Bubble Odyssey - In an era when automotive design often feels carefully optimized and predictably polished, there is something irresistibly charming about creations that dare to wander outside the lines. Custom car culture has always thrived on that spirit of rebellion, blending personal imagination with mechanical curiosity. Against this backdrop, one particular machine stands out not only for its bold visual presence but also for the story behind it: the 1975 Saab 96 known as the WaSaabi, a remarkable project brought to life by Marco and Mico Hämäläinen of Orimattila, Finland.
The 1975 Saab 96 “WaSaabi" by Marco and Mico Hämäläinen. (Picture from: Moottori.fi)
At first glance, the WaSaabi looks like it slipped through a time portal from the retro-futuristic visions of the 1950s and 1960s—eras that worshipped chrome rockets, wild color palettes, and dreamlike bubble-topped concepts. Marco and his son set out with far more modest intentions, planning a traditional custom by chopping the roof of their recently acquired Saab 96. It was supposed to be a straightforward father-and-son project: disassemble the car, rebuild the engine, adjust the bodywork, give it a fresh personality. But the moment the roof came off, the project changed course entirely. With nothing but sky above the cabin, new ideas began to collide, reshape themselves, and multiply faster than either of them expected.
The 1975 Saab 96 “WaSaabi" by Marco and Mico Hämäläinen. (Picture from: RollingArt in Facebook)
The centerpiece of this transformation became the bubble top—a dramatic, transparent dome that completely redefines the Saab’s silhouette. Instead of sourcing specialty materials from afar, the pair looked locally and found exactly what they needed in an unexpected place: a large roof window intended for factories and industrial halls. Cut, shaped, and adapted to fit the car, it became the defining visual signature of WaSaabi. Suddenly, the once-practical Scandinavian sedan now radiated an exuberant sci-fi presence that captured the imagination of everyone who saw it.
The 1975 Saab 96 “WaSaabi" by Marco and Mico Hämäläinen. (Picture from: RollingArt in Facebook)
Color played just as vital a role in its reinvention. Mico, long before the car was even purchased, had already chosen the exact shade he wanted it to wear. True to his vision, he painted the vehicle himself in a vivid green Metalflake finish that sparkles aggressively under light, punctuated by gleaming gold details. The process took about a year of steady work—disassembling “into atoms,” as they put it, tinkering, redesigning, refining, and fueling the car with fresh waves of enthusiasm. By the spring of 2021, the WaSaabi was complete, shimmering like a jewel from a retro comic book.
The 1975 Saab 96 “WaSaabi" by Marco and Mico Hämäläinen. (Picture from: Thingies in Facebook)
Its debut came on July 31, 2021, at Malmi Airport in Helsinki, a fitting place for a car that seems almost ready for liftoff. And in case the bubble top didn’t emphasize its space-age character enough, the rear end certainly completed the mood: a faux thruster paired with a central fin and twin 1959 Cadillac taillights, giving it the posture of a small starship waiting for clearance to take off. The modifications weren’t merely for show; they were playful expressions of the creative freedom that inspired the build from the moment the roof was cut away.
The 1975 Saab 96 “WaSaabi" by Marco and Mico Hämäläinen. (Picture from: Thingies in Facebook)
What makes the WaSaabi especially captivating today is how it bridges multiple eras. It is undeniably rooted in mid-century American custom culture, yet it was constructed in modern Finland using a Swedish car from the 1970s, guided by the imagination of a father and son who grew up in an entirely different automotive landscape. In a world where high-tech electric cars dominate headlines, this handcrafted experiment in creativity serves as a reminder that car culture is as much about personal expression as it is about engineering advancement. Projects like the WaSaabi preserve the joy of building, dreaming, and reinterpreting history through fresh eyes.
