The Key 2021 by The Classic Car Trust

Innovation. The key to enjoying the past Science moves fast, without slowing and gives us the impression that it can reveal our every secret. Yet a phenomenon that accompanies the life of each and every one of us, our dreams as we sleep, still remains a mystery. Suppose computers can surprise us with their computing power. How surprising would it be if we were able to reconstruct, with astonishing precision, situations and places that come to us while we sleep, perceived as true and able to be fully experienced? The story that closes this issue of The Key, the story of a meeting with Enzo Ferrari, who returned to bring his message to Ferrari as it looks with determination towards tomorrow, is an authentic dream. I had that dream myself, with all the details you can see in the images and the text. I had it and as soon as I woke up, I wrote everything you can read on page/s 264-271, not even the time for a coffee so that I didn’t leave anything out. An exciting experience, a kind of life supplement of life as surreal as it was profoundly true and relevant. If we reflect on them for a moment, dreams are for each of us a kind of the fourth dimension of our existence that takes place within the confines of the three established dimensions. In reality, a fourth dimension we encounter whenever our existence meets moments of unexpected and profound innovation. Think about just how much our lives have changed thanks to the invention of photography, the discovery of electrici4 TOP OF THE CLASSIC CAR WORLD

ty, the development of communication tools that began with the telegraph, the telephone and the radio right up to the television and today’s web-based communication that has brought us, with our smartphones, to the point where we carry the entire world in a single hand. And every time, these leaps forward have taken us into an unknown dimension that becomes a prerequisite for the fundamental first steps towards tomorrow. Sitting in a driving simulator that shares the shapes, aromas and reactions of those unforgettable period sports cars, “driving history” on old circuits, towards tomorrow, having the opportunity to meet people driven by the same passion, getting to know them by driving together on the same track despite being distant, perhaps in different countries, without obstacles and complications, what is this if not a new dimension of collecting? The smell and aroma of the cars in your collection, whether large or small, are incomparable. The pleasure of reunions at Concours d’Elegance events, gatherings, or meetings, perhaps even competitive ones, often linked to an unforgettable memory, is irreplaceable. Just as magnificent is the opportunity to meet new people with whom you share similar emotions and knowledge. Unfortunately, people are often linked to fleeting encounters or appointments that are too far away to create that intimacy that is

the premise of lasting friendships. With The eClassic Club, TCCT has discovered and developed an additional way to enjoy our passion and create and strengthen human relationships united by the same common denominator. A world that complements our reality and borders on a dream. A world so true it has precisely what it takes to become the authentic fourth dimension of our passion for classic cars and collecting. In today’s reality, where everything changes so quickly, where families seek out moments they can share that can unite the different generations and where people are constantly looking for the perfect balance between tradition and innovation even in human relations, The eClassic Club is an exciting proposition. Like all great innovations, as this one grows, it will also transform from the fourth to the third dimension and become an indispensable opportunity for those who love our magnificent world. A world that thrives on its history but one that looks realistically towards the future. For this reason, eClassic is “The Tomorrow of History”.

Antonio Ghini Chief Editor

InnovATIon. THE KEY To EnJoYIng THE pAST 5

Authors

Stefano Beloni

After an experience in press relations and test drives for Jaguar and Land Rover, he took an interest in classic cars and their restoration, and then moved definitively to journalism for the Conti Editore publishing group. For two years he has been doing the same work for The Key and for the social media of TCCT.

Cliff Goodall

Cliff goodall is an international car auction expert. His data archive and the historical importance of the documents in his possession guarantee the highest levels of trustworthiness, so much so that large insurance companies make use of his advice. He follows all the major auctions across the world in person or online.

Dan Kahn

Dan Kahn started as an automotive journalist writing for magazines like Hot Rod and Rod & Custom. Today, he is a leader in automotive and luxury communications through his own agency and is also the editor and publisher of Finish Line, the membership magazine of the petersen Automotive Museum’s Checkered Flag 200 organization.

Jürgen Lewandowski

one of the world’s most reputable journalists and author of multiple automobile books. His vast experience, in addition to writing, includes a presence in the juries of International Concours d’Elegance events. He is the co-founder of 4c Conference gmbH, which takes care of all topics related to collecting and managing contemporary and classic cars.

Duccio Lopresto

The son of the renowned collector, Corrado Lopresto, he began his professional experience at Hagerty, RM Sotheby’s, Lamborghini and then TCCT in the communication and publication divisions. In 2021, he returned to RM Sotheby’s as European business development director. He gained considerable experience as a young judge in the major Concours d’Elegance events.

René Lüchinger

René Lüchinger is a business journalist, former editor-in-chief at the Swiss news magazine Facts, the business magazine Bilanz and the tabloid Blick, and author of numerous non-fiction books. In 2001 he founded Lüchinger publishing gmbH, which realises content projects in the field of corporate publishing (luechingerpublishing.com).

Martina Mazzotta

A London based art and philosophy historian. She was raised in Milan in the Mazzotta publishing house and Foundation. She is fellow at the Warburg Institute-University of London, author and exhibition curator. Her passion for cars comes from her son Tancredi.

Franco Nugnes

Director of Motorsport.com Italia, he spent his entire life in the automobile and racing worlds, first as a driver and then as a journalist for important specialist magazines such as Sport Auto Moto and Autosprint. Internationally recognized for his profound knowledge of the historical and current reality of Formula 1.

Claudio Rava

A distinguished connoisseur of the international market of collector’s vehicles, he is the creator of Automotive Museums, the world’s only portal dedicated to museums and car and motorcycle collections. He is also particularly active in supporting teams engaged in historical rallies.

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Contents

The tomorrow of history Where does the idea of giving classic cars and their collectors an extra dimension come from and what path has it taken? The pleasure of being together with people with the same passion, the thrill of driving cars that are deeply rooted in our memories, practical reasons to enjoy more of what we love, and opportunities of technology that is trans-forming our lives, are the topics of the following pages and show just how much eClassic was exactly what many people were waiting for. The values of the cars, the races, the “Scuderie” racing teams and the drivers of the past with their chivalrous bravery, are now proposed in the form of the eClassic Club. Nothing has been overlooked, starting with the design of new high-performance cars to put the very best drivers to the test, created by master designers, Pininfarina and Zagato. All this and much more to discover and explore.

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THE ToMoRRoW oF HISToRY 31

The tomorrow of history Where does the idea of giving classic cars and their collectors an extra dimension come from and what path has it taken?

A visionary car journey through the 20th century Martina Mazzotta, exhibition curator and academic, specialises in how art, science and philosophy relate to each other. What follows is her imaginary journey through the 20th century. by Martina Mazzotta Illustrations by Massimo Grandi Photo Editor Stefano Beloni

The following pages are devoted to a journey through the 20th century, a trip in which readers can take an active part, imagining themselves at the wheel of a variety of cars that will lead them along parallel roads and in different directions in an interplay of shared experiences, sensorial input, individual memories and fleeting references. It’s a journey through time, occasionally visionary and unfailingly rich in elements destined to stir up feelings of admiration, but also of criticism and doubt. Each stage is enriched with boxes featuring the leading figures of the visual arts, fashion, architecture and music of the period, along with their works. What comes to the fore is the interconnected nature of creativity, including that of automobile design. From this vantage point readers can enjoy new insights and perceptions regarding the range of inspiration, invention and originality captured in Massimo Grandi’s wonderful watercolors. The 20th century was full of interesting contradictions, of contrasting solutions that gave rise to competitive challenges. Various epithets have been adopted to

By framing the QR code with your smartphone you can hear the selected music.

describe this phenomenon, including the "short memory century", where everything is put in historical perspective and then consigned to oblivion: “remembering to forget”, to use an expression coined by conceptual artist Vincenzo Agnetti. Then there’s the encyclopedic century, suggesting new combinations of the images, art and culture of different places and periods in a feverish consumption of fashion, easily cast aside but periodically revived. Not to mention the century that feared ageing, with the exaltation of youth that came across in contemporary art, the urge to renew at all costs, the cult of exteriority, of the image everyone could identify with. Our journey will take us along traditional tracks as well new paths. Everything depends on achieving the right balance between East and West, North and South. Technology and digital culture shape new concepts of space and time, movement and stasis, written evidence and memory. However, the boldest statements come from the exploitation of images. As we see it, the seminal theme relates to the hybridization of man and machine, of nature and technology – a myth that can be traced back to Frankenstein. Automobiles are indeed an essential part of this highly contemporary scenario.

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154

Cockpit 2021

243

Fuel the passion. In young and old.

Louwman. A man and his collection.

Tokens: everything or nothing?

The tomorrow of history

The fourth dimension of passion

Chivalrous comparison

United under the same flag

116

Sold!

122

Top 100 Collectors 2021

146

What is the future of collecting?

152

A visionary car journey through the 20th century

230

Cockpit 2021

234

Auctions. An encouraging snapshot.

242

Cars and young people. A revival.

258

Museums: time to shift gears

264

Yesterday. Today. Tomorrow.

Young people love automobiles and desire them. Young people are attracted to the Classics, they love the sport that surrounds cars and with it video games which provide an indirect promotional tool. Data and surprises of a scientific study conducted on representative samples of very young Americans, Asians and Europeans belies the idea that cars are no longer of interest.

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Innovation. The key to enjoying the past

A vISIonARY CAR JoURnEY THRoUgH THE 20TH CEnTURY 153

Cars and young people. A revival.

by Antonio Ghini

hat is it they say? “Younger generations are no longer interested in cars!”, or even “They’re far more interested in their mobile phones than getting a driving license!” Little is known about the actual hard data behind these beliefs, so The Key decided to take matters into its own hands and commissioned TCCT Market Intelligence, with the support of the IpSoS research institute, to carry out a survey on a representative sample of 1,700 young people distributed equally between Asia, Europe and the United States to understand their reality. And the results were quite surprising: for starters, they’re exactly the opposite of those two opening phrases. The car is and remains an indispensable object for young adult males (in order to have representative data, after the analysis carried out on women and the car last year – see The Key 2020 – this time our research was focused on young men aged between 15 and 21 years old): 90% intend to possess a car and over 90% aim to receive their driving license or have already taken the exam. And so? Well, before moving on to a detailed analysis of the results – only partial given the amount of information collected that is now part of TCCT’s Market Intelligence database – we feel obliged to make a consideration regarding the irrationality with which opinions and beliefs are created. There is a clear difference between news and facts. Regrettably, the former is not always based on objective facts but, depending

on the argument, can spread quickly and become a (presumed) reality, thanks to the ease, speed and scale the web can distribute content. Today more than ever, facts are the only certainty – something The Key is committed to protect. We are therefore delighted to share with the automotive world of yesterday and today, the results of our findings and the sentiment of the generation that will inherit, among other things, the heritage of culture and passion represented by car collecting. In these pages we will analyze the absolute results divided by area – Europe, USA, Asia – which, when they have significant differences, are also separated between the “sub-sample” groups of 15/17-year-olds and 19/21-year-olds. From this division a fact emerges: the very young show an interest, a curiosity, and a desire to do things and understand our world that deserves more attention from those who communicate. Manufacturers first and foremost.

Exclusive preview of a new survey by TCCT Market Intelligence department. Three samples of young boys, - aged 15 to 21 - from the USA, Europe and Asia (China, Japan and South Korea) to find out what they think about the future of the car, classic cars and simulators. Those who fear for the future of the car are wrong: they want it and they love it. The interviews with 1,700 young people, divided into two sub-samples (15/17 years old and 19/21 years old) were carried out by the international market and opinion research institute, IPSOS on behalf of The Classic Car Trust. The main data are published in this issue of The Key but many more are available on request for further analysis.

CARS AnD YoUng pEopLE. A REvIvAL. 243

Cars and young people. A revival. Young people love the automobile and desire one. Young people are attracted to the Classics, they love the sport that surrounds the car and with it, video games which provides an indirect promotional tool.

ConTEnTS 7-

Fuel the passion. In young and old.

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ith this 4th edition of our yearbook, we once again want to share our insights on the global classic cars market with collector colleagues, business partners, enthusiasts and those interested in these wonderful vehicles. Under the leadership of our Editor-in-Chief, Antonio Ghini, this publication aims to offer much more than useful analysis. To understand this, you need to know the following about Antonio. As former Director of Communication and Brand Management at Ferrari, he played a major role in the development of its brand over a period of 20 years. During that time he made those wonderful Ferrari magazines that have obtained collector value today. So no wonder, he again wants to create at TCCT something unique with each of our issues. Well, see for yourself and do not hesitate to give us your opinion. We are grateful for any advice that will help us offer you once a year something very special with The Key. The unique and great feature story in this issue is actually a book within the yearbook. The visionary car journey throughout the 21 century. A great as-yet-unwritten story, researched passionately by our team, beautifully told by Martina Mazzotta and artfully portrayed by our design team. Pininfarina and Zagato are two outstanding design houses in automotive history. With chivalrous comparison we wanted to explore the DNA of the two design superstars and to contrast their masterpieces. They have designed some of the most celebrated automobiles to date and they have also created the new masterpieces for our initiative The Tomorrow of History: The classic car driving simulators Sportiva, Leggenda and Elio Z. What moves a man to build a stunning world-class collection of automotive history and offer it to the public? Louwman. A man and his collection tells the memorable story of Evert Louwman, FUEL THE pASSIon. In YoUng AnD oLD.

Fritz Kaiser at Bernina Gran Turismo race in his Porsche 550 Spyder

who topped the ranking of the world's collectors in 2020. Read the portrait of a man who showcases the automobiles that played a central role in the industrial age and thus laid the foundations for our prosperity in Europe and who documents all this wonderfully in his museum for the public.

