Boundary-Bred Craft - Long before today’s era of niche performance brands and custom builds shared instantly online, car culture survived in far quieter corners of the world. In 1970s Czechoslovakia—where the automotive market was shaped more by necessity than passion—enthusiasts still found ways to express their love for speed. Out of that atmosphere emerged a car that seemed almost impossible for its time: the GIOM 1, a Slovak-built sports machine whose height was so extreme that in 1972 it was reportedly the second lowest car in the world.
The GIOM 1 sports car, created in Slovakia in 1972, was claimed to be the second lowest car in the world at the time. (Picture from: WeirdWheels in Reddit)
Its origins were surprisingly humble. In Piešťany, František Němec’s growing interest in racing collided with the creativity of a small circle of friends. Together they formed a group known as GIOM, short for “Garage of Ten Motorists.” With limited funds but an eagerness to build something competitive, they chose the B5 class and began crafting a machine from components that were accessible yet adaptable. The Škoda 100/110 seriesprovided the foundation, offering a rear-engined layout, a simple mechanical structure, and parts that could be reworked without sophisticated equipment.
The GIOM 1 sports car, was built from a Škoda 110 R donor using its self-supporting floor platform, chassis, and both axles—trapezoidal in front and shuttle-type at the rear. (Picture from: WeirdWheels in Reddit)
From the original Škoda 110 R donor, the team carried over the self-supporting floor platform, the chassis, and the axles—the front trapezoidal and the rear shuttle setup. The one-liter engine fromthe Škoda 100, paired with its four-speed manual transmission, became the car’s first power source. Over time, the team took an ambitious step by installing a Fiat 1600 twin-cam engine, said to produce around 130 horsepower, elevating the GIOM 1 far beyond anything the group had initially expected.
The GIOM 1 sports car showcased resourceful engineering, yet its true ambition emerged in the completely new bodywork crafted by František Němec and young designer Peter Chudý. (Picture from: WeirdWheels in Reddit)
Engineering choices reflected thoughtful improvisation. The suspension used Koni shock absorbers, while the front brakes were upgraded to Girling discs—a sharp contrast to the original drum system retained at the rear. Everyday driving relied on Škoda metal wheels fitted with Barum tires, but for racing, lightweight alloy wheels—sometimes referred to as electron wheels—were paired with Dunlop tires to sharpen performance.
The GIOM 1 sports car was versatile enough to serve as a daily driver while also being capable of transforming into a circuit-ready racer when needed. (Picture from: WeirdWheels in Reddit)
Although the mechanical aspect was resourceful, the bodywork was where true ambition surfaced. A completely new shell was crafted by František Němec and the young designer Peter Chudý. Only 22 years old and studying architecture at the Slovak Technical University, Chudý had already spent years submitting visionary car designs to competitions. His proposals explored multiple body variations, and his entries regularly ranked among the best, often taking several of the top positions at once. That creative confidence shaped the dramatic, futuristic form of the GIOM 1—something far removed from any standard Škoda silhouette.
The
GIOM 1 sports car, was built from a Škoda 110 R donor using its
self-supporting floor platform, chassis, and both axles—trapezoidal in
front and shuttle-type at the rear. (Picture from: WeirdWheels in Reddit)
The car was built almost entirely in Němec’s garage, with help from nine friends who brought together skills ranging from mechanical work to painting. The process wasn’t glamorous, but their craftsmanship allowed the vehicle to evolve into a sleek, extremely low sports car that looked decades ahead of its environment. In a period defined by uniformity, the GIOM 1 stood out not just as a technical curiosity but as a statement of personal vision. | 6A4IPsU-bo8 |
When viewed from the lens of today’s open, highly individualized car culture, the GIOM 1 feels unexpectedly relevant. It speaks to an idea that has gained new momentum: that remarkable machines can rise from places with limited resources, powered not by corporate budgets but by determination, skill, and friendship. Its story bridges the gap between past and present, echoing a truth that continues to inspire builders around the world—that innovation thrives wherever passion is strong enough to keep it alive. *** [EKA | FROM VARIOUS SOURCES | AUTO.CZ | VRCHY | WEIRDWHEELS IN REDDIT ]
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Seventies Swagger - There’s a certain magic in cars that preserve the mood of their era, and the De Tomaso Pantera has always been one of those machines. Built at the junction of Italian design and American muscle, it already carried a strong ’70s attitude, yet one custom-ordered example from 1975 pushes that spirit even further with details that feel like a snapshot of the decade’s boldest impulses.