The 1975 Saab 96 “WaSaabi" by Marco and Mico Hämäläinen. (Picture from: RollingArt in Facebook)
The WaSaabi doesn’t try to blend in. It wasn’t built to follow trends or chase perfection. Instead, it stands as a rolling snapshot of shared curiosity—a family project that expanded far beyond its original blueprint, embracing spontaneity and celebrating the wildness of imagination. As it sits gleaming under the sun, its bubble top catching reflections like a floating glass helmet, it continues to inspire anyone who sees it to imagine what else is possible when creativity is allowed to run just slightly out of hand. *** [EKA | FROM VARIOUS SOURCES | MOOTTORI.FI | KUSTOMRAMA | ROLLING ART IN FACEBOOK | THINGIES IN FACEBOOK | QUIRKYRIDES IN X ]
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Unfinished Brilliance - The 1960s were a restless chapter in automotive history, marked by bold experimentation and unexpected collaborations. In that climate of creative risk-taking, TVR introduced a concept that hinted at a broader future for the brand. Unveiled in November 1966 at the Turin Motor Show, the TVR Tina Convertible Concept—also known as the Tina Spyder—stood as a quiet yet confident statement of ambition, blending British engineering logic with Italian design finesse.
The TVR Tina Spyder Concept by Fissore was introduced at the 1966 Turin Motor Show following revisions to its front-end design.(Picture from: Autoevolution)
The foundation ofthe Tina Spydercame fromthe Hillman Imp, reflecting TVR’s long-standing habit of using donor components to keep development realistic and flexible. This approach had already shaped the company’s early identity and reputation, allowing it to focus resources on innovation rather than large-scale manufacturing. In the Tina, that philosophy supported a new direction rather than limiting it. The naming of the car became part of its charm. Lilley wanted something quickly, and since racing driver Gerry Marshall—an important figure at the Barnet Motor Company—was closely involved, the team chose to name it after his daughter, Tina.
The TVR Tina Spyder Concept by Fissore is pictured in its first iteration, featuring the original front-end design before revisions were made to meet U.S. safety regulations. (Picture from: AllCarIndex)
Designed as a compact 2+2 convertible sports car, the Tinacarried a distinctly modern character for its time. The styling was the work of Trevor Fiore, whose design balanced clean lines with a light, contemporary feel. Its body shell was crafted by Carrozzeria Fissore in Italy, giving the car a subtle elegance and reinforcing its cross-cultural identity. The open-top layout further emphasized its relaxed, forward-looking personality.
The TVR Tina Spyder Concept by Fissore was based on Hillman Imp mechanicals, reflecting TVR’s long-standing approach of using donor components to keep development practical and flexible. (Picture from: Carrozzieri-Italiani)
One of the most unusual aspects ofthe Tina Spyder prototypewas its construction. Unlike TVR’s typical fiberglass-bodied cars, the prototype used a steel body shell. This choice was driven by practicality rather than philosophy, as TVR lacked the facilities for steel pressing at scale. Had the Tina moved into production, reinforced fiberglass would almost certainly have replaced steel, maintaining consistency with TVR’s established manufacturing methods.
The TVR Tina Spyder Concept by Fissore used a steel bodyshell, a practical decision driven by TVR’s lack of large-scale steel pressing facilities rather than design philosophy. (Picture from: Carrozzieri-Italiani)
The version shown in Turin was already a revised design—the second
iteration of the Tina Spyder. Its front end had been updated to comply
with U.S. safety regulations, clearly indicating TVR’s intention to
reach beyond the domestic market. This adjustment demonstrated an
awareness of global standards and an ambition to position the Tina as
more than a niche British experiment.
The TVR Tina Spyder Concept by Fissore featured an open-top layout that further emphasized its relaxed, forward-looking character. (Picture from: Carrozzieri-Italiani)
Beyond design, the Tinaalso served as a confidence signal for the company. Martin Lilley insisted that both the coupé and convertible versions appear at the October 1966 London Motor Show. The reaction was immediate and intense. Enthusiastic visitors reportedly offered blank cheques to secure a place on a future waiting list, and TVR’s factory phones rang constantly afterward, suggesting genuine market appetite rather than fleeting curiosity.