Arturo Keller is our Collector of the Year 2021 Arturo Keller has excelled in the ranking of the world’s top 100 collectors thanks to his continuous commitment to improving his collection and also to the conquest of the prestigious “Best of Show” at Pebble Beach. It is also very interesting to observe how, in just four years, the passionate historian Miles Collier, the generous Fred Simeone who donated his collection to the Foundation that bears his name to guarantee its future and Evert Louwman with his cultured vision of the automobile, have made their way to the very top of the ranking. Meanwhile, other collectors are fast approaching this list, which proofs that interest in classic cars is genuine and profound. 10 TOP OF THE CLASSIC CAR WORLD

Our Market Cockpit works for the future The Key 2021 offers also some deeply significant data thanks to constant market intelligence that TCCT is delighted to share. First and foremost, the results of a survey carried out on a representative sample of young people – aged between 15 and 21 – residing in three major poles of the world economy: United States, Western Europe and Asia with interviews in China, Japan and South Korea. The results are enlightening and demolish the stereotype that paints the new generations as uninterested in or even hostile towards the car. On the contrary, they both want and love cars, they are fascinated by classic cars and believe in a balanced transition towards a environmentally friendly future without the need for drastic solutions and without condemning the internal combustion engine. It is also nice to have the confirmation that video games bring children – all the interviewees were male – closer to the world of cars and motorsport. In the same section of the Cockpit, we have also published a useful analysis of

the market trends for classic cars, based on our methodical analysis of the results from international auctions. The various charts and comments certainly point towards a bright future after the uncertainties of the pandemic. Finally, a stimulus for the heritage of Museums that far too often lay dormant, burdened by the policies of tradition. Never before like in this moment of change could the multitude of magnificent museums across the world be transformed into powerful marketing tools to reignite our passion for the automobile. We will do our part to usher in this change.

The Fourth Dimension of Classic Car Experience In the 2020 issue of The Key, we informed you that we had looked into the topic of "classic cars go eSports" and we showed there our first prototypes. Well, we like to walk the talk and so in the last year we improved the products based on market surveys, developed new features, completed intensive functionality testing, achieved European CE certification and started production.

Now we are ready to go and we have launched eClassic in Italy and Switzerland during September 2021. Our first eClassic Club members will be able to experience something exciting new with family and friends in their Swiss or Italian collector's garage before Christmas.

collectors and enthusiasts, linked both in real life and virtually through our digital platform in the eClassic Club. Read more about his in this issue.

However, the first proud owner of a Pininfarina Leggenda is a German collector. He won the battle at the RM Sotheby’s Auction in September in St Moritz with his bid of € 175.000 for the No 1 of the limited collector's edition of only 9 units, which we created to celebrate Pininfarina's 90th anniversary. The Leggenda was one of the three most successful lots at that St Moritz auction.

What if aficionados, young or old, could buy even a small share in a classic car? Or if collectors could put parts of their collection on the market to generate liquidity and increase the value of their treasured automobiles? Or if a previously inaccessible asset class could be opened up to new investors? Perhaps the market for classic cars could benefit from this kind of disruptive restructuring to the advantage of collectors and investors, meaning that the value of historic cars from the 20th century can be maintained and increased for future generations. A truly enticing idea. And NFTs could be the key.

Pininfarina and Zagato eClassic Editions are high-quality classic car simulators that allow you to realistically drive the most important classic cars from the comfort of your living room, so to speak. This could be a Ferrari F40, the Porsche RSR, the Lamborghini Miura and others on legendary tracks such as Monza, Nürburgring or the Bernina mountain track. Whenever you want. Alone or with friends. As a driving pleasure, training or in a virtual race. Many of the wonderful old cars we love can nowadays be used only too rarely. And young people can usually only dream of driving them. Who can try out an icon like the Ferrari 250 GTO, which costs tens of millions? Now you can. With eClassic, we hope to additionally fuel the passion for these cars among young and old. With new technologies and innovative programs. With our eClassic program we aim to complement the real world of classic cars in a fascinating way and to playfully inspire the new generation. In the end, eClassic should be much more than having great fun with a classic car simulator from the designer. We call this the Fourth Dimension of Classic Car Experience with eDriving, eRacing and our own eAcademy. In this context we are creating an international community of classic car

Tokenizing classic cars

Our mission at TCCT is to address fundamental questions surrounding the future of classic automobiles. In September 2021, we invited to another TCCT Leader Forum in St Moritz to discuss the topic of tokenizing classic cars with a group of expert personalities. You can read the report of that discussion in this issue. I remain personally interested in this topic and we will continue to closely follow the developments around NFTs and evaluate for ourselves whether TCCT should launch an initiative here.

The future of classic cars The Petersen Museum in Los Angeles hosted a panel discussion during the Pebble Beach Week 2021 with some prominent American collectors on "The Future of Collecting" and invited TCCT to co-host and me to moderate the discussion. Unfortunately, I was unable to attend due to the Covid travel restrictions imposed by the US on Europeans. However, we have a summary of the view of our American friends with my commentary on it in this issue.

The future of collecting plays a central role in the search for answers to the more fundamental question about the future of classic cars. Talking about trying to understand the future I do remember a conversation years ago with Prof Josh Lerner of Harvard Business School on the subject of responsible investing. His conclusion was that "the business of prediction is very difficult". Well, we know it is. However, we want to understand what paths will lead us to a good future and what initiatives will promote sustainability for what is important to us. Today we all know and have to accept that the big ecology and mobility trends are bringing fundamental changes faster and faster and that the car industry is currently reinventing itself. In times like these, we experience disruptions and it is no wonder that some people are afraid of the future. But let us not forget that every medal has 2 sides - risks and opportunities. We are optimistic that a positive future exists. We just need to see and develop it. For me the generation change today represents the biggest driver that will determine the future. That's why we have to fire the passion for classic cars with new ideas and contemporary initiatives among younger people. We are the Classic Car Trust and we want to help to support this direction with useful market information, inspiring stories and initiatives which also excite younger people. Of course we are only one star in the firmament for this movement but we are more than happy to collaborate with others and support them to promote this path.

Fritz Kaiser Founder of TCCT and the eClassic Club fritz.kaiser@tcct.com FUEL THE pASSIon. In YoUng AnD oLD.

Louwman. A man and his collection. Everything is carefully thought out, explained and positioned, in a magnificent location on the outskirts of The Hague, so much so that you are convinced you’re in the palace of a cultured gentleman who loves the things he collects and takes pleasure in having them discovered by his many visitors. An experience well worth a visit which, intentionally, we present more with symbols than with magnificent cars which there are many of , each in perfect condition, can be seen there or at events, Concours d'Elegance competitions or at the races he participates in. by Jürgen Lewandowski

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LoUWMAn. A MAn AnD HIS CoLLECTIon. 13

1903 Spijker 60HP.

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LoUWMAn. A MAn AnD HIS CoLLECTIon. 15

Keep it simple – the mantra of Evert Louwman, collector extraordinaire and founder of one of the most important automobile museums in the world. This can’t be stated enough, particularly when you consider how he managed to build a Dutch automotive empire from the Dodge and De Soto agency founded by his father in 1924, a company that now employs 3,200 people. Evert Louwman: “It certainly wasn’t planned this way. It just happened and we always tried to seize the opportunities that came our way. We always kept our feet on the ground by listening to our customers and employees. No complicated communication channels – keep it simple." Perhaps Evert Louwman seemed destined to take this path in life, his father started collecting automobiles in 1923. When he took over the company in 1969, there were about 70 cars; these were the foundation of a fascinating collection. There are now 270 of these cars on display at the Louwman Museum in The Hague. Evert Louwman: “Growing up with cars, you can take them for granted. But soon there’s this urge to perfect the collection, giving it a personal touch. Today, the museum is the quintessence of my passion for telling the story of mobility. From the 18th century Portuguese Traquitana carriage, to the vehicles of the 1960s that ushered in an age of mass mobility. We also show the magnificent luxury cars of the 1930s, while highlighting the discrepancy between the typical US vehicles of the 50s and the micro vehicles that helped kick-start the European economies in this decade.“ Evert Louwman also sees the museum as serving an educational function – there are guided tours for children of all 16 TOP OF THE CLASSIC CAR WORLD

ages, for school pupils and students, to ignite a passion for technology. This is also one of the reasons why the museum has a large number of cars that have made technological history. One of these is the legendary Spyker 60 HP racing car, the world’s first car with a six cylinder engine, four-wheel drive and brakes on all four wheels. Built by Jacobus Spyker in 1903, this is a milestone in automobile history. Then there is the Armstrong, built in 1896 in the US and unknown to the general public. Evert Louwman: “Here we have the world’s first hybrid car, where a battery starts the combustion engine, which also charges the battery. And when it tackles a mountain, the electric engine supports the combustion, giving more power.” Of course, this ingenious piece of technology became so expensive that the Armstrong Company of Bridgeport, Connecticut had to file for bankruptcy after building the prototype – it is precisely these cars that Evert Louwman tirelessly looks out for: testaments of human ingenuity. That is why The Hague probably holds the world’s best collection of cars that conquered the rudimentary road network f rom 1887 onwards: here you can see a collection of these ancestral beasts built by the founding fathers. Some of the vehicles originate f rom René Panhard & Èmile Levassor, Armand Peugeot, De-Dion-Bouton, plus there are a large number of earlier models by Carl Benz. There are also more obscure makes, such as the American Buffum, Holsman, and of course, Ford T-Model. In The Hague, nearly every aspect is covered – here you can find steam and electric cars. At one time there would have been many more on the road at dawn than we can imagine today. Evert Louwman: “Of course, it is fascinating to see how human inventiveness forever seeks permanent solutions – LoUWMAn. A MAn AnD HIS CoLLECTIon. 17

1934 Bugatti Type 57 Roadster Grand Raid.

1936 MercedesBenz 500K Spezial Roadster.

1964 James Bond Aston Martin DB5.

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1953 Lancia D23 Spyder Pininfarina.

1956 Jaguar D-Type XKD 606.

1957 Maserati 300S.

LoUWMAn. A MAn AnD HIS CoLLECTIon. 19

1931 Voisin Art Déco interior.

and often finds them. They don’t always have to be successful. They have often failed due to lack of expertise: how many engines melted on the testing bench because they didn’t use the right alloys – but people still looked for solutions. Their curiosity always got the better of them.” Evert Louwman is fascinated by these technological shifts and he also sees his museum as transmitting this store of knowledge to a younger generation for whom an electric starter, air conditioning, navigation system and four-wheel drive are taken for granted. Keep it simple: It should be a museum for the family, where everyone has fun, learns and remembers something. This is also one of the reasons why the museum, inaugurated on 2 July 2010 by the Dutch Queen Beatrix, was founded: Evert Louwman: “When observing my visitors at the exit, I see the fathers interested in the cars of their youth, the exotic models and the racing cars, while the wives at the entrance – who usually give the impression of having been persuaded to go to the museum- are fascinated by the design and colours of the cars as well as the interiors of Voisin’s art deco models. Kids love everything anyway – the strange cars, the walls full of old toys. The families go home happy - they have seen a lot and have a lot to talk about.“ Visiting the Louwman Museum for the first time is like overdosing on the finest champagne. So many cars, cleverly organised into thematic blocks, tantalise the eyes and senses – waking memories, celebrating desires. Where else can you see early racing cars? A Napier with 13 litres displacement and 100 hp from 1903. A Benz racing car from 1910 that took part in the legendary Prinz Heinrich tour? A Lagonda that won the 1935 Le Mans. A Jaguar D Type, winner of Le Mans 1957. Maserati racing cars, Ferraris, Alfa Romeo jewels, the only surviving Lancia D23 from 1953. Group C racing

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cars, CanAm shells – plus vehicles from films: the incomparable Aston Martin DB 5 from Goldfinger, cars from The Godfather, cars belonging to Elvis Presley and Winston Churchill – one day just isn’t enough to take it all in, let alone commit to memory. The museum is a fascinating mixture of everything – but is there a strategy behind it?

1922 Joswin Royal interior.

Evert Louwman: “Over the years, I thought about what cars were relevant for development – maybe this was my strategy. That’s probably why there are also so many vintage vehicles. Their diversity was the breeding ground for the evolution of the automobile. Then came the milestones: the Spyker, a Lancia Lambda, the VW Beetle. But also the Bugatti and French masterpieces from the bodywork companies Figoni & Falaschi, Saoutchik, Pourtout and Henri Chapronare are a major part of it, as is the completely original Mercedes-Benz SSK or the 500 K Special Roadster. And of course, there is the only existing Toyota AA from 1936 that we found, after a long search, on a farm in Siberia – not even Toyota owns a pre-war car. Once you start collecting, you just can’t stop.“ The Louwman Museum showcases the obsession of a man who was fortunate enough to have the time and patience to be able to collect everything to do with the self-mover - the translation of automobile - over the decades: posters, paintings, trophies, busts, camping equipment, children’s toys, books and even an old workshop, such as that of the Spyker company, which was rebuilt like the 1:1 scale original in the museum, all showing the circumstances in which the pioneers realised their strokes of genius. Keep it simple. Perhaps this is Evert Louwman’s greatest legacy: the family has been collecting artefacts for nearly 90 years, much of which would otherwise have been lost – he saved them in his museum, so that people can remember, enjoy, learn and marvel. LoUWMAn. A MAn AnD HIS CoLLECTIon. 21

Electric or Verstappen? 1876 Otto cycle engine.

A question that Evert Louwman finds difficult to answer – collections of this quality are always influenced by personal preferences. Are there any models he wouldn’t acquire? Evert Louwman: “Of course, the Ferrari models of the 50s and 60s are fascinating, but we only have a few examples that cover this period, including the Ferrari 500 Superfast, which Prince Bernhard of the Netherlands acquired in 1965. Otherwise, they have become too expensive – just as a McLaren F1 is out of the question for me.“ This argument can also be used against purchasing a Red Bull Honda Formula 1

car of Max Verstappen, even if the car would attract many Dutch fans to the museum. Evert Louwman: “it’s too expensive. I’d rather just dream about other vehicles, which I would never publically name of course, because the prices just increase even more.” Evert Louwman: About the prices. “I remember driving across the country with my father back in the 50s and 60s hunting down old cars. At that time, no one wanted to have them. We were sometimes able to take them or at least pay the scrap price.” How should his collection develop at a time when the mobility sector is experiencing such radical change, during times when the internal combustion engine is obviously being phased out to make way for electric car?