The 1975 De Tomaso Pantera Custom, built at the crossroads of Italian design and American muscle, amplifies its inherent ’70s attitude through bespoke details commissioned by a Greek entrepreneur and close friend of Alejandro de Tomaso. (Picture from: Motortrend)
Panteras were produced in fairly significant numbers for a supercar of their time—around 7,260 units—yet almost none were factory-customized. That’s what makes this particular car unusual. It was commissioned by a Greek entrepreneur who happened to be a close friend of Alejandro de Tomaso, and he approached the order sheet like it was a canvas. He wanted the car as low as possible, without the usual side script, and with a “T” placed at the center of the radiator. The cabin had to be drenched entirely in white leather, down to the space beneath the small gauges and the inside door panels. He also requested EE plates, the removal of the rear bumper, and a free-flow exhaust system to emphasize character over convention.
The 1975 De Tomaso Pantera Custom was specified to sit as low as possible, delete the traditional side script, and feature a “T” emblem centered on the radiator.(Picture from: Motortrend)
What the handwritten requests didn’t mention was the dramatic bodywork. The car originally carried Group 4–style fender flares before they were swapped for boxier extensions that enhanced its already sharp silhouette. And while the Pantera’s Ford-sourced 5.7-liter V8 was strong by default, it’s believed that the engine was enlarged to 7.0 liters later in the decade, giving this one-off build even more presence and power.
The 1975 De Tomaso Pantera Custom initially wore Group 4–style fender flares before later adopting boxier extensions that intensified its sharp, wedge-like silhouette.(Picture from: Motortrend)
Its journey took a strange turn when irregularities with registration and number plates led Italian authorities to seize the car in 1985. The owner never retrieved it, and it eventually emerged from police impound years later. At some point, it was restored back to the specifications originally laid out in that unusually detailed order, preserving the white-on-white aesthetic, bespoke touches, and bold stance exactly as envisioned in the mid-’70s.
The 1975 De Tomaso Pantera Custom featured an all-white leather interior extending across the dashboard, beneath the small gauges, and onto the inner door panels.(Picture from: Motortrend)
When the car later appeared in an Artcurial Parisienne event in 2021, it stood out more for its personality than its fate among the catalog. Even though the auction generated nearly $22 million in overall sales, this Pantera drew attention simply because it represented something rarely seen: a truly personalized vision built at a time when automakers weren’t yet in the business of offering bespoke supercar programs.
The 1975 De Tomaso Pantera Custom was further specified with EE plates, a deleted rear bumper, and a free-flow exhaust system.(Picture from: Motortrend)
Machines like this reveal how expressive car culture once was. Instead of curated packages or digital configurators, individuality came from daring choices and direct relationships with the people who built the cars. This custom Pantera embodies that freedom, carrying the mood of its decade in every flare, every leather panel, and every unusual request that shaped it into something unmistakably its own. *** [EKA | FROM VARIOUS SOURCES | MOTORTREND]
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Elegant Revival - Some automotive names refuse to fade quietly, and Jaguar remains one of them. As the brand navigates an uncertain phase in the mid-2020s, a virtual revival of the 2027 Jaguar S-Type has captured attention by offering a calmer, more grounded alternative to Jaguar’s recent design direction. Rather than chasing extremes, this retro-modern sedan reconnects the marque with its heritage while acknowledging the realities of the modern automotive landscape.
The 2027 Jaguar S-Type Concept designed by Giorgi Tedoradze, known online as tedoradze.giorgi, a Georgia-based industrial designer. (Picture from: Autoevolution)
Jaguar’s struggles form the backdrop to this digital concept. Now operating under Tata as part of JLR, the company has faced financial pressure, a shrinking lineup, and growing criticism following its bold pivot toward ultra-luxury EVs. The controversial Type 00 concept and the abrupt departure of design chief, Gerry McGovern reinforced the sense that Jaguar had drifted away from the elegance and restraint that once defined its identity.
The 2027 Jaguar S-Type Concept proposed as an unofficial revival of the S-Type as a way to re-anchor Jaguar’s design language. (Picture from: Autoevolution)
The unofficial 2027 S-Type, envisioned by Georgia-based industrial designer Giorgi Tedoradze, proposes a different path. Inspired by both historic S-Type generations, the design blends classic proportions with contemporary refinement. Its long hood, balanced stance, and subtle detailing evoke traditional Jaguar character without leaning into nostalgia or exaggerated futurism, presenting a sedan that feels relevant rather than retro.
The 2005 Jaguar S-Type R . (Picture from: BringATrailer)
Beyond its styling, the concept stands out for its pragmatic philosophy. A proposed hybrid V6 powertrain offers a bridge between combustion heritage and modern efficiency, sidestepping the limitations and anxieties still associated with full electrification. Even as a purely digital creation, the 2027 Jaguar S-Type reframes the conversation around Jaguar’s future, suggesting that progress can coexist with identity instead of replacing it. *** [EKA | FROM VARIOUS SOURCES | TEDORADZE.GIORGI IN INSTAGRAM | AUTOEVOLUTION | BRINGATRAILER ]
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Engine Anarchy - Speed has always been one of humanity’s most seductive obsessions, and now and then the automotive world dares to explore it without restraint. The Dodge Tomahawk emerged from that daring spirit, not as a practical answer to transportation needs, but as a statement. It was created to challenge assumptions about what a motorcycle could be, pushing design, engineering, and imagination far beyond familiar boundaries.