The TVR Tina Spyder by Fissore was displayed alongside its Coupé Concept sibling at the 1966 London Motor Show.(Picture from: AllCarIndex)
Despite its strong reception and evident potential, the Tina Spyder never progressed beyond the prototype stage. Yet it did not disappear into obscurity. The convertible prototype was later registered for road use, passed through private ownership, and eventually crossed the Atlantic. Today, it is known to survive in the hands of a private collector, preserved rather than displayed, rarely seen but very much real. In that quiet survival lies the true legacy of the Tina—an unfinished idea that still exists as proof of a moment when creativity, confidence, and collaboration briefly aligned. *** [EKA | FROM VARIOUS SOURCES | CARROZZIERI-ITALIANI | AUTOEVOLUTION | ALLCARINDEX | ICONICAUCTIONEERS | CLASSIC CARS & CONCEPT CARS IN FACEBOOK ]
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Conceptual Echoes - The 1980s were a turning point for many automakers, especially in Japan, where bold ideas and experimental engineering began challenging Europe’s long-standing dominance. This era produced machines that felt like glimpses into alternate automotive futures—cars such as Nissan’s MID4 with its advanced all-wheel steering, Subaru’s SVX that carried its concept-car curves into production, and Mazda’s own MX series of experimental studies. Within this creative surge, one project stood out for its unusual flexibility and forward-thinking structure: the Mazda MX-04, a concept roadster that appeared two years beforethe MX-5 Miata and raised the lingering question of whether it could have become Mazda’s defining lightweight sports car.
The Mazda MX-04 Concept. (Picture from Story-Cars)
Mazda’s MX line did not unfold in the numerical order one might assume. It began with the MX-02, skipping MX-01 entirely, then moved to the MX-03, a white GT-style coupé packed with sharp lines and advanced technology powered by a rotary Wankel engine. By the time Mazda reached the MX-04 in 1987, the MX series had become a platform where imaginative engineering met daring aesthetics. The MX-04embraced elements of classic 1960s British sports cars—long hood, compact tail, and open-air spirit—while presenting them through the futuristic lens of late-20th-century Japanese design, including fixed headlights rather than the pop-up units Mazda would later givethe MX-5.
What truly separated the MX-04 from conventional sports-car concepts was its ability to transform. Mazda built it as a multi-purpose machine that could shift between two distinct body styles: an open configuration relying on a sail-like side panel instead of doors, and a version with a solid roof and standard doors that looked far more traditional. Then, in an even bolder twist, Mazda created a second variant stripped of most exterior panels, revealing a raw, race-car-like form with round headlights. This flexible approach allowed the MX-04 to resemble everything from a futuristic roadster to something closer to a Lotus Seven, long before modularity became a common design ambition.
This transformability was possible only because ofthe MX-04’s unconventional construction. Mazda used a separate chassis built around an aluminum-alloy backbone paired with a carbon-reinforced composite floor—an extremely advanced combination for the 1980s. Plastic exterior panels could be removed with relative ease, enabling the two dramatically different looks. In some ways the MX-04 even anticipated ideas later seen on the BMW Z1, which arrived two years after Mazda’s concept with its own removable panels, although Mazda explored the method with lighter materials and a more experimental architecture.
Mazda’s engineering ambitions extended beneath the body as well. Staying true to its identity of the time, the MX-04 housed a compact two-rotor Wankel rotary engine with a total displacement of 1.0 liter and direct fuel injection designed to run on a lean mixture. Rather than relying solely on rear-wheel drive, as might be expected from a roadster inspired by British classics, Mazda equipped the concept with permanent all-wheel drive. Additional features—an engine start button and an onboard mobile phone—seemed almost futuristic for the late 1980s, hinting at the technological direction the industry would eventually take.