1896 Armstrong Petrol Electric Hybrid Car.

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Evert Louwman: “If a manufacturer makes a real technical breakthrough today, then you could consider one or the other car, but for me, a Tesla isn’t really a technical breakthrough. Electric cars have always existed. Like steam vehicles they competed with combustion engines. Petrol, as well as diesel engines won the battle back then. Now electric cars are making a comeback, but that has little effect on our museum- here you can look at the history of this technology, that’s more important to me. Today’s history should be followed and documented by others.”

to his requirements. All of this is enriched by the many works of art accompanying this evolution, irrespective of whether it’s a three-dimensional piece, painted on canvas or printed on paper. Perhaps this explains why such a great museum was founded in The Hague, out of love for the automobile and the decision to document this evolution: Evert Louwman has provided a fascinating intellectual shield for a carefully crafted collection. ■

1906 Stanley Steam Propulsion.

Evert Louwman has only ever collected what he considered important for the technical and aesthetic evolution of cars and what suited his taste. Over the years, he discovered new themes, learned and listened to some good consultants. Unlike other collectors, he was also able to part with vehicles that didn’t meet up

1908 Baker Electric Roadster.

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Tokens: everything or nothing? Ever since it was founded almost ten years ago, The Classic Car Trust has always looked ahead. Today, during a panel discussion at The Circle, it invited experts and collectors to discuss the highly topical subject of nFTs, non-Fungible Tokens, and the opportunities they could offer collectors. by René Lüchinger

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It will soon be ten years since The Classic Car Trust (TCCT) was founded. 2018 saw the first issue of “The Key”, the magazine that gives a face to major collectors, the market and enthusiasts. Then two years ago we started eClassic, which gave a new digital dimension to the classic car experience. now the next innovation is knocking on our car door: nFTs. A “non-Fungible Token” is a digitally protected object on a blockchain that represents a real and unique asset, such as a classic car (see box page 29). nFTs could soon be relevant to every collection and every collector of classic cars; so the TCCT Leader Forum, which has always been quick to take on the big issues affecting the future of classic cars, was keen to explore the subject at this early stage. There are certainly plenty of questions; but many of the answers seem shrouded in uncertainty. What implications do electric mobility, state-of-the-art fuels and new urban mobility concepts have for the way we use our cars? How is artificial intelligence affecting the feel of driving a car? In particular: what impact is the change of generations having on the big international collectors, the top 100 of whom own around 3,500 of the most important classic cars in the world? Motivated by a desire to find answers to the urgent questions being asked in classic car circles, Fritz Kaiser, the founder of TCCT, hosted another expert discussion in September 2021. This time it was held in St Moritz, and the subject was the issues surrounding nFTs and classic cars. He wanted the discussion to be a starting point and a spur to further exploration, the ultimate aim being to answer questions about the role nFTs could play for classic cars. perhaps they can even help people fulfil their dreams. What if aficionados, young or old, could buy a share in a classic car? If collectors could put parts of their collection on the market to generate liquidity and increase the value of their treasured automobiles? If a previously inaccessible 26 TOP OF THE CLASSIC CAR WORLD

asset class could be opened up to new investors? perhaps the market for classic cars could benefit from this kind of disruptive restructuring to the advantage of collectors and investors, meaning that the value of historic cars from the 20th century could be main-tained and increased for future generations. A truly enticing idea. nFTs could be the key.

“

With this forum, we want to shed light on opportunities and risks of NFTs with classic cars. Perhaps we will soon launch a new initiative on this.

”

Fritz Kaiser | Founder and Chairmen The Classic Car Trust

However, enticing and desirable though it may be, is it realistic? or is it just wishful thinking in a rapidly changing world? We wanted to find out, so we brought together a group of opinion leaders to talk about nFTs. Each bringing different voices and viewpoints to the topic. They included peppi Schnieper, partner at the consulting firm Bain & Company, who came up with a succinct summary of the potential for the classic car world: “Digital assets and the nFT market: out of the garage and into the cloud.” participants also included art consultant Bigna pfenninger, who gained crucial experience in the field when she tokenized a picasso; entrepreneur and investor Francisco Fernandez, who tokenizes physical assets on a regular basis. Michael Ringier, a lover of art and classic cars, brought his perspective as a collector, while Jack Little, manager at Sotheby’s, was able to share his views as a leading auctioneer of art and cars. Daniel Risch is the prime Minister of the principality of Liechtenstein, which has introduced progressive blockchain legislation. This room full of expertise on nFTs was chaired by Fritz Kaiser. It’s worth starting with peppi Schnieper’s interesting update: in the 24 months between 2018 and 2020, capitalization of the nFT market strengthened from 41 million to 338 million dollars. This spring, an auction house sold an nFT by a digital artist, Beeple, for an impressive 69 million dollars. This suggests that nFTs have the potential to cause major waves, creating a new class of digital asset to generate liquidity for underlying assets. Even before the apparent nFT boom. Artemundi was starting to work on the first issue of art security tokens for a major art work.

“

In the 24 months between 2018 and 2020, capitalization of the NFT market strengthened from 41 million to 338 million dollars.

”

Peppi Schnieper | Partner Bain & Company

“

Liechtenstein has a progressive ‘Blockchain Act’ that gives juridical and legal security to digital assets.

”

Daniel Risch | Prime Minister of the Principality of Liechtenstein

“

You can only earn money these days with cryptocurrencies. The NFT market is still in its infancy, there's no sign of a Big Bang.

”

Michael Ringier | publisher, art collector, classic car lover

“

Tokens are a game changer in all markets. In ten years’ time everything will have a token: Nestlé shares, works of art, classic cars.

”

Francisco Fernandez | entrepreneur and fintech investor

“

The IPO for Picasso’s ‘Fillette au béret’ was based on security tokens. They are a piece of the real underlying Picasso. Bigna Pfenninger | Chair of the Management Advisory Council of Artemundi

” “

In the long term it will probably become increasingly difficult to keep iconic classic cars on the road.

”

Jack Little | Senior Director Business Development Sotheby’s

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“The Ipo for the painting ‘Fillette au béret’ by pablo picasso,” is what Bigna pfenninger, Chair of the Management Advisory Council of Artemundi calls this groundbreaking project. The picasso Ipo was successful and the painting has become the world’s first work of art on blockchain. Art investors can now buy tokens in the painting and trade them on the platform offered by the digital asset bank sygnum. The art tokens are bankable just like conventional securities, transactions on blockchain are legally binding, and the property rights attached to the issued tokens are guaranteed under Swiss “Distributed Ledger Technology” (DLT) legislation. “The tokens,” says Bigna pfenninger, “are not digital assets, but are a piece of the real underlying picasso.” Could this blueprint be adopted by the classic car market, with nFTs based on real underlying Ferraris and Aston Martins? Without a doubt, according to Francisco Fernandez. The fintech investor calculates that there are more than 450 trillion dollars’ worth of assets in the world, of which 200 trillion are not bankable: art, real estate and intellectual property rights, for example. Block chain has made it possible to have new digitally tradeable asset classes, such as security tokens and nFTs, for these previously illiquid assets. “The inventors of blockchain and tokens wanted to decentralize assets,” says Francisco Fernandez, “so that access to these 200 trillion dollars of illiquid assets is not just confined to the owners but open to the rest of human-ity as well.” He also believes that people with money in their accounts would love to invest in portions of artworks or classic cars if they could – especially when their savings are attracting virtually no interest. As Adam smith showed us, if more people have access to an asset, but the supply remains limited, the value goes up even more. The opposite is also true: anyone who invests has to accept that values can fall as well as rise. Experience shows, however, that most people remain invested in assets 28 TOP OF THE CLASSIC CAR WORLD

that appeal to their head and heart. Fintech investor Francisco Fernandez thus has no doubt at all: “Tokens are a game changer in all markets. In ten years’ time everything will have a token: nestlé shares, works of art, classic cars.” Michael Ringier, chairman of the Swiss publishing company with his name, art collector and classic car aficionado, is not so convinced. For him, collectors and speculators are in opposition. The former is interested in the art or the old cars, while the latter’s only motive is making more money. Collectors spend money on a passion that may possibly turn out to be a good financial investment – if they do somehthing right when buying, and if the item becomes desirable after a few decades. However, before anything else, the purchase is driven by a love of the art, or of the car, which makes the purchaser blind to the vagaries of market forces. The speculator, by contrast, is only focused on the market. Michael Ringier says: “The people behind blockchain and nFT technology are obviously looking for a way to make money.” For him this brings together things that should be kept apart. He thinks this brings together things that should be kept apart. He believes nFTs, blockchain technology – or indeed any technology – does not produce art. The invention of the telephone did not produce any art. A work of art or a classic car has no intrinsic value; value only emerges if someone wants to buy and someone is willing to sell. Can this be profitably combined with the new digital asset classes? Michael ringier doubts it and believes that only cryptocurrencies can to some extent function as money earners. “However, there is still no sign of a Big Bang." Tokens could be everything or nothing: our opinion leaders rate the chances for nFTs in the classic car world between these two extremes. no one has a crystal ball, of course, to tell us whether the new kid on the block – nFTs – will cut a swathe through the classic car market.

Daniel Risch, Prime Minister of the Principality of Liechtenstein

Andrea Zagato, CEO of the historic Milanese coachbuilder

Paolo Pininfarina, President of Pininfarina S.p.A.

In principle there is much to suggest that digitalization will make a breakthrough in this sector too. Legislation has caught up: Liechtenstein, for example, has a progressive “Blockchain Act”, which “gives juridical and legal security to digital assets”, as Daniel Risch, the principality’s prime minister, explains. There is the younger generation coming through that is very at home in the digital world. one of the forces that could accelerate the digital breakthrough comes from the collectors themselves. Several of our top 100 collectors are in the autumn of their lives and want to open up their collections to younger people. nFTs could represent an appropriate way for less wealthy car lovers to participate. Then there are the three epochal challenges for the market and for classic car collectors as set out by Sotheby’s specialist Jack Little. Firstly: bioethanol, the fuel of the future, which is set to become the standard for private cars. However, this is no longer compatible with the internal combustion engines of the 20th century “so it will become increasingly difficult to keep iconic classic cars on the road,” says Jack Little. This is a problem, be-cause seeing the cars on the road is one important way of getting new gen-erations enthusiastic about classic cars. Secondly: Younger generations no longer show the same interest in driving classic cars as their fathers and forefathers. Thirdly: Today’s often elderly collectors were fascinated by the icons of their youth and it was often these gems that motivated them to become collectors in the first place. “These days,” says Jack Little, “we have to ask whether the same will happen with the old cars of the 1970s, ‘80s and ‘90s. This critical view from the specialist auctioneer is not an argument against the market or against collecting classic cars. In fact it shows that nFTs could be an important part of the solution. one thing will never change: owning a piece of the DB5 driven by James Bond in “Goldfinger” will always be a priceless personal thrill. ■

Non-fungible tokens

Non-fungible tokens (NFTs) are unique, irreplaceable digitally protected objects. These unmistakable, uncopiable strings of code are deposited on a blockchain. They were originally used to identify digital files or computer-generated works of art as unique items, making them tradeable on specialist platforms. “Colored coins” were the precursors of the NFT. Developers of cryptocurrencies used them to expand the functionality of Bitcoin, creating tokens to represent other interesting currencies or assets on a blockchain. Essentially, this makes it possible to merge the analogue and digital worlds on a blockchain, and allows NFTs to be used for almost unlimited purposes – especially if they are backed by unique, irreplaceable assets. These could be works of art or, indeed, classic cars. The cryptovalue of tokens could, for example, be used to open up the normally illiquid classic car market to many more people, providing collectors with liquidity. By tokenizing a classic, its digital ownership passes into the hands of many different part-owners, who can then trade their NFTs on specialized platforms. This creates a market and an opportunity to pass on classic cars – these prime examples of the 20th century art of engineering – to future generations, and make them less dependent on individual collectors. It is a way of preserving these treasures for longer.

Businessman Kurt Engelhorn, organiser of the Bernina Gran Turismo, with his wife Carmen and Fritz Kaiser

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Together in an aditional Dimension – More Passion. More Emotion. More Piloting. The Tomorrow of History of classic collector cars is now a reality. Are we talking about classic car driving simulators created by famous coachbuilders? no, much more. When Steve Jobs presented the first iPhone, no one could possibly have imagined that the humble phone was about to become the centre of our world. In many ways, the same example can be applied to eClassic simulators. Indeed, it would be redundant to simply stop at the fascinating aesthetics of pininfarina and Zagato that give an immediate sense of authentic classics. The value of eClassic driving simulators, including the economic one, comes in no small part from the way they meet the expectations of collectors and enthusiasts. Again, this is “a world” that we have conveyed, as a concept, into the Fourth Dimension of the Classic car experience. This concept was immediately understood by the collectors who attended the presentation of the simulators in St. Moritz last September. Testing them on the road on the ascent up the Bernina, a road race they were to participate in the following Saturday and Sunday, they were struck not only by the realism of the experience, but also by the opportunity it gave them to train safely on the same road without traffic, along with the advantage of not adding harmful emissions to those of normal traffic. The pleasure of a passion comes from the perceptions and feelings it 32 TOP OF THE CLASSIC CAR WORLD

gives you. perceptions and feelings that are both partial and limited due to the infrequent opportunities to participate in real events that are precious and deserve to be maintained and cherished, but which leave both time and space for more. From today, in response to this need, there is “The eClassic Club” whose members enjoy numerous benefits. To name just a few: the pleasure of rediscovering the spirit of loyalty and friendship that united drivers from the “Scuderia” racing teams of the past, driving together with people who share the same passion, connected virtually or in reality, on track days or at events. Then there's the simplicity of using an App that is strictly personal and also functions as the key to the car, starting the simulator and allowing members to connect with others, and receive information and updates on activities from the team that manages the Club. Being a member of The eClassic Club also gives access to the eClassic Academy, designed to interpret performance data from the track or on the road and

create personal programmes to continuously improve driving skills. For even more engagement, members can enrich their Club experience by using the App to connect with other members and organise track sessions together, each participant with their own car but all together in real time while driving, or also for real Club races with the added emotion of competing for classification. Starting from the late spring in 2022, it will also be possible to compete in real races in a championship reserved for members. The delayed start is designed to give members time to get to grips with driving on the track, in a group of cars that aspire to be the best, a goal that requires the necessary experience. All this with the certainty of having a fleet of excellent cars ready to drive at all times, each one with its own characteristics (road behaviour depending on power output, front or rear engine and camber and suspension settings, engine noise, etc.) and the choice between legendary tracks or Alpine climbs such as the Bernina or Bondone passes. This is why “The eClassic Club” is central to the entire programme: to order a simulator, clients must first be accepted as members of the Club. The opportunity to organise activities together, in fact, is based on affinity and shared passions and interests, which then become opportunities to consolidate or create friendships. In addition, members have the opportunity to introduce others to the Club, who are then enabled to use the simulator of the member who invited them, as well as those installed in the eClassic Lounge. The annual membership fee to the Club is not required for the first three years for members who purchase a simulator. All this, until today, was summed up in three words: passion, Emotion and Driving. With The eClassic Club, those three words evolve into More passion, More emotion and More driving. That is no small thing.