The Dodge Tomahawk was officially developed by Dodge, and unveiled in 2003 at the North American International Auto Show in Detroit. (Picture from: GridOto)
The Tomahawk was officially developed by Dodge, then operating under the Chrysler Group, and unveiled in 2003 at the North American International Auto Show in Detroit. Rather than being the vision of a single designer, it was the result of a collaborative effort by Dodge’s internal design and engineering teams. Their goal was not mass production, but exploration—testing how far the brand’s muscle-car DNA could be stretched when applied to a motorcycle-shaped concept.
The Dodge Tomahawk placed its identity squarely in the hands of an 8.3-liter Dodge Viper V10, delivering roughly 500 horsepower—an engine wildly out of proportion for anything resembling a motorcycle.(Picture from: GridOto)
At the heart of this radical machine sat an engine that defined its identity: the 8.3-liter V10 fromthe Dodge Viper. Producing roughly 500 horsepower, this engine was dramatically out of scale for anything resembling a motorcycle. Power was delivered through a two-speed manual transmission and chain drive, reinforcing the idea that the Tomahawkwas closer in spirit to a stripped-down supercar than a conventional bike.
The Dodge Tomahawk used horizontal upper and lower aluminum arms at the front that resembled a shockless swingarm, while the rear featured a swingarm-style system with a lockable hydraulic link circuit.(Picture from: GridOto)
Visually, the Tomahawk looked like a mechanical sculpture from the future. Its bare aluminum body, left unpainted, exposed sharp lines and industrial textures, emphasizing function over polish. Instead of two wheels, it featured four independent wheels—two at the front and two at the rear—mounted on 20-inch rims with wide tires. This unusual configuration allowed the vehicle to stand upright on its own using hydraulic locks, further blurring the line between motorcycle and car.
The Dodge Tomahawk appeared as a futuristic mechanical sculpture, its
unpainted aluminum body exposing sharp lines and industrial textures
that favored raw function over refinement.(Picture from: Wikipedia)
The engineering underneath was equally unconventional. The front suspension used horizontal upper and lower aluminum arms resembling a swingarm without a traditional shock absorber, while the rear employed a swingarm-like system with a lockable hydraulic link circuit. Braking was handled by disc brakes with six calipers, necessary to tame the immense force generated by the V10. Every component reflected Dodge’s intention to prioritize raw power and experimental design over everyday usability. | GYdmUHD-neY | 1XehkMQpeyA |
Performance claims quickly became part ofthe Tomahawk’s mythology. With its massive engine and proportions, theoretical top speeds were rumored to exceed 468 km/h, though these figures were never officially tested. Only nine units were ever built, and the vehicle was never street-legal. Today, the Dodge Tomahawkstands as a bold artifact of early-2000s automotive culture—an unapologetic concept that continues to inspire awe, debate, and digital reincarnations in modern racing games, long after its debut shocked the world.
Kept spur your adrenaline on the power of two-wheeled monster and stay alive with the true safety riding. May God will forgive Your sins and so does the cops...... *** [EKA | FROM VARIOUS SOURCES | GRIDOTO | OTO.DETIK | BLACKXPERENCE | WIKIPEDIA ]
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Heritage Finesse - In an era when automobiles increasingly blur into one another, there’s something refreshing about looking back to a time when a car could express personality with a single sweep of metal or a confidently sculpted grille. Mid-century Italy was buzzing with this kind of energy—designers chasing beauty, engineers seeking practicality, and coachbuilders experimenting boldly between the two. Within that creative whirlwind emerged a small but unforgettable character: the 1953 Fiat 1100E Coupé by Vignale, a machine that distilled the optimism and originality of post-war Italian craftsmanship into a compact, elegant form.
The 1953 Fiat 1100E Coupé Vignale, a machine that distilled the optimism and originality of post-war Italian craftsmanship into a compact, elegant form. (Picture from: Oldtimers-Onze-Passie! in Facebook)
Although it drew its mechanical foundation from Fiat’s unassuming 1100/103 platform, the coupé that Carrozzeria Vignale unveiled at the 1953 Turin Auto Show hardly felt tethered to modest origins. It was transformed by vision—specifically that of Giovanni Michelotti, a designer whose instincts for proportion and visual drama helped reshape Italian automotive identity throughout the 1950s. His work on this Fiat was an early yet confident display of the language he would later refine on more exotic canvases, including his celebrated Vignale-bodied Ferrari 212 Inter. The continuity is unmistakable: that blend of grace and boldness, the interplay of curves and tension, the refusal to let restraint diminish personality.