Given its debut just beforethe MX-5’s creation, enthusiasts naturally wondered whether the MX-04 served as an early blueprint for the Miata. However, the production MX-5 emerged with a philosophy nearly opposite to the MX-04’s complexity. While Mazda initially considered using a similar chassis-body structure, the idea proved too costly and impractical for the mass production the company envisioned. Other cars using comparable methods, like the BMW Z1 and Lotus Elan M100, ended up priced far higher and built in far smaller numbers. Mazda realized that a simple, traditional, rear-wheel-drive layout resonated more with drivers seeking an affordable, classic roadster experience. | 9aou1uG49yM |
As a result, the MX-04 did not become the Miata—but its existence remains significant. It represents Mazda’s experimental courage during a decade defined by ambitious ideas and rapid technological leaps. Even though the Miata ultimately succeeded by returning to simplicity, the MX-04 captured a different side of Mazda’s creative identity: the willingness to test boundaries, explore alternative possibilities, and imagine new ways a sports car could exist. Its dual-body nature, advanced materials, and rotary-powered all-wheel-drive layout tell the story of a manufacturer unafraid to challenge convention, leaving behind a concept that still sparks curiosity about what might have been. *** [EKA | FROM VARIOUS SOURCES | AUTO.CZ | STORY-CARS ]
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Mechanical Resurrection - In an age when automotive design is often measured by digital precision and silent electric power, there remains something profoundly magnetic about the sound of a mechanical heartbeat — the roar of an engine that once defined an era. That’s exactly what Jaguar set out to revive with the rebirth of one of its most legendary machines: the new Jaguar C-Type Continuation. It isn’t just a car brought back to life; it’s a bridge between a golden age of motorsport and the meticulous craftsmanship of today.
The New Jaguar C-Type Continuation — marks the automaker's 70th Anniversary with only two units ever crafted, one wears a shimmering Verbier Silver coat paired with a Cranberry Red interior, and the other pays homage to the 1953 Le Mans winner with the unmistakable British Racing Green exterior and a Suede Green cabin. (Picture from: GridOto)
The C-Typefirst appeared in 1951 as a purebred racing car, created for one purpose — speed. By 1953, it had become a legend at the 24 Hours of Le Mans, dominating the event with finishes in first, second, fourth, and ninth place. Its secret weapon was innovation: the use of disc brakes, a feature that revolutionized racing and later became standard in road cars. Seven decades later, Jaguar decided to commemorate that victory by recreating the machine that made history, resulting in what is now known as the C-Type Continuation — an extraordinarily faithful reimagining of the 1953 champion.
The New Jaguar C-Type Continuation — an extraordinarily faithful reimagining of the 1953 champion. (Picture from: Carvaganza)
At first glance, the new C-Type looks like it has stepped straight out of a sepia-toned photograph, yet there’s nothing outdated about the craftsmanship behind it. Each car is hand-built by Jaguar’s Classic division in Coventry, using the original engineering drawings from the 1950s, digitally fused together with modern AutoCAD technology. This fusion of past and present allows engineers to reproduce every line, curve, and mechanical nuance exactly as it once was, from the iconic tubular frame to the intricate detailing of its cockpit. Even the Smiths clock and Lucas mirrors are recreated or reconditioned to match their period-correct counterparts.
The New Jaguar C-Type Continuation — an extraordinarily faithful reimagining of the 1953 champion.(Picture from: Carvaganza)
Beneath its elegantly sculpted aluminum body lies a 3.4-liter XK6 straight-six engine, equipped with triple Weber 40DCO3 carburetors. It delivers a faithful 220 horsepower — the same as the 1953 race car — sending power to the rear wheels through a four-speed manual gearbox borrowed fromthe XK120. It’s a mechanical symphony that demands to be driven, not just admired. Jaguar even ensured FIA approval, allowing this modern C-Typeto compete in historic racing events — proof that this continuation isn’t just a museum piece but a living, breathing machine ready for the track.