Berum natium quianducit et et oditas ex eveliquis ditis debisque delest, quam accuptusda volupta spercimus

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Passion our passions compensate for the things we’re challenged with on a daily basis. passion - and collecting cars confirms this - is a holiday for the mind, a joy, with its own fair share of problems that brings back the freedom you had when you were a child. A Concours d’Elegance, participation in a race or an event like the 1000 Miglia, is a priceless treasure. These photos are proof enough: the St. Moritz Concours, with cars on display in front of Hotel Kempinski together with the Hillclimb Race to the Bernina pass, are a special occasion full of passion. Both events were the magnificent setting for the presentation of eClassic.

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More Passion Designed to convey a cultured message linked to the one-hundred-year history of Carrozzeria Zagato, the ElioZ driving simulator leaves some parts uncovered in recognition of its illustrious origins. Since the 1930s, when Zagato produced the bodies for the Alfa Romeos that raced under the Scuderia Ferrari shield, aluminium was fixed to a rigid structure, the one represented by the cross sections that remain visible. The Milanese Carrozzeria has always created its own cars with the aim of maximizing simplicity and lightness to win races. Something that Elio Zagato himself did regularly, showing the world the quality of his work in the process.

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Chosen by the Museum of Modern Art (MoMA), as a symbol of the purity and elegance of the shapes of post-war European cars, the Cisitalia 202 was the inspiration behind the design of Sportiva, the driving simulator created by pininfarina for TCCT eClassic. paolo pininfarina himself contributed to this project in memory of his grandfather pinin, who was the creator of the 202. Sportiva, along with its 9-example-only limited-edition sister called Leggenda, built to celebrate the 90th anniversary of the Turin company, is disarmingly elegant. In fact, pininfarina has always sought to infuse each of its projects with that aristocratic touch that is so characteristic of the Savoy city. THE ToMoRRoW oF HISToRY 37

Emotion There are moments when time appears to stand still, moments when you are alone with yourself, and everything takes on a different meaning. When you are waiting for the start of a race, with the engine idling, the heat and the smell of engine oil, your hands resting on the steering wheel or on the gear stick, the feeling is truly sublime: joy and restlessness, charm and the sense of your own limitations. You have finally arrived at the moment you were waiting for, and you have time to think. Emotions abound, all of them magnificent: you and your car, accomplices ready for the challenge that’s about to begin.

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More Emotion Today, that same emotion can be found in a more scientific way, studying and putting yourself to the test, behind the wheels of various cars chosen f rom a menu that transforms the driving simulator into the car you want to drive: turbo or aspirated, f ront or rear engine, and so on. It doesn’t stop there: practicing again and again up a hillclimb route or on a track until you know every last detail with the ad-

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vantage of being able to find the limits of the car, taking risks you wouldn’t dream of in the real car. Safely and with-out causing any damage, to you, the car or the environment. These are new and very different emotions, that are also wonderful to share with family and friends. True emotions that are part of a new dimension of the classic car experience: the fourth dimension of passion.

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Piloting Driving means taking control of the vehicle, of its reactions and its controls, and getting the best out of it. This is what you try to do in a race, on the track, repeating and perfecting the same lap or uphill route again and again, such as the magnificent road that leads up to the Bernina pass. This road, used for the Bernina gran Turismo race, is the ideal driving school to get the most out of your vehicle. An example? The photo of a porsche 550 rs, below, driven so decisively by the driver that even the left front wheel is raised.

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More Piloting Driving, as we consider it today, has been enriched with an extra dimension. In addition to participating in events and races with the Driving Simulators of the eClassic program, two “works of art” by pininfarina and Zagato, you can drive whenever you want by filling the “gaps” between one event and another. That's not all: you can do it alone or by connecting with other members of “The eClassic Club” meeting up online, with your cars on the same track for pure fun or, if you want, for an authentic race. Even the number of invited guests could be far more besides... Even more passion, then!

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Ten Reasons for eClassic eClassic is an initiative of TCCT, The Classic Car Trust, which manifests its goal of driving the precious world of car collecting towards tomorrow, in full respect of its history and intrinsic values, by harnessing the opportunities provided by the technological progress that characterizes our era. A tomorrow that also seeks to embrace the younger generations who are faced with a rapid evolution in the way we co-exist with the automobile, and yet are increasingly attracted by models from a fanciful past and by the memories these objects inspire.

This is why eClassic is The Tomorrow of History, a continuation of the exhilarating, culture-rich history inscribed by the automobile over the last 100 years . A history full of technological progress, design evolution, changing conventions and heroic sporting achievements. over the next few pages, we have proposed ten reasons for eClassic, knowing full well there are many more worthy of note. The ten we have included are the guiding principles behind the initiative of TCCT to create “The eClassic Club” and

to ask pininfarina and Zagato, two iconic symbols of the history of the automobile, to interpret the theme of tomorrow with the seductive traits of unforgettable models from the past. The result was exactly what we had anticipated: new technologiy that coalesces with style just as any classic car enthusiast would have imagined. eClassic, in every sense, is the fourth dimension of the collectible sports car experience. Another great opportunity to enjoy what you love.

One more opportunity to drive...

Unrestricted access to the pleasure of driving the collectible cars you love, between one event and the next. eClassic is designed and will be developed over time, as one more opportunity to drive on the greatest tracks in history or on famous roads such as those that lead up to the Bernina or Bondone Alpine passes, behind the wheels of legendary cars, whenever you want and for as long as you want. To do so alone or in the company of other collectors for the simple pleasure of being together or, if desired, organizing club competitions and even participating in real races with the magnificent spirit of the past. 46 TOP OF THE CLASSIC CAR WORLD

The performance and characteristics of the original car...

To improve your driving skills with cars that have the classic three pedals and manual transmission, which must be controlled using a large wooden steering wheel the way they used to be and

which offer, depending on the model chosen for that specific driving session, the performance and characteristics of the original car. To do so with the support of professionals from the

eClassic Academy who provide practical advice and demonstrations to learn small, important “tricks” and improve overall performance.

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For your own safety...

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For your own safety: knowing a track or understanding the specifics of an uphill race before facing it behind the wheel of your real car is a sure way to guarantee greater safety together with better performance. Knowing where it’s better

to brake, where the apexes are, how to avoid the hidden pitfalls of stretches where visibility can be limited, understanding exactly where it is possible to overtake, are all opportunities provided by the eClassic simulators.

People with similar characteristics and the same passion...

To feel part of a Club of people with similar characteristics and the same passion, potential friends, such as those you meet at events, often the very same people, to share exciting experiences with, even when circumstances or personal calendars do not allow it. A Club, "The eClassic Club" that

combines the virtual, thanks to the possibility of always being in touch for activities together using the eClassic App, with the real. Using the same App you can easily organize meetings at real events you participate in and perhaps using The eClassic Club Lounge as a reference point. THE ToMoRRoW oF HISToRY 49

Objects destined to enter design history...

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To own a “work of art” signed and assembled by pininfarina or by Zagato. objects which, just like real cars, combine technology and dynamic performance – driving one is a very real experience, with a clear perception of the apexes

and imperfections of tracks (the jolts caused by the elevated curves in Monza are uncanny) – with the magnificent designs of two masters in their field who have always “invented” shapes that combine beauty and function. Sportiva

by pininfarina, inspired by the iconic Cisitalia 202 and Elio Z, dedicated by Andrea to his father, Elio Zagato, a creator and respected driver, are simultaneously high-performance cars and objects destined to enter design history.

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Truly exclusive...

The immense pleasure of customizing your “eClassic”: both pininfarina and Zagato offer a series of options in colours and finishes that allow you to create a truly exclusive object. You can take yours further: on request, your “eClas-

sic” can be painted in the colour of a car from your collection for a combination that becomes physical when it is placed near the reference car. Beyond the physical aspects, the customization can also be virtual, whereby a specific

Zagato Elio Z Edition

Color: Scorching Black Metallic Interior: vintage Taupe Brown

Color: Liquid Iron Metallic Interior: vintage Moro Brown

Color: Zagato Red Metallic Interior: vintage Coffee Brown

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car from your collection is scanned and subsequently included in the menu of available cars to drive.

Pininfarina Sportiva Edition

Color: Blu Icona Interior: Bianco Avorio

Color: verde Eleganza Interior: Sabbia di Capri

Color: Rosso gara Interior: nero notte

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Freely approach the world you love...

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Share your passion with family and friends. You don’t always allow your jewels to be driven by those who are part of the family or by your closest friends. A real car in the hands of those who do not know its peculiarities and, often, its defects, can be a risk that lives uneasily with our passion. on the contrary, the

steering wheel of Elio Z or Sportiva can be offered without risk, obtaining the magnificent result that family members and friends can freely approach the world you love which, more often than not, they have no way of getting to know in any depth. A smart and painless way to bring them even closer to our passion.

You to involve people interested...

To bring young people closer to the pleasure of driving a classic car. As Members of The eClassic Club, owning a Sportiva or an Elio Z – or even both, why not? – allows you to involve people interested in enjoying the experience of driving a classic car on roads and in eClassic races. An opportunity to bring younger generations into the

group, who are ready to discover and understand what it’s like to drive cars from a distant past. Every collector knows just how important it is for the future of their collection to arouse interest from new generations. For this reason, the presence of these members will give even more vitality to the activities of The eClassic Club. THE ToMoRRoW oF HISToRY 55

Bind history with tomorrow...

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To enrich one’s collection with unique objects that bind history with tomorrow. Just one look at this image is all it takes to understand how our beloved collector's cars can be more than happy to welcome, in perfect equality, the eClassic driving simulators. History is written every day and ElioZ, Sportiva and Leggenda bring it up to date with lines and technologies that combine the past with the future. This is true for

the creation of Zagato, which expresses the fine balance between design and construction techniques, as well as for Sportiva by pininfarina, which recalls the Cisitalia 202 created in 1948 and chosen by the new York MoMA as a symbol of great automotive design. And it is also true for Leggenda, the exclusive limited series which, due to the success of the auction of RM Sotheby’s in St Moritz and as befits its name, has become a legend.

Caring for the environment is a responsibility...

Because today, caring for the environment is a responsibility. The world of collecting has an obligation to demonstrate that classic cars, for everything they represent, must continue to be used even in the remotest of futures. For this reason, we need to send out concrete messages of the shared desire to protect the world that is our home. The combined and complementary use of eClassic driving alongside real cars

at events is the best way to ensure that driving remains a never-ending pleasure. eClassic has created an entirely new dimension of the passionate experience that collecting offers: a fourth dimension that adds to everything we know, enriching it and protecting it for generations to come.

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The taste of truth

The sensations and adrenaline of real driving are replicated through the movement of the simulator using actuators, perfect lightness in braking or weight transfer in the middle of the curve.

The lack of power steering meant that cars of the past had large steering wheels, perfect for intervening on the car's behaviour. Through the classic nardi wooden steering wheel the “elio Z” and “sportiva” transmit very realistic driving precision and force feedback. Clutch, brake and accelerator: just like on a real sports car. The pedals faithfully reproduce the loads generated during braking and during gear shifts. it is also possible, though not necessary to “heel-and-toe".

The short gear lever positioned rationally to the right of the pilot, uses the traditional h-pattern. The number of gears used depends on the car you’re driving.

Leather and hand stitching in pure classic spirit for the interior. Enveloping without sacrificing driver comfort on "Sportiva", identical to Zagato racing cars on "Elio Z".

The signature of the two great Italian coachbuilders who sketched the entire history of car design, creating two different eClassic simulators that fully respect their stylistic heritage.

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Pininfarina Sportiva Edition

Emergency safety sensors

49” Curved screen

3 bespoke pedals Sophisticated pC engine

Engine sound

Classic Nardi steering wheel

gear lever

Bespoke subwoofer audio system

Easy start button

volume

Sophisticated motion engine

Adjustable Leather Seat

Dimensions: 300 x 120cm Weight: 300kg

Zagato Elio Z Edition Emergency safety sensors

49” Curved screen

Steering wheel: Classic Nardi Zagato Easy start button

Gear lever Sophisticated PC engine

Bespoke subwoofer audio system

Engine sound volume

Sophisticated motion engine

Adustable Leather Seat

Dimensions: 270 x 150cm Weight: 300kg

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The fourth dimension of passion

Monza, a Cobra, a porsche Carrera, two couples, some healthy competition and the joy of discovering another path to happiness. by Antonio Ghini

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The surprise of this story comes from the protagonists: there are not six, as it might seem, but eight. Let’s find out.

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he situation is typical of a day spent at the track, albeit a very special track as we’re in Monza which, for this occasion, also includes the original circuit with its legendary elevated corners. In-out for Herbert: the engine of his Shelby Cobra isn’t firing on all eight cylinders. Something needs to be checked and at the very least, he’ll need a new set of spark plugs. In the box next to Herbert is John and things aren’t going too well for his porsche Carrera RS either. The mechanic is lying beneath the car, something needs fixing. Herbert’s wife and John’s partner, each in their own boxes are clearly bored. They came to Italy hoping to spend a few hours shopping in Milan’s fashion district and they’re only at the racetrack out of habit, or for love.

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The two don’t know each other, but soon find common ground: “Trouble?” John asks Herbert. One look is all either of them need to grasp the situation.They’re not angry: they love their classic cars and know only too well that just like beautiful women past their prime, they need care and attention. They take time to go for a walk and explore the circuit. In particular, those steep, never-ending corners built in 1955 to allow european formula one cars to race against american indy cars. After an uneven contest and, in any case, the fact that the American and Formula 1 cars kept jumping dangerously over the bumpy concrete surface, the track ended up being used for endurance races for Sports and gran Turismo cars. Thereafter it was completely abandoned, despite the magnetism of the courage needed to face those dramatic corners in the woods surrounding the park of the villa reale in Monza.

