picture from: RMW.lv)
Today, the Delahaye 235M Pillarless Saloon by Ghia feels less like a commercial failure and more like a closing statement written in metal and glass. It captures a moment when elegance still mattered more than efficiency, and when individuality came from artisans rather than assembly lines. As modern collectors and enthusiasts revisit this car, it stands not as a relic, but as a reminder of how bold design and quiet confidence once defined luxury—even at the very end of an era. *** [EKA | FROM VARIOUS SOURCES | RMW.LV | SUPERCARS.NET | RUOTEVECCHIE.ORG | CLASSICDRIVER | RMSOTHEBYS | CRAIG'S CAR CORNER IN FACEBOOK ]
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Today, the 2009 Corvette Stingray Concept remains the last of Chevrolet’s all-out, show-stopping Corvette concepts. In an era where mid-engine Zoras and production-ready innovations dominate the headlines, it stands as a testament to a time when designers could indulge in “what if” scenarios, blending legacy with experimentation. Its lines still draw eyes and provoke discussion, quietly asserting that some of the most memorable cars aren’t those you drive on the street, but those that ignite imagination in the minds of enthusiasts everywhere. *** [EKA | FROM VARIOUS SOURCES | GM | CORVETTES.NL | MOTORTREND | MOTORAUTHORITY | MOTOR1 ]