Beneath the New Jaguar C-Type Continuation elegantly sculpted aluminum body lies a 3.4-liter XK6 straight-six engine, equipped with triple Weber 40DCO3 carburetors. (Picture from: Carvaganza)
What makes the 70th Anniversary Edition especially captivating is its individuality. Only two units were created, each carrying its own character. One wears a shimmering Verbier Silver coat paired with a Cranberry Red interior, exuding timeless sophistication. The other pays homage to the 1953 Le Mans winner with the unmistakable British Racing Green exterior and a Suede Green cabin — a color combination that seems to whisper stories from the pit lanes of the past. Subtle details mark their exclusivity: a roundel with the number 70, a bespoke dashboard plaque, and a specially designed key housing.
The New Jaguar C-Type Continuation features a Suede Green cabin enhanced by hand-stitched leather, minimalist dials, and a 15-inch Bluemel steering wheel wrapped in soft hide.(Picture from: GridOto)
Inside, the spirit of the 1950s is reborn with hand-stitched leather, minimalist dials, and a 15-inch Bluemel steering wheel wrapped in soft hide. It’s a tactile experience, one that celebrates driving as an art form rather than a digital interface. Buyers can personalize their cars further, choosing from twelve exterior paints and eight leather finishes — yet every option remains anchored to the C-Type’s authentic aesthetic.
The New Jaguar C-Type Continuation in pictured wears a shimmering Verbier Silver coat.(Picture from: GridOto)
The philosophy behind the C-Type Continuation goes far beyond nostalgia. For Jaguar Land Rover, it’s part of a broader vision to preserve and celebrate the company’s racing heritage while connecting it to contemporary craftsmanship. According to Dan Pink, Director of Jaguar Classic, the goal is not to modernize the C-Type but to protect its integrity. That means no electric conversions, no digital dashboards, and no shortcuts. Jaguar believes that true authenticity comes from respecting the soul of the original, even as technology helps refine the process of bringing it back to life.
The New Jaguar C-Type Continuation in pictured wears British Racing Green exteriort to pay tribute the 1953 Le Mans winner. (Picture from: Carvaganza)
The decision to recreate such icons isn’t driven solely by heritage pride; it also responds to a growing fascination with analog motoring among collectors and enthusiasts. In an automotive landscape increasingly dominated by battery packs and autonomous systems, cars like the C-Type Continuation remind us why humans fell in love with driving in the first place — the sound, the smell, the precision, the thrill of taming something mechanical and alive. | Q2OzjX27NGI |
Priced from £1.5 million, the new C-Type Continuation is not just an investment in rarity; it’s an invitation to relive a chapter of motoring history that helped define what performance meant. And while it may carry the weight of seven decades on its shoulders, this Jaguar feels as vibrant as ever — not because it tries to be modern, but because it dares to be timeless.
In a world racing toward the future, the new Jaguar C-Type Continuation offers something increasingly rare: a moment to look back and remember how speed once felt when it came purely from the hands of craftsmen, the pulse of an engine, and the courage of those who raced it into legend. *** [EKA | FROM VARIOUS SOURCES | JAGUAR | ID.MOTOR1JAGMANSM IN X | CARVAGANZA | GRIDOTO ]
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Retro Venom - The late 1960s were a time when cars embodied rebellion, freedom, and raw energy. Streets pulsed with the sound of V8 engines, and design studios buzzed with creativity that would define an era. Now imagine if, amid that cultural explosion, the Dodge Viper—a car born decades later—had roared into existence in 1967. It’s a question that Brazilian designer Rafael Reston asked himself, and the answer became his stunning creation: the Dodge Viper 1967 Concept.
The 1967 Dodge Viper by Rafael Reston. (Picture from: MotorAuthority)
Reston didn’t simply restyle an icon for fun; he reimagined an alternate history. His idea was to explore how Dodge might have launched a rival tothe Corvette of that era, using only the tools, materials, and aesthetics available at the time. He immersed himself in the design trends of the 1960s, an age of sculpted curves, chrome details, and unapologetic flair. The goal was authenticity—to make the car feel as if it truly could have rolled out of a Chrysler design studio in the summer of ’67.