The 1953 Fiat 1100E Coupé Vignale presents a poised sense of theatricality from the front, where a tall vertical grille becomes the visual anchor that instantly defines its presence. (Picture from: Carrozzieri-Italiani)
Seen from the front, the 1100E Coupé carries itself with a kind of poised theatricality. A tall vertical grille stands like a centerpiece in a well-curated room, giving the car an instant sense of presence. On either side, the deeply set headlamps rest within sculpted recesses, creating pockets of shadow that emphasize the car’s layered surfaces. The design doesn’t merely decorate; it guides the eye, encouraging the viewer to trace lines and contours almost the way one would follow brushstrokes across a painting.
The 1953 Fiat 1100E Coupé Vignale places its deeply set headlamps within sculpted recesses, allowing shadow and form to work together in highlighting the body’s layered surfaces. (Picture from: Carrozzieri-Italiani)
The excitement continues as the form sweeps rearward. Michelotti shaped the roofline with a gentle taper, allowing it to flow into a rounded tail that feels both deliberate and effortless. Subtle fins rise just enough to suggest motion without tipping into extravagance, while the neatly integrated taillights and finely executed chrome bumpers offer precise finishing touches. What ties everything together is the smooth, uninterrupted beltline that circles the body like a continuous thought—clean, confident, and impeccably balanced. Light dances across the panels in a way that makes the coupé seem lively even when parked, as though the metal itself was meant to move.
The 1953 Fiat 1100E Coupé Vignale carries an interior atmosphere that complements its exterior character, reflecting Vignale’s preference for craftsmanship and intimacy over mass-produced uniformity. (Picture from: Carrozzieri-Italiani)
Inside, the atmosphere would have complemented the exterior’s character, as Vignale’s custom builds typically emphasized craftsmanship and intimacy over mass-production uniformity. While details from surviving examples vary, buyers of such coachbuilt cars generally expected thoughtful materials, carefully arranged switchgear, and a cabin that felt tailored rather than assembled on a fast-moving line. It was the kind of personalization that distinguished bespoke Italian coachwork of the era, even when built on everyday underpinnings.
The 1953 Fiat 1100E Coupé Vignale carries its visual momentum rearward through a gently tapered roofline that flows into a rounded tail, where subtle fins, integrated taillights, and finely finished chrome bumpers add motion and refinement without excess. (Picture from: Carrozzieri-Italiani)
Exclusivity naturally followed. With only a handful crafted, eachFiat 1100E Coupé Vignalebecame more than a stylish experiment—it became a rarity, a small chapter in the broader story of Italian design’s golden age. One example found its way into the hands of Dr. Aldo Luino, Vignale’s workshop doctor and the proud owner ofthe dramatic Fiat 8V “Demon Rouge.” His interest alone hints at the coupé’s appeal among those who understood the coachbuilder’s artistry from the inside. | LTtpdXGO6rw |
Today, the 1953 Fiat 1100E Coupé Vignalefeels especially compelling because it embodies a type of creativity that’s harder to find in modern automotive manufacturing. It represents a moment when even the most modest mechanical base could inspire a stunning form, when vision mattered as much as horsepower, and when small-production vehicles could express ideas that shapes the larger automotive world. This little coupé remains a vivid reminder that innovation isn't always loud—it can also be quiet, graceful, and beautifully human. *** [EKA | FROM VARIOUS SOURCES | CARROZZIERI-ITALIANI | OLDTIMERS-ONZE-PASSIE! IN FACEBOOK ]
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Aesthetic Fury - Every era has its icons—objects so finely shaped by human imagination that they outlive the moment that created them. In the world of performance cars, the early 1960s were a golden age of bold experimentation, fierce rivalry, and elegant engineering. Against this backdrop, a collaboration between a British marque known for its refined power and an Italian coachbuilder celebrated for sculptural lightness produced something extraordinary: the Aston Martin DB4 GT Zagato. Its name carries the cadence of two nations, yet its identity is entirely its own, a fusion of speed, artistry, and youthful audacity.
The Aston Martin DB4 GT Zagato with chassis 0200/R—first shown at Earls Court in 1960 and raced by Mike Salmon in the 1962 24 Hours of Le Mans—is pictured here at the 2011 Silverstone Classic. (Picture from: Wikipedia)
When viewed from the lens of today’s open, highly individualized car culture, the GIOM 1 feels unexpectedly relevant. It speaks to an idea that has gained new momentum: that remarkable machines can rise from places with limited resources, powered not by corporate budgets but by determination, skill, and friendship. Its story bridges the gap between past and present, echoing a truth that continues to inspire builders around the world—that innovation thrives wherever passion is strong enough to keep it alive. *** [EKA | FROM VARIOUS SOURCES | AUTO.CZ | VRCHY | WEIRDWHEELS IN REDDIT ]