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Along their walk, Herbert and John reminisce about the past. Above all, they remember how the races of their time were more chivalrous, with the drivers, fully aware of the risks they ran, daring members of a privileged club. Deep down, the two men share a common empathy for each other and they laugh at the thought of Luda saying how cars had to be driven with your “arse”... but also with your head! The smiles fade when a thunderclap announces the arrival of a storm. “That’s just what we needed...” says Herbert ironically, inviting John back to the paddock.

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Everything seems ready in the pits, the two prepare for a few laps together that have now become a sort of chivalrous challenge and they’re off: a fast start, overtaking, great commitment by the two drivers who don’t appear to be phased at all by the torrential rain out on the track. In fact, they’re not even wearing helmets because the race, by complete surprise, is be-ing held inside the box, behind the wheels of two simulators that Zagato and pininfarina created exclusivelyfor TCCT.

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The beauty of the challenge is further enhanced by the enthusiasm of their companions, no longer bored but so taken by all this excitement that they want to be next behind the wheel at the end of the race. “Milan can wait...” they say, finally able to prove themselves on the track. of course! All too often, many of those in this passionate world forget that gender equality also applies to race cars and talented driving.

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The Fourth Dimension? This is it. This story, documented here with images taken during filming of our video (which you can watch simply by framing the QR Code with your smartphone), sends out a broader and more significant message: never renounce the purity of our passion for reality, for the things we’ve always done and love to do. Why renounce a new dimension of the pleasure that classic cars can bring – the possibility to use them whenever and however you want, behind the wheel of Sportiva, Leggenda and Elio Z, virtual cars designed by Pininfarina and Zagato in a reality that many simply call the “fourth dimension of passion”? Even better, it can all be done from the comfort of your garage or your living room at home, connecting remotely via an App made available exclusively to other members of The eClassic Club, and then racing together on the same track. This is what Herbert and John promise each other: their rematch will be a virtual one, both at home, without the risk of setbacks and rain but with the priceless pleasure of a relationship that started randomly in Monza but will now be consolidated over time thanks to membership of The eClassic Club. A Club in which all members can connect with each other through an App and build a community of sport and passion that was simply unimaginable before. This is the new dimension of the magical world of automobile collecting introduced by TCCT. Perhaps even their companions could do the same thing and give up shopping for a blast around the track… An added advantage that shouldn’t be underestimated! ■

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Chivalrous comparison Different styles, same goal: for decades pininfarina and Zagato have confronted each other by combining taste and function in car design. A path that led them, once again, to measure themselves on a topical issue: the simulators younger generations driven by eClassic. What are the secrets of their successes, decade after decade? What is today's spirit? by Duccio Lopresto

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Ferrari 166 Panoramica (1949) The 1940s was the heroic period in which sports coupés raced against racing Barchettas at the Mille Miglia. In 1949, with the introduction of the use of materials used in World War II - such as plexiglass - into the automotive world and the application of the panoramic roof, Ugo Zagato created the first of Zagato's pilot projects for Ferrari: the 166 Coupé Panoramica. The Ferrari 166 Panoramica, commissioned by gentlemen driver Antonio Stagnoli, is considered to be the first Maranello car with a body by Zagato, and a true milestone in the evolution of the Gran Turismo Coupe concept. Zagato’s coupe was built on Ferrari’s 166 MM chassis which was an upgraded version of the 166 S that won the Mille Miglia in 1948. The search for a less cramped passenger compartment and greater interior comfort were the guiding principles of this experiment, which resulted in a vehicle characterized by great luminosity and visibility, obtained through large glass surfaces, a windscreen and curved side windows. A true innovation in automotive design. For these reasons it’s called the 'Panoramica'. In this car, with its remarkable aerodynamic style, the concept of ‘form follows function’ was fully embraced by the Milanese coach-builder. His approach to the design of the bodywork was highly innovative, scrupulously following the principles of lightness and aerodynamics derived from aeronautics, focusing his particular attention on interior comfort and making this highly functional car with its clean lines, lack of protrusions and edges an icon of history.

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Cisitalia 202 (1947) When it comes to stylistic innovations in the automotive field, one cannot fail to mention the Cisitalia 202, a true milestone in Pininfarina style. Post-war Italian design began with this vehicle. The first car in the world to be permanently exhibited in a Modern Art Museum, the MoMA in New York, this Berlinetta was built in small series for Cisitalia at the Stabilimenti Farina in Turin in 1947. This 2-seater Berlinetta is perhaps Pininfarina's most famous post-war car, due to its synthetic and plastic shape, defined in 1951 by Arthur Drexler as "a sculpture in motion". Its shape is the culmination of all previous research: a simple, essential front end, a full-volume roof and a clearly designed rear window. On a tubular chassis, Pinin created a berlinetta with an aluminium body welded to a steel frame. It is a car that heralded a new aesthetic canon in the history of motoring. Revolutionary for the time was the horizontal design of the radiator grille, with the bonnet lower than the mudguards, which incorporated the headlights. A car with pure, smooth, essential lines, with a style that preempted the lines and design that would distinguish the Sixties. Looking at the profile, one immediately notices the set-back cockpit, and above all the coupé shape. The front windscreen is split in two, and is separated from the line of side windows by a very small pillar. The chrome of many elements is picked up by the small round mirrors, the door handles, and the line separating the front and rear windows. The Cisitalia 202 is a masterpiece, a car with a soft, sinuous, very elegant design, typical of the style of Pininfarina with its austere, timeless beauty.

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Ferrari 250 GTZ (1956) Zagato's definitive establishment as a specialist coachbuilder of high performance cars came with the creation of the Gran Turismo sports car category in Milan in 1949. Zagato’s GT cars, built to be elegant but above all fast and agile in racing, were seen more and more often at Concours d’Elegance shows, contributing to the definition of the so-called principle of "necessary beauty", the result of codifying rigorously scientific principles in an aesthetic key. One of the best examples of this idea is the Ferrari 250 GTZ, Zagato’s second pilot project for Ferrari, winner at the most important GT races as well as in the major Concours d’Elegance of the time. This vehicle demonstrates the company’s ability to incorporate beauty in a design — the exquisite rear fender shoulder and the lovely Z-shaped rear roof pillar — without compromising the vehicle’s speed. Zagato designers penned this “double bubble” Berlinetta in 1956 with a roofline that featured raised sections over the seats, an idea Zagato used more than once in its race-car designs to give drivers a little more head room. Like most of the cars created by Zagato, this one was commissioned by a gentleman driver, and it represents a supreme union of prestige and performance, elegance and sportiness. A winning combination, able to combine the world’s most powerful, celebrated engineering, with the most refined, appealing sporty styling, both the product of Italian workmanship. The concept of sporty elegance, a functional design that does not follow the latest fashions but strives to achieve pure performance, and an extremely light aluminium body, are Zagato’s strengths. Today, it is considered one of the most beautiful Ferraris at Concours events like Pebble Beach or Cavallino Classic and is much sought after by collectors of elegant sports cars. 80 TOP OF THE CLASSIC CAR WORLD

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Lancia Florida 2 Door Coupe (1955) The years of the “Boom Economico” saw Italy as a veritable hotbed of ideas and innovation. For Pininfarina this decade was one of the most fruitful ever. Among the many creations, one car stands out for its impact on the culture and design of all the cars created in the following decades: the Lancia Florida 2 Door Coupe. Undoubtedly Pininfarina's most famous and influential creation on a Lancia Aurelia chassis, this car from its debut caused a sensation with its innovative styling: a global revolution with an influence you can still see today and established Pininfarina as a leading design studio. It is now 50 years old, so its significance may not be fully appreciated today. Yet few design concepts offer such a clear-cut example of a truly new form. With the Florida, Farina abandoned "monolithic" shapes and ushered in a new design principle: body development by symmetrical juxtaposition of curved panels. While older cars were sculpted, as if carved from a block of clay, the Florida was exactly the opposite. It was built like a house of cards, each card pre-formed according to a certain aesthetic concept. The starting point was not a solid object but merely a surface. The Florida was remarkably clean for its time. The major theme was form, with a near-total absence of decoration. Horizontal emphasis was provided by the belt-line, which picked up from the front fenders and stretched into the high rear fenders, blending with the backwards sweep of the C-post. The grille was not new, being merely a variation of the flattened oval that Farina was using on so many Ferraris. The headlamps were housed inside the grille frame, with smaller auxiliary lamps recessed into the front fender tips. In proportions, the Lancia Florida was perfect for its time. The profile was long and sleek, and the rear deck length was sufficient for full visual balance with the hood, thereby giving extra emphasis to the car’s static 50/50 unladen weight distribution. CHIvALRoUS CoMpARISon 81

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Alfa Romeo TZ2 (1965) The Alfa Romeo TZ2 is one of Zagato's most historically relevant creations concerning racing Grand Touring cars. This typology of cars differed greatly from the road-going GTs, which were fully oriented towards a more luxurious purpose. Racing GTs were true racing cars, no longer equipped with little comfort features (like leather seats, fabric upholstery, car radios), but characterized by extremely sophisticated mechanics, the use of lightweight materials, sketchy upholstery, top performance and no concessions to comfort. The idea of creating a fast racing Alfa Romeo car with a tubular chassis was hatched in 1959. Taking an Alfa Romeo SZ Coda Tonda as a prototype base, Zagato introduced a new concept of sports aerodynamics in 1960, inspired by the theories developed in the 1930s by German theorist Wunibald Kamm. Thanks to the car's new design, which featured a more elongated body with a high, truncated tail and a shape greatly reduced the vehicle's air resistance, the new Alfa Romeo SZ Coda Tronca could reach a top speed of 215 km/h (15 km more than the previous 'round' tailed Alfa). The evolution of this SZ was the Giulia TZ (the name stands for Tubolare Zagato), introduced in 1963. The Alfa Romeo Giulia TZ2 arrived in 1965 and replaced the TZ as its most powerful and fastest example: compared to its ancestor it was lower, wider, more aggressive in style and even lighter. Thanks to the bodywork made from fibreglass instead of aluminium, weight dropped even further: from 660 to 620 kg. Zagato’s aim was to build a racing car that was light but rigid, with effective, streamlined aerodynamics and a powerful engine. The tubular chassis helped keep the weight down by guaranteeing the structural rigidity needed for racing. The Alfa SZs and TZs put the Alfa Romeo brand back at the top of the racing world by winning at Le Mans, Sebring, Monza, Targa Florio and even Australia. 82 TOP OF THE CLASSIC CAR WORLD

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Ferrari 250 SWB (1959-1962) According to a theory of Ferrari evolutionism, the genealogy of the 250 'Berlinetta Competizione' type starts with Pininfarina's 340 Mille Miglia Speciale from 1952, with its peculiar shape that lead to the creation of a precise brand identity and a close and prolific collaboration with the Grugliasco coachbuilder. One of the most famous and representative cars of the close relationship between Pininfarina and Ferrari is undoubtedly the Ferrari 250 Short Wheel Base. Shown for the first time at the Paris Motor Show in October 1959, it perfectly epitomises the idea of a road-legal car capable of winning races. In 1959, the Ferrari SWB took on the challenge of a new design: Pininfarina conceived a shape with barely noticeable rear wheel arches, a rounded tail and a massive front end. The ‘SWB’ (short-wheelbase) designation came from a chassis that was 200mm shorter than the standard 250GT, which was one of the key factors in making the car one of the most successful Ferraris in the history of motorsport. It was an eclectic car, expressed both in the 'Corsa' version with aluminium bodywork and in the 'Lusso' trimmed with steel and leather. Designed with a bodywork that is widely considered Pininfarina’s finest masterpiece (constructed by Scaglietti), the 250GT SWB’s engine was Ferrari’s light and compact Colombo-designed 3.0-litre V12. The Ferrari 250 SWB is a clear example of Pininfarina's design philosophy. It is a car with perfect proportions, with clean and simple but extremely effective aerodynamics: compact, slender, agile and well-proportioned. It has an elegant and pure shape, yet its forms immediately communicate its sporty character.

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Alfa Romeo GT Zagato (1972) The rapid growth of the Western population at the end of the 1960s, the explosion in the size of large urban centres with rising levels of traffic, air and noise pollution, created an aura of discontent around the car. In this turbulent environment, Italian design centres decided to come up with less engaging, subdued forms, so as not to emphasise the emotional side of the car over that of pure function. In this context, the Alfa Romeo Giulia coupé, with its exuberant mechanics, lent itself to various interpretations. In 1969, Zagato introduced their proposal with a decidedly innovative design for the period. Large windows, taut and highly aerodynamic lines, a compact body, light-weight materials and, obviously, a high, truncated tail. This vehicle had all of Zagato’s distinctive elements in its styling. It was first shown to the public in 1969 with the Alfa Romeo Giulia GT Junior Z name, powered by a 1300 cc engine. The Giulia GT Zagato 1.6 (introduced in 1972) differed from the Junior Z in the tapering of the tail done by Arch. Giuseppe Mittino, who succeeded Ercole Spada as Zagato’s Head of Design in 1969. Thanks to this unusual but highly interesting model, Zagato became globally famous for introducing wedge-shaped cars to its range. This particular styling was a derivation of Kamm tail applications on the Giulietta SZ and TZ, which inspired a variety of cars of the time, such as the Alfa Romeo Alfasud Sprint, the Alfetta GTV, but also vehicles produced by Honda in the late ’70s.