The 1967 Dodge Viper by Rafael Reston.(Picture from: MotorAuthority)
The result was a vision that merged two worlds: the retro sensuality of 1960s styling with the aggressive identity ofthe modern Viper. Its sweeping body lines, circular headlamps, and chromed trims reflected mid-century elegance, while the massive hood, side air vents, and rear-biased stance echoed the fierce personality ofthe real Viper. It was both vintage and venomous—a time-bending fusion that felt oddly believable.
The 1967 Dodge Viper by Rafael Reston.(Picture from: MotorAuthority)
Under the hood, Reston imagined not the iconic V10, but a 440ci Magnum V8, the same powerhouse that once fueledthe Dodge Challenger R/T. He reasoned that in 1967, a ten-cylinder engine would have been far too impractical for production. The Magnum, however, captured the era’s spirit—brutal, simple, and loud enough to make its presence known from blocks away. It was the perfect match for his reimagined beast.
The 1967 Dodge Viper by Rafael Reston.(Picture from: MotorAuthority)
Inside, the Viper 1967stayed true to the craftsmanship of its imagined time. Chrome accents, leather upholstery, and a mahogany steering wheel replaced the minimalist interiors of modern sports cars. Reston described it not as a luxury machine but an emotional one—a car meant to thrill the senses, not to coddle the driver. Every material choice reinforced that balance between sophistication and sheer adrenaline.
The 1967 Dodge Viper by Rafael Reston.(Picture from: MotorAuthority)
By the time he revealed the concept, Rafael Reston, then 29, was already a rising name in automotive design. A graduate of FAAP in São Paulo and based in Milan, he had contributed to projects for Renault Design America Latina and other studios while writing his own book, Do Sketch ao Concept: o básico do design automotivo. His Viper project reflected his philosophy: that design isn’t just about aesthetics—it’s about storytelling through form and era.
The 1967 Dodge Viper by Rafael Reston.(Picture from: MotorAuthority)
What makes Reston’s idea so captivating is how it bridges nostalgia with forward-thinking imagination. It challenges the notion that innovation must always look futuristic; sometimes, it can be found by looking backward with new eyes. His Dodge Viper 1967 isn’t just a design exercise—it’s a commentary on how timeless ideas can transcend decades when filtered through creativity and respect for history. | PLtJ8irtHzM |
Hadthe Vipertruly been born in the summer of 1967, it might have joined the pantheon of American legends alongsidethe Shelby Cobra and the Corvette Sting Ray. But even as a digital concept, Reston’s vision still bites—it sparks curiosity, admiration, and a sense of “what if” that lingers long after the engine falls silent. And if perhaps some devoted car enthusiast today dares to bring this machine to life, here lies the inspiration waiting to be transformed into reality. *** [EKA | FROM VARIOUS SOURCES | THEAMAZOOEFFECT | MOTORAUTHORITY | CARBODYDESIGN | STREETMUSCLEMAG ]
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Vintage Ingenuity - Long before today’s electric silhouettes and wind-tunnel-sculpted supercars took over our roads, the idea of personalizing a vehicle was often born not in corporate design studios, but in small workshops and home garages. The early postwar years were a playground for experimentation, a moment when imagination mattered more than budgets and when new materials—especially fiberglass—felt like keys to an uncharted automotive future. Out of this restless creative energy emerged a machine that didn’t just turn heads in its time, but quietly nudged one of America’s most iconic sports cars into existence: the Lancer Roadster.
The 1951 Lancer Roadster created in 1951 by Eric Irwin of Costa Mesa, California, and stood as one of the earliest fully custom fiberglass automobiles ever built. (Picture from: QuirkyRides in X)
Created in 1951 by Eric Irwin of Costa Mesa, California, the Lancer Roadster stood as one of the earliest fully custom fiberglass automobiles ever built. Irwin was not simply dabbling in new materials; he became one of the first to articulate the entire process in print, writing a guidebook that used his own car as the cover model. He understood the potential of fiberglass at a moment when most people were still skeptical. Its promise was irresistible: light weight, affordability, structural strength, immunity to rust, and a shapelessness that waited only for a designer’s imagination to give it a form. For builders who were already accustomed to rummaging through junkyards for frames and drivetrains, fiberglass seemed to hand them the freedom to craft cars unconstrained by traditional steel stamping.