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Fiat 130 Coupe (1969-1977) By the end of the 1960s, even Italy's most popular holiday resorts were beginning to be populated by German luxury coupes, which were slowly establishing themselves at the top end of the market. The Fiat group had not yet acquired Lancia (1969), which at the time was the top Italian luxury car brand. The Turin-based company therefore decided to embark on a difficult mission: to win over a refined and demanding public looking for a powerful, comfortable and elegant car. The Fiat 130 Coupé was developed from the 130 saloon and first shown in 1971. Compared to the previous 2300, it offered a tauter and more modern bodywork: its minimal lines marked the transition to a stylistic language marked by horizontality. To define the styling of the new coupé, Fiat sought the support of Pininfarina, which, through the work of Paolo Martin, outlined the modern and refined profile of the 130 Coupé. The Fiat 130 Coupé proposed a new concept of luxury saloon cars: the volumes and profiles, the door and window cuts became squarer and more modern, in a pleasant contrast with the creases that caressed the front and side panels. The headlights and front grille were new and linear: a simple interplay of rectangles that gave the car a darker ‘look’. It is an iconic Pininfarina car and representative of this decade because of its pure and simple forms. It represents Pininfarina's adherence to a stylistic fashion with taut, square forms to which it has never adhered viscerally. In this case, the Turin-based coach-builder managed to do so tastefully, pursuing the search for proportions, using a detached approach and timeless style.

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Alfa Romeo SZ (1989) The late 1980s was a renaissance phase for Zagato. The presentation of the ES30 prototype, developed for Alfa Romeo, led to the company's transformation within a few years. Its production model, the Alfa Romeo S.Z., introduced in 1989, was a truly revolutionary car, mainly for two reasons. It was the first car in the world designed with CAD and it was characterized by great innovation in terms of the materials used (aluminium for the roof, carbon fibre for the rear wing and MODAR for the bodywork and a thermosetting methacrylic resin). New technology also played a crucial part in this transformation phase, with an ever-increasing use of computers, including for design. So when Alfa Romeo - which had become part of the Fiat Group - wanted to extend its range with a sports coupé at the end of the 1980s, Zagato was proposed as one of the candidates to design it. The novelty lies mostly in the design methods and construction of the prototype: the computer was linked to a precision milling machine that pro-duced a 1:5 scale polystyrene model, from which a full-size resin successor was created. The design of the Alfa Romeo S.Z. (Sprint Zagato) is decidedly original and modern. It perfectly expresses the DNA of the Milanese coach-builder: a low, compact vehicle with taut, aerodynamic lines and an obvious sporty feel. More than a coupé, the car is a roadster a steel body with thermosetting methacrylic resin and fibreglass panels glued onto it. Its mechanical parts are the Alfa 75 with a 3000 cc V6 engine. Its performance was so exciting that Andrea Zagato created a one-marque trophy on the track with the season finale in Monte Carlo two hours before the start of the F1 GP.

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Ferrari Testarossa (1989) Created to replace the 512 BB, the Testarossa was Ferrari's first top-of-the-range model to use a name rather than an acronym. The name, however, was already well established in the history of the Prancing Horse: it was first used in 1957 for the 250 Testa Rossa - written like this, detached - to indicate the fact that the engine heads were painted red. Once again, the design of the Maranello car was entrusted to Pininfarina, which designed an innovative vehicle of great visual impact, with highly pronounced side air intakes and larger overall dimensions compared to the previous model. The evolved 12-cylinder boxer engine now had four valves per cylinder and was, at the time, the most powerful engine installed in a production sports car. This car is highly representative of the 1980s decade. Pininfarina had the intuition to enhance the car's technical characteristics rather than ‘camouflage' them. The side is a perfect example of this approach: the very conspicuous grilles that characterise it are almost a tribute to the radiators positioned on the sides of the passenger door, in front of the rear wheels. A peculiarity of the Testarossa is its shape: the rear track is much wider than the front because it has to leave room for the engine, which, because of its 180° V, has a massive lateral bulk. It is a symbol of the re-appropriation of excesses, of a positive drive towards the future, of the desire to emerge from a decade like the 1970s which, in Italy, which was a particularly grey and difficult one. It can be considered a true manifesto of the 1980s, an iconic car that is unique in its baroque and 'flamboyant' style. It is a car that was not very representative of Pininfarina's style, which was usually simple, clean and elegant. Here, however, the Turin-based company adopted a very flashy, eccentric and striking design. CHIvALRoUS CoMpARISon 87

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Elio Z Lightness, essentiality and aerodynamics: these are the cornerstones of Zagato’s design heritage, something that over many years the Milanese coachbuilder has been able to transfer from the world of aviation to the automotive one. Thanks to these qualities, the cars designed by Zagato immediately imposed themselves in the most important races of the time. Reducing volumes and weight and the constant elimination of unnecessary stylistic frills, as well as the study of airflows, were and still are the basis of Zagato's design philosophy. The simulator designed by Zagato for TCCT - called Elio Z after Elio Zagato, the son of the founder and multiple-winner in the GT category - reflects these essential directives. Zagato's SIM features an aluminium substructure inspired by the aeronautical and automotive cages on which the bodywork rested, a concept that made Zagato models lighter and faster than their rivals and therefore more successful, and an idea that also recalls the wireframes of modern CAD design techniques of which Zagato was a pioneer in the 1980s. Elio Z therefore has a deliberately reduced number of body panels that reveals its secret for lightness and the best torsion figures, and emphasises the concept of "Essential Beauty", the design by subtraction approach that has always been one of the original characteristics of the Atelier. Another distinctive sign that is typical of the Milanese company is the truncated tail, inspired by the legendary Alfa Romeo SZ and TZ, Zagato style icons of the 1960s.

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Sportiva Pininfarina's design philosophy comes from its Founder, Battista Pinin Farina. His work has always nurtured a thoughtful approach towards projects, in which aesthetic choices are filtered through technical reasoning. The search for the right balance between emotion and reason, together with the constant pursuit of beauty and elegance, are the pillars of his working philosophy. Another secret of Pininfarina's creations is the pursuit of the perfect balance between character and harmony, something that attracts interest and provokes pleasure simultaneously in a refined and balanced manner. These few traits are enough to understand why Pininfarina is the embodiment of Italian design. Cars designed by the Turin-based company, from the magnificent pre-war Lancia Astura to the sporty Ferraris of the 1990s, have always been a manifesto of timeless Italian style, a powerful combination of elegance and sobriety. The style of the "Sportiva" driving simulator, designed by Pininfarina exclusively for TCCT, is yet another confirmation of this philosophy and is clearly inspired by the legendary Cisitalia 202, the first car in the world to be permanently exhibited in the Museum of Modern Art (MoMA) in New York. Starting from its elegant and timeless shape that earned it the nickname of a "sculpture in motion", Pininfarina has created a new sculpture, this time a "static" one that can drive and race thanks to digital technology. The design of the simulator is elegant but sporty at the same time, just like the Cisitalia 202.

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United under the same flag Scuderia racing teams have always been a place where discoveries and talent unite, where passion spreads and loyalties are forged both during races and outside. Scuderia racing teams were clubs where drivers could come together and were a stimulating and serene way to make their dreams come true. We pay tribute to some of the most famous ones, their symbols and the men who created them. by Stefano Beloni

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Scuderia racing teams belong to a specific era. One in which the Club spirit united drivers who never hid their passion for the sport they loved. The idea of the Scuderia racing team as an organizational structure for amateur and professional drivers, but also for the Manufacturers who did not want to take on the burden of direct participation in races, can be attributed to Enzo Ferrari in 1929. After some initial pre-war attempts, this idea came to fruition after the war. To understand just how much the evolution of Scuderia racing teams influenced the development of sports car racing, we just need to look at two examples: in 1960 Stirling Moss led Lotus to victory in the Monaco Grand Prix, driving the 18 with a Climax engine, entered by Rob Walker’s racing team, the wealthy heir to the Johnnie Walker whisky fortune, while the Jaguars that dominated the the 24 Hour Le Mans in 1956 and 1957 were entered by the Ecurie Ecosse team. These examples mean two things: that technology was still pretty basic so a good car that was well managed was not inferior to the official teams. Second, that in the years before sponsors became commonplace or were limited to contributions from companies in the sector, manufacturers could use organized, professional structures specialized in racing that guaranteed participation at the very highest levels. As with Enzo Ferrari, in some cases the Scuderia racing teams became manufacturers in their own right: think of Ken Tyrrell, a skilled and passionate timber merchant who, after managing private teams and even Matra for Jackie Stewart, became the patron of the team that made his own racing car. Or Lord Hesketh, who used his considerable wealth to create his own Scuderia racing team to boost James Hunt, even going so far as to build the Formula 1 Hesketh. Or John Wyer who, in addition to racing with Ford GT40s and Porsche 917s, built the Mirage that won the 24 Hours of Le Mans in 1975. Same thing in the United States, where Mark Briggs Cunningham left an indel94 TOP OF THE CLASSIC CAR WORLD

ible mark when, after having raced with a number of different cars, he decided to create the cars that bear his own name. In Italy, in the same years, the descendant of a noble Venetian family, Count Volpi di Misurata, transformed his Scuderia Serenissima into a manufacturer – albeit an unfortunate one – also creating a Sport-Prototype equipped with a sophisticated 3,000cc V8 engine. While this serves to paint a bigger picture of the history of Scuderia racing teams, their most interesting and profound characteristic, however, is more human in nature: drivers at that time rarely had contractual ties with the manufacturers so, when they were free, they could compete for the colours of whichever Scuderia racing team they preferred. This brought them much closer to each other than they are today, favouring their friendship and individuality. We are talking about those years when, the unfortunate risk of losing one’s life in races was part of what had to be taken into account. Years when seat belts, trackside protection or escape routes were simply not on the table. This dynamic created a solidarity that can only be found in situations in which The idea gets rejected, Even when one of the others suffers. The idea gets rejected, it will never happen to me..., but in reality, drivers faced this problem every day. This explains how the discipline displayed in races at the time was greater than it is today, why risks were calculated with greater caution and how loyalty towards one’s opponents was part of the unwritten rules of the game. These are sentiments that many people are nostalgic for today. In the pages that follow, we take a look at the main Scuderia racing teams of the past, starting from the men who created them through to the legacies they left behind. Legacies of people and cars. Cars which, today, have a special and unique value in collections. A value that ensures the beautifulhistory of Scuderia racing teams continues.

Dan Gurney Lotus 19 Climax number 96, Stirling Moss Lotus 19 Montecarlo number 1 and Bill Krause Maserati Type 61 number 53. An image of the Grand Prix Riverside 200 Miles 1960 that conveys the perfect racing spirit of the past

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AAR All American Racers Dan Gurney – 1964-2000

car, claiming victory at Spa in 1967 with his Eagle TG1 Weslake V12.

In the United States during the 1960s and 1970s there were several drivers, such as A.J. Foyt or Richard Petty, who tried their hand at setting up their own racing team, but one name stands out above all the others: Dan Gurney, the only driver/ constructor in American history that designed and built a Grand Prix-winning F1

Dan Gurney, founder of the AAR together with Carroll Shelby, flying at Riverside in 1956 onboard a Porsche Speedster

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Together with Carroll Shelby, for whom he had previously raced, Gurney founded All American Racers in Santa Ana, California to compete in the most diverse formulas, including Indy, Sports Cars, Can-Am, Formula 5000, NASCAR, Trans-AM and Formula 1. The solidity of the racing team came from financial support from the Goodyear Tire & Rubber Company that wanted to bring American motoring closer to the European model. The name AAR was chosen by then-President, Victor Holt. Many drivers, firstly Americans together with Gurney, then a more international selection, were part of the AAR racing team at some point in their careers, including some very important names. Think

Jochen Rindt, Bruce McLaren, Denny Hulme, Ludovico Scarfiotti, James Hunt, just to name a few. Later on, AAR partnered with Toyota for American races, a relationship that helped them win 17 consecutive races between 1992 and 1993, in addition to the Drivers’ and Constructors’ Titles in 1992 and 1993 in the IMSA GTP category. The team’s activity ended in the early 2000s.

Ambrosiana Giovannino Lurani – 1936-1954

Sant’Ambroeus Elio Zagato – 1951-1968

Scuderia Ambrosiana was founded in Milan on 13th November 1936 by the Italian aristocrat, Count Giovanni “Johnny” Lurani Cernuschi, a gentleman driver and well respected journalist who participated in important international races as well as a well-respected journalist, together with drivers Luigi Villoresi, Franco Cortese and Eugenio Minetti. The name was chosen

in honour of the patron saint of the city of Milan - Sant’Ambrose - while the black and blue livery of the team’s coat of arms was inspired by the Milanese football team, F.C. Internazionale Milano. After the first races in the Targa Florio and the Coppa Acerbo in 1937, 1938 and 1939, the golden period of the team began in 1947 with drivers of the likes of Alberto Ascari, Tazio Nuvolari and Nino Farina at the wheel, in addition to the founders. Back then, drivers often had no stable contractual ties with the Constructors and when they were free, they competed with privateer cars. Scuderia Ambrosiana is noted for victories at the Targa Florio 1951 with Cortese, and in the same year at Le Mans with

success in the 2000 class with Lurani and Bracco. In addition to sportscars, Scuderia Ambrosiana also competed in Formula 1 in 1950 and in 1951 with three Maserati 4CLT/48s and in 1954 with a Ferrari 500 F2. In Milan in 1951, Scuderia Sant’Ambroeus was also founded as an initiative of the coachbuilder and driver, Elio Zagato under the watchful eye of Eugenio Dragoni, who went on to become the Ferrari team manager. Named after the patron saint of the city, Sant’Ambroeus gave Giancarlo Baghetti the opportunity to develop his Formula 1 career, clinching victory at the 1961 French GP behind the wheel of a Ferrari.

The three Italian drivers, Count Trossi, Count Giovannino Lurani and Luigi Villoresi, entered with the Maserati in the colours of Scuderia Ambrosiana at the Imperial Trophy on the Crystal Palace circuit in 1937

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Border Reivers Jock McBain – 1951-1960

With the suggestive medieval name of Border Reivers, which was given to Scottish raiders who once entered England to steal cattle, this small racing team had its own famous Scottish raider of victories amongst its ranks: none other than Jim Clark.

It was the early 1950s when Jock McBain - then the owner of a Ford dealership in Chirnside, Berwickshire - started the racing team with some Cooper-JAP cars from the then British Formula 3. 1957 was the year they made it onto the map: at the time in Scotland, there was a group of great enthusiasts and drivers, often landowners, who participated in races with cars they bought used and then prepared specifically for races: that very British characteristic of getting the most out of whatever is available by taking care of even the smallest details. Among the drivers who raced for them in that period was Innes Ireland, who went on to have a brilliant career. McBain’s meeting with Ian Scott Watson of Ecurie Agricole gave a young Scottish driver by the name of Jim Clark his big

break, first in a Porsche and then in a Jaguar D Type and allowed the future champion to show his true colours. Clark and the Border Reivers continued together until his F1 debut in the 1960 Dutch GP.