The original Lancer Roadster driven by its designer and builder, Eric Irwin. (Picture from: JalopyJournal)
The Lancer’s underlying structure reflected exactly that spirit of resourcefulness. Irwin built his prototype on a 1932 Graham chassis and powered it with a Studebaker Champion flat-six engine—an unusual pairing even for the era. Yet the result carried a sporty charm, with flowing proportions and a youthful, adventurous personality that fit perfectly into the early 1950s custom-car landscape. Its one aesthetic misfire, the quirky bumper arrangement that looked haphazardly attached, only added to its reputation as a bold experiment rather than a polished production model. What mattered most was its presence: fresh, futuristic, and unmistakably different.
The 1951 Lancer Roadster by Eric Irwin built based on a 1932 Graham chassis and powered it with a Studebaker Champion flat-six engine. (Picture from: JalopyJournal)
When the Lancer debuted at Petersen’s Motorama in November 1951, it arrived alongside four other fiberglass sports cars, all of them capturing a moment when American automotive culture was on the verge of reinvention. The reception was immediate and enthusiastic. Crowds were drawn to the Lancer’s sleek profile and the novelty of its construction, and Irwin quickly found himself recognized as a pioneer of the new material. His involvement didn’t end with that first car. Through the mid-1950s, he continued refining the Lancer for customers, showing that fiberglass customs weren’t a fleeting hobby but a growing movement.
The 1951 Lancer Roadster by Eric Irwin features a chassis modified with the X-member removed, fitted with adjustable Fiat-Balila bucket seats and a 1940 Cadillac instrument panel. (Picture from: JalopyJournal)
The most intriguing chapter of the Lancer’s legacy, however, sits quietly between its lines of history. Irwin consulted with Harley Earl—General Motors’ legendary design chief—at a time when GM was exploring ideas that would eventually crystallize intothe Chevrolet Corvette. The Corvette, unveiled in 1953, would go on to define the American sports car identity for generations.
The 1951 Lancer Roadster by Eric Irwin's aesthetic misfire, the quirky bumper arrangement that looked haphazardly attached, only added to its reputation as a bold experiment rather than a polished production model. (Picture from: JalopyJournal)
While the Lancer never reached mass production or mainstream fame, its influence threaded directly into the thinking of the industry’s most powerful design office. It demonstrated that fiberglass wasn’t merely viable—it was the future. Seen from today’s vantage point, the Lancer Roadster becomes more than just a custom car from a restless era. It represents the moment experimentation met opportunity, when independent creators shaped ideas that major manufacturers would soon adopt and refine. | hHPhz6QxR8s | TNWANgg2KJA |
Its lines may feel rooted in the optimism of the early fifties, but its impact continues to echo in every modern composite body and every unconventional build that dares to break with tradition. The Lancer stands as a reminder that innovation often begins in the hands of individuals who see possibility where others see limitations, and that some of the greatest automotive icons trace their origins to workshops where imagination was the only blueprint. *** [EKA | FROM VARIOUS SOURCES | JALOPYJOURNAL | UNDISCOVEREDCLASSICS | QUIRKYRIDES IN X | DAVE DEUEL IN FACEBOOK | THINGIES IN FACEBOOK ]
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The WaSaabi doesn’t try to blend in. It wasn’t built to follow trends or chase perfection. Instead, it stands as a rolling snapshot of shared curiosity—a family project that expanded far beyond its original blueprint, embracing spontaneity and celebrating the wildness of imagination. As it sits gleaming under the sun, its bubble top catching reflections like a floating glass helmet, it continues to inspire anyone who sees it to imagine what else is possible when creativity is allowed to run just slightly out of hand. *** [EKA | FROM VARIOUS SOURCES | MOOTTORI.FI | KUSTOMRAMA | ROLLING ART IN FACEBOOK | THINGIES IN FACEBOOK | QUIRKYRIDES IN X ]