Jim Clark at the beginning of his racing career with Scuderia Border Reivers who bet on him and entrusted him with a Porsche 356 in 1957 and later also an Aston Martin DBR1, with which he won at Charterhall in 1960

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Brun Motorsport Walter Brun – 1982-1991

After a long career as a gentleman driver which began in 1966, Walter Brun, a successful businessman from Lucerne and long-time racing enthusiast, took over the ailing Team GS-Sport in Gundelfingen, Freiburg, in the autumn of 1982, and renamed it Brun Motorsport. Initially the

cars used by the team were BMW M1, BMW 635 and the Sechar-Ford prototype. In 1983 Brun became one of the early privateer owners of a Porsche 956, which at the time was dominating the FIA World Sports-Prototype Championship and for the first time was also available to

private teams, a move that allowed him to put himself at the top of motorsport and by signing important drivers such as Hans Joachim Stuck, Harald Grohs, Thierry Boutsen and Stefan Bellof, who unfortunately died driving a 962 at the 1000 km of Spa in 1985. The pain and emptiness left behind after Bellof’s death did not break Brun who, in 1986, almost as a tribute to the Austrian, won the FIA World Sports-Prototype Championship by taking victory at the Jerez and Spa-Francorchamps stages. Brun also attempted to support his driver Oscar Larrauri in Formula 1 by joining the Italian team Euroracing and creating EuroBrun, a team that did not achieve much.

The Porsche 962C with Jésus Pareja and Wal ter Brun behind the wheel

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Camoradi (Casner Motor Racing Division) Lloyd "Lucky" Casner – 1959-1965

Lloyd "Lucky" Casner, born in Miami in 1928, founded the Casner Motor Racing Division in 1959 after racing as a gentleman driver in the United States in the previous three years. Although there were numerous cars that competed with the Camoradi colours - Porsche Carrera

and RSK, Chevrolet Corvette, Ferrari 250TR and OSCA 750 or single-seaters such as the Cooper T53, Lotus 18 and Behra-Porsche – the racing team remains famous for investing in the Maserati Birdcage project, using both the Tipo 61 and the Tipo 63, as well as the Tipo 151. It was this car, in its 4th evolution, that ended the Camoradi team when Casner died at the Mulsanne corner during the 24 Hour Le Mans test weekend. The year

A symbol of Scuderia Camoradi, the Maserati Birdcage in the American white and blue livery, has participated in the most important international races, such as the 24 Hours of Le Mans - below the Longtail - and the Nürburgring 1,000 km, which it won twice

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was 1965 and Casner was just 37 years old. There were many drivers of the team in addition to Casner, who obtained his most beautiful victory at the Nürburgring 1000 km in 1961 paired with Masten Gregory: to name just a few of the most famous, Stirling Moss, Carrol Shelby, Jo Bonnier, Dan Gurney, and Nino Vaccarella. The Camoradi Maseratis were immediately recognizable as they wore American white with blue striped livery.

Centro-Sud Mimmo Dei – 1956-1965

The roots of Scuderia Centro Sud, a privateer racing team active especially in Formula 1 from 1956 to 1965, come from afar and in particular from the driver, Guglielmo Dei, known as “Mimmo”, who raced in the 1930s as an amateur driver behind the wheel of a Bugatti Brescia, obtaining some very respectable results. After becoming a Maserati dealer in Rome, his passion for racing led him to create the “Scuderia Centro-Sud” which took part in 49 Grand Prix, mainly with Maserati 250 F and Cooper Maserati, but also with BRM and Cooper Climax. Masten Gregory finished best at the 1957 Monaco GP with a third place. The number of points won in the World Cup (back then they only went to the top 6 finishers) was 24.

The magnificent spirit of this racing team that was based first in Modena and then in Monza in an elegant villa on the road leading to the Autodrome circuit, was to debut Formula 1 drivers who then became famous. Just to mention a few, in addition to Masten Gregory, Jo Bonnier and Carroll Shelby, and also to make its cars available to established drivers such as Lorenzo Bandini, Giancarlo Baghetti, Wolfgang von Trips as well as Maria Teresa de Filippis, the first woman to qualify for an F1 Grand Prix race. Scuderia Centro Sud also created a race driving school that gave participants access to important cars, such as the Osca 1500, Maserati A6GCS and 3000 S, Ferrari 500TR and the two Maserati Formula 1s also used in the World Championship.

The Scuderia Centro Sud di Mimmo Dei has been an important gymnasium for future champions. Among them, Lorenzo Bandini, Masten Gregory and Carroll Shelby

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Cunningham Briggs Swift Cunningham – 1940-1955

Briggs Cunningham, the son of a wealthy Cincinnati businessman, developed his own racing team f rom 1940 onwards together with the Collier family, founders of the Automobile Racing Club of America, which became the Sports Car Club of America (SCCA) in 1944. The first participations were with a hybrid named BuMerc (Buick V8 engine on Mercedes-Benz body, and later with an MG TC and a Ferrari 166. In 1950, the team made a huge leap forward: Briggs entered two Cadillac Series 61 Coupe deVilles in the 24 Hour Le Mans the one entrusted to Sam and Miles

Collier had very minor alterations, while the second, a heavily modified vehicle, nicknamed “Le Monstre”, was raced by Cunningham himself and Phil Waters. They finished 10th and 11th overall, respectively. The following year a second leap forward becoming a constructor. The B. S. Cunningham Company was launched in West Palm Beach, Florida,

with the goal of sending its own cars to Le Mans. The various models, which always raced in American white with blue striped livery, won a number of races in the USA but only manged to obtain third place at the French 24-hour race. In 1960, the race team entered Le Mans, with the support of GM, fielding three Chevrolet Corvettes with Fitch and Grossman driving number 3 finishing in 8th overall and winning their class. The beautiful Cunnigham collection is now back to its original state: it is part of Miles Collier’s Revs Institute. In very good hands!

Before becoming a constructor – below, the 5.4 at Le Mans in 1953 – he raced GM cars: Corvettes and, at the debut at the 24 Hours of Le Mans, a Cadillac Series 61 Coupe deVille and the prototype nicknamed “le Monstre”

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Ecurie Ecosse David Murray – 1951-1971

In 1951, the wealthy Scottish driver David Murray set up a Ferrari-inspired team to manage the cars of privateers - with the technical support of the brilliant Wilkie Wilkinson. Murray owned a famous garage that also sold Jaguars, the Merchiston Garage, and the racing team was called Ecurie Ecosse. It was prepared to of-

fer financial support to the team but they specified that all the cars had to be the same type and in their colours. The first successes came with the Jaguar XK120, which then grew in number when Ecurie Ecosse fielded the C-Type in the national championships. Gradually, relations with Jaguar became closer to the point that

the Flag Metallic Blue D Type with its with white nose-band livery that recalled the Scottish flag, won the 24 hour Le Mans 1956 race even going so far as defeating the official D-Type entered by Jaguar. More successes followed in 1957 with the blue and white Jaguar D-Type driven by Ron Flockhart, Ninian Sanderson and Ivor Bueb. Ecosse’s activity continued until 1971 but without any notable successes, and to this day the image of the Scottish team remains closely linked to its French successes. Attempts to revive the Ecurie Ecosse, first in 1982 when it won the World Sportscar Championship together with RML Group, and also in 2011, were not enough to bring back the legendary years of the beginning.

The most important successes of Ecurie Ecosse came with the Jaguar D-Type, with which the small private team managed to beat the giants such as Ferrari and Aston Martin in 1956 and 1957

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Ecurie Francorchamps Jacques Swaters – 1950-1982

In Belgium, the name Ferrari will always be inextricably linked to Jacques Swaters, a man who dedicated his life as an enthusiast, driver and businessman, to Enzo Ferrari and the Prancing Horse. In 1950, Swaters created Ecurie Belgique, however the name wasn’t approved by the Royal Automobile Club de Belgique and so it was changed to Ecurie Francorchamps. The relationship with Enzo Ferrari was rapidly strengthened and Swaters became the importer for the Benelux countries. Enzo liked him, a courageous driver and above all someone determined to get what he wanted. His decision – caused by a delay in delivery – to drive the brand new 500F2 single-seater from Maranello to Spa to arrive in time for the Grand Prix did not go unnoticed! Unimaginable today, it

The Ecurie Francorchamps made yellow Ferraris famous, because it was the colour of Belgium. The great f riendship between the importer Jacques Swaters and Enzo Ferrari helped nurture a long and rewarding collaboration. Here, the 156 F1 that dominated at Spa in 1961

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even included two border crossings. The team’s activity with the single seaters, in which he featured, claiming the best result at the Avus Circuit himself, was soon replaced by the activity with Ferraris in the sports and GT categories, all strikingly painted in the Belgian national colour, yellow. It’s worth remembering the victory in the GT category at the 24 Hour Le Mans with the 275 GTB of Willy Mairesse and Jean Beurlys – a pseudonym of Jean Blaton - and the outright victory at the 500 Km of Spa, once again with Mairesse, this time behind the wheel of a 250 LM. Ecurie Francorchamps ceased operations in 1982. Throughout the years he spent with Ferrari, Swaters sought and collected documents, letters and publications and objects related to the life of the racing team. An extraordinary

heritage that he protected through a foundation which, unfortunately, was partly dispersed upon his death in 2020. In 1992, in recognition of their long-standing relationship, Ferrari first showed the world his 456 GT model at Garage Francorchamps and introduced the colour “Blue Swaters” to celebrate 40 years of this rewarding partnership. Jacques Swaters was also manager of ENB - Ecurie Nationale Belge - founded in 1959 with the support of Shell to promote the activities of Belgian drivers such as Lucien Bianchi, Olivier Gendebien, André Pilette, André Milhoux and Alain de Changy.

Equipo Argentino Juan Domingo Perón – 1947-1950

Equipo Argentino, created by the Argentine Automobile Club, gave an important boost to South American motor sport by organizing the famous “Temporade” that took place during the European winter months, when drivers and teams were stationary. General Juan Domingo Perón supported the initiative of “his” Automobile Club to promote Argentinian drivers and, indirectly, its politics. This allowed “Pancho” Borgonovo, president of the Automobile Club, to hire European drivers and cars with decidedly convincing sums. In addition, the away teams were able to sell their cars to local drivers or teams. In particular, Equipo Argentino bought single-seater Maseratis and Ferraris. The latter, a single-seater FL 166, painted in the national blue and yellow livery, helped Manuel Fangio to show his skills on his way to winning five World Titles. Between the late 1940s - the first Temporada in 1947 - and the beginning of the 1950s, based on Formula Libera and Sports Cars, Fangio was joined by other champions such as José Froilán González, Oscar Galvez, Benedicto Campos and Onofre Marimon, who died at the Nürburgring in the German GP in 1954. The glories of Equipo Argentino faded after the death of the beautiful Evita and the fall of the Dictator in 1950.

Juan Manuel Fangio’s first outing in the Ferrari 166 FL in the 1949 Temporada, painted in the colours of Argentina for the Equipo Argentino YPF team

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Escuderia Montjuïch Paco Godia – 1968-1979

To this day, Escuderia Montjuïch is a symbol of Catalan pride for both its seriousness and commitment while it was active between 1968 and 1979. Founded by several Catalan businessmen and drivers, the main architect of the team was Francisco “Paco” Godia-Sales. The goal of the team was to import high-level racing cars to Spain to compete on the international arena. The team’s first race was at the 6 Hour Montjuïc race in 1968, won by Paco Godia and Brian Muir in a Ford GT40. One year later, Godia and Joan Fernández won the 12

Hour Barcelona race, once again on the Montjuïc circuit, in a Porsche 908. In 1970, Tergal’s financial support brought an important boost to the team’s activity. With the wealthy sponsor on board, the team went international with participation in the 24 Hour Le Mans in 1971, with a Ferrari 512S driven by José Maria Juncadella and Nino Vaccarella, and in 1972 with a Porsche 908/3 and two De Tomaso Panteras. In 1972, the Volante Escudería Montjuïc initiative was created to help young drivers, but 4 years later in 1976 - Tergal’s withdrawal marked the

beginning of the end for the team which ceased its activities in 1979. Escuderia Montjuic had a significant and important racing history, with more than a thousand participations in competitions and 308 placings. In addition to the Spanish drivers, the colours of Montjuïc were worn by professionals including Jo Siffert, Jean-Pierre Jabouille, Jean-Pierre Beltoise, David Piper and Brian Redman.

Francisco “Paco” Godia-Sales was the first promoter of Escuderia Montjuich and a pretty good driver too: above, with the Maserati 250F at the 1957 Pau GP and to the left, on board the Porsche 908/1 at the 1969 12 Hours of Barcelona 106 TOP OF THE CLASSIC CAR WORLD

Scuderia Ferrari Enzo Ferrari – 1929-1938

Scuderia Ferrari can rightly be considered the first, true racing team. There had been examples of drivers co-operating together to manage race cars such as Nuvolari and Varzi with Bugatti, but these were not genuine organisations with long-term structures and objectives. It was 1929 when Enzo, who was also an excellent driver, realized that his true calling was another: to build an empire

in racing with authority and success. He knew he could build cars, something he had already demonstrated with the Alfa Bimotore single-seater and understood that it was not impossible to dream of becoming a constructor. It was too early. It was, however, immediately clear to him what the ingredients of success were: a company composed of friendly and loyal people such as the Caniato brothers, wealthy and highly skilled drivers and his friend Ferruccio Testi; the presence in his company, albeit with small holdings, of industrial partners such as Pirelli and even Alfa Romeo. Partners that were soon joined by Shell, Magneti Marelli and others. A structure of this type, based in

Modena, an Art Nouveau building that became famous, a fleet of high-quality cars, great organizational efficiency and a powerful symbol - the Prancing Horse Shield - gave Scuderia Ferrari an authority that was previously unheard of in the motor racing world. After eight years of activity – the Scuderia was purchased by Alfa only to be closed at the beginning of 1938 when Enzo joined the company in Milan – they had racked up 225 races and no less than 144 victories! The Scuderia Ferrari symbol reappeared on the track once again in 1952, at the Syracuse Grand Prix, on the single seater by Enzo Ferrari who was now a constructor. It never disappeared again.

The early years of the Scuderia del Cavallino Rampante, that deployed Alfa Romeo singleseaters, laid the foundations for Enzo Ferrari’s dream of becoming a constructor. The Alfa Romeo Bimotore, on the right, was the first car built in Modena

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Filipinetti Georges Filipinetti – 1962-1973

Georges Filipinetti, an Italian-Swiss entrepreneur who had been racing as an amateur driver since 1939 and then went on to become Switzerland’s most important Ferrari dealer, founded Ecurie Nationale Suisse in 1962, but was forced to change the name to Scuderia Filipinetti after complaints from the Automobile Club de Suisse that no private team should claim

the title of “national”. The main objective of the team was to promote the careers of young Swiss drivers, in particular that of Jo Siffert who was starting to take his first steps in motoring after a period on the road, from 1957 to 1959. It was behind the wheel of a Lotus 24 of the team that the driver/rider won the 1963 Syracuse F1 Gran Prix in in Sicily, Italy, a race not valid

for the Championship but highly renowned internationally. In the following years, the Scuderia diversified its activity by focusing on sports cars, participating in various races including the 24 hour Le Mans from 1963 to 1972 and the Targa Florio, which it won in 1966 with Herbert Müller and Willy Mairesse behind the wheel of a Porsche 906. Scuderia Filippinetti was also very active in hill climbing as well as the Tour de France Automobile. As proof of its ability to bring together different drivers and build their careers, not only national drivers found themselves behind the wheel of the red cars with white stripes, the Swiss colours chosen by Filippinetti. The best known include Jo Bonnier, Phill Hill, Willy Mairesse, Reine Wisell, Mike Parkes, Ronnie Peterson and Henri Pescarolo. The end of the Scuderia, in 1973, was a painful one with the death of its founder, George, and later his son Jean-Pierre.

Scuderia Filipinetti can rightly be considered one of the first “academies” dedicated to young drivers, in particular it marked the beginning of Jo Siffert’s sporting career.

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Joest Racing Reinhold Joest – 1968-Present

When you have a leader who sets an example, the success of a racing team is guaranteed. This is the case with Joest Racing, founded in 1968 as a Porsche privateer team that quickly achieved significant results with driver/founder Reinhold Joest. Class successes at the Nürburgring 1000 km, repeated podiums at Le Mans, winning the 1978 European Sportscar Championship with the 908/3 and the 24 Hour Daytona race in 1980 made a more than respectable business card. From that moment on, Joest’s extremely professional structure played a strategic role in support-ing the Constructors, both in the DRM Championship with the driver Bob Wollek in 1982 and 1983, and at the 24 Hours of Le Mans in 1984 and 1985 with Klaus

Ludwig, Henri Pescarolo, Paolo Barilla and the German businessman, Louis Krages. From here to Opel, for the DTM and ITC Championship that he won in 1996. From this moment the racing team focused solely on the 24 Hour Le Mans race, deploying the victorious TWRPorsche in the 1996 and 1977 editions: the original passion combined with the determination to win led to ultimate approval in 1999. Audi partnered with Joest for their debut at Le Mans and the first of 13 outright victories of the French marathon and 4 WEC Titles. They are now regarded as one of the industry’s finest setups with new chapters such as Mazda’s successes in the American IMSA Championship. As you can see, racing teams don’t just belong in the past.

The teams often supported the manufacturers in the race: Joest Racing with Opel and in particular with Audi achieved memorable successes

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John Wyer Automotive Engineering John Wyer – 1966-1976

Experience and perfect knowledge of the world of Endurance Racing are just some of the qualifications the name John Wyer brings to the list of great racing car teams. In 1966, John Wyer, the former Aston Martin team manager and head of the Ford GT40 programme, decided to join John Willment, a large Ford dealer and racing expert, to buy the premises abandoned by Ford along with the license to build and provide maintenance services for the Ford GT40s both for road use and racing for the European market. Ford had closed its British Ford Advanced Vehicles division in Slough, Buckinghamshire in 1966. J.W. Automotive Engineering Ltd. was founded with

the support of the Gulf Oil Corporation. In 1967, JWAE unsuccessfully fielded a modified GT40 renamed the Mirage M1. The following year, in 1968, the 24-hour rule change favoured the new racing team and two of the GT40s in their possession were returned to their original configuration with a five-litre engine, winning the 24-hour race with Pedro Rodriguez and Lucien Bianchi and in 1969 with Jacky Ickx and Jackie Olivwer. But Wyer had other ambitions and contin-

ued to develop the Mirage project. Meanwhile JAWE partnered with Porsche, bringing the Porsche 917 to Le Mans in 1970 and in 1971 in the famous blue and orange livery. After the ban on the Porsche 917K, JWAE was renamed Gulf Research Racing Company and developed a series of Mirage prototypes with Ford Westlake and Cosworth engines, suitable for the regulations of the period that required lower fuel consumption, up to the GR8 of 1975 that dominated the 24 Hour Le Mans with Derek Bell and Jacky Ickx. The following year, Wyer sold the company to Grand Touring Cars Inc, which continued its activities by using Renault Turbo engines.

The typical colours of the JWAE, inherited f rom the sponsor Gulf who accompanied the English team f rom the Ford GT40, here to the left at Le Mans in 1968, passing through the Mirage, all the way up to the Porsche 917

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Maranello Concessionaires Ronnie Ohare – 1961-1972

The death of Mike Hawthorn in a car accident, fresh from his 1957 World Championship win for Ferrari, the driver who had imagined his future as a Ferrari importer for England, gave Ronnie Hoare, a former Army Colonel and great racing enthusiast, the opportunity to get in touch with Enzo Ferrari. Hoare had bought one of the two Ferraris exhibited by Hawthorn at the London Motor Show in 1958 and had racing experience after creating a Formula 2 team so the

deal soon became a reality. In addition to importing cars from Maranello, in 1961 the “Colonel” as he was called, founded the Maranello Concessionaires racing team which was dedicated to GT and Sport races that were useful to promote the business. The results were immediately important: first with the victory of Graham Hill, at the Goodwood TT in 1963 with a Ferrari 250 GTO, then fifth place overall on their debut at Le Mans in the same year with Jack Sears and Mike

Salmon on board a 330 LMB. The racing team was mostly focused on local events and races in Great Britain, as well as the promotion of British drivers – many of them famous such as Jackie Stewart, John Surtees, Innes Ireland, Tony Maggs, Roy Salvadori, David Piper, Richard Attwood, David Hobbs and Piers Courage among others. It is no coincidence that the team’s Ferraris always had a Union Jack on their noses; a front that was characterized by being painted “Cambridge Blue” that gave them a particularly strong identity even if the main colour was always Rosso Corsa. From 1967 onwards, with sales now stabilized, the team progressively diminished its commitment with the last race in 1972 at Le Mans with a Ferrari 365 GTB/4. Among the non-British team drivers engaged in international races were Richie Ginther Jo Siffert, Lucien Bianchi, Lorenzo Bandini and Jo Bonnier.

The trademark of Maranello Concessionaires was the “Cambridge Blue” coloured nose. To the left, the Ferrari 412 P of Richard Attwood and Piers Courage at the 1967 24 Hours of Le Mans and Graham Hill with the Ferrari 250 GTO at the 1963 Goodwood TT

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NART (North American Racing Team) Luigi Chinetti – 1954-1982

Ferrari knew Luigi Chinetti and his history as a successful driver and “emigrant” to the USA during the War and welcomed him to Maranello with open arms in 1949 when Ferrari had been a constructor for just two years. However, he rejected the proposal to race at Le Mans. For Enzo it was too early to accept such a demanding challenge. However, Luigi did not lose heart, he bought a 166MM, signed up privately for the 24 Hours and shared the stint behind the wheel with his financier who drove just one hour out of 24, and won. For Ferrari it was unexpected pubblicity, what’s more by a driver who had become an American. Chinetti was well known in the USA where he had already worked on a project for Indy and, after Le Mans, they began to receive dozens of requests to purchase these new Italian cars called Ferrari. After another great victory at the 1951 Carrera Panamericana that was useful for his commercial

success in America, once again with a Ferrari, the relationship between Luigi and Enzo was confirmed. In fact, Chinetti was already the representative of Ferrari in the USA and from 1954 he became the official North American Ferrari importer. It should be remembered that the relationship with Chinetti was fundamental for the small Italian company: indeed, Chinetti guaranteed an important number of sales per year and always anticipated the deposits, something that was vitally important if the company was to continue to grow. This is the story and it’s not surprising to hear that Chinetti followed Enzo’s footsteps and created his own racing team: the North American Racing Team that was soon transformed into NART. The possibility of using the Black Horse on a yellow background beneath the American flag further strengthened the role of the American team. NART had a string of successes until it

ceased operations in 1982 after participating in more than 200 races with famous drivers such as Jim Hall, Stirling Moss, Graham Hill, Giancarlo Baghetti, Umberto Maglioli, Nino Vaccarella and Mario Andretti, to name just a few. Howevver, the notoriety of the racing team did not stop there: during the 1964 United States Grand Prix and the all-important season finale in Mexico, Enzo Ferrari who was furious with the Italian Federation that had refused to approve the 250 LM, entered the single-seater of Bandini and Surtees - who went on to be World Champion under a new banner: the North American Racing Team in the blue and white of the United States. And not only that: Ferrari’s final outright victory at Le Mans, in 1965, came thanks to Rindt and Gregory’s 250LM. A truly exemplary partnership.

Chinetti gave Ferrari its first and last overall victory at Le Mans (1949 and 1965). His livery was also found on the 158 that became World Champion in 1964 with John Surtees behind the wheel

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Penske Racing Roger Penske – 1966-Present

Roger Penske, an American from Ohio, made his immense fortune thanks to two connected skills: a passion for cars and racing combined with his commercial talent. After being a top driver, he opened a Chevrolet dealership in Philadelphia in 1965. It was the first of what went on to become an empire that now stretches as far as Europe. However, racing has always been his passion and that led to the creation of Penske Racing which competed at Daytona and Sebring in 1966 with a Corvette and then joined forces with the celebrated driver, Mark Donohue, to compete with a Lola T70 in the United States Road Racing Championship and Can Am series. Penske Racing immediately made a name for itself by winning two consecutive USRRC championships and three SCCA Trans-Am titles. The turning point came in 1969 when the team debuted at the Indianapolis 500 with Donohue finishing seventh but earning “Rookie-of-theYear” honours. It was just the beginning. The Indianapolis oval circuit went on to bring Penske Racing 18 wins, the first in 1972 with Donohue followed by four with driver Rick Mears and three with Hélio Castroneves. That’s not all Penske, today, is the owner of the famous circuit and the historical heritage it represents. Great successes in America also pushed the team into Formula 1 with debuts in 1974 and two full seasons in 1975 and 1976. Unfortunately there were very few satisfactions with just a single victory of the PC4 single seater at the Austrian Grand Prix driven

by John Watson. In its rich Roll of Honour, the American Team has had successes in numerous other formulas such as CanAm Series and NASCAR. The team’s history continues to this day after celebrating its 50th anniversary in 2016 and Roger Penske, 84, is as sharp as ever. Roger Penske’s commercial success began and grew with racing in different categories and with great drivers

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Rob Walker Racing Team Rob Walker – 1953-1973

Rob Walker - heir to the Johnnie Walker whisky fortune - took third place at Le Mans 1939, but at the request of his wife, he limited his activity as a driver. For this reason, in 1953 he decided to create the Rob Walker Racing Team, racing two Formula 2 Connaughts in the national races driven by Tony Rolt and Eric Thompson, with great success. In 1956, Walker sensed the great potential of rear-engined single-seaters and switched to Cooper, who entrusted the team to its famous chief mechanic, Alf Francis. The decision was the right one and even Stirling Moss agreed to race in the 1958 Argentine Grand Prix, achieving their first victory and opening up the new era of engines placed behind the driver. Moss and Walker began a long-term relationship that would write several chapters of the history of motorsport, including the first success for a Lotus in Formula

One of the most memorable private teams, capable of leading Lotus to its first success in F1 with Stirling Moss in 1960 in Monaco. A strong characteristic of the team is the blue livery with the white f ront band

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1 at the 1960 Monaco GP. The Scottish blue livery with a white stripe across the nose to recall the Scottish flag immediately became the signature livery of the Scottish racing team. For Walker, the pursuit of innovation was a constant: another example, that of the 4-wheel drive experiment developed by Ferguson. The car, entered in the 1961 F1 Championship race at Oulton Park, was easy for Moss to drive. It will remain the only success of a four-wheel drive F1 car because the Federation blocked this technology and banned its use. 1962 was the year every-

thing changed for the team as it welcomed a Ferrari Formula 1 supplied directly by Maranello in the blue and white colours of the racing team. The deal was signed but Moss’s accident at Goodwood destroyed a programme that would have affected the Maranello Scuderia as well. After a brief stint with Jo Bonnier, the team took on the Swiss Jo Siffert, who brought home a success by winning the 1968 British GP in the Lotus 49B. Rob Walker Racing Team’s last appearance in Formula 1 was at the 1970 Mexican Grand Prix with Graham Hill.

Serenissima Count Volpi di Misurata – 1961-1973

Among Ferrari’s first customers were the young heirs of two rich Italian noble families: Marzotto and Volpi di Misurata. Giannino, Paolo and Umberto Marzotto raced and won by managing the activity themselves, without creating a racing team. On the contrary, Count Giovanni Volpi di Misurata, a Venetian who lived in a sumptuous palace, animated by passion but without ambitions to drive, created his own racing team in 1961 and called it the Gloriosa Serenissima Repubblica di Venezia. Relations with Ferrari, for which he had won the 12 hour Sebring race in 1962 with Jo Bonnier and Lucien Bianchi, cooled when the young

Volpi joined ATS, the newly created company established to compete against Ferrari. For this reason Enzo refused to sell him two 250 GTOs he requested for his GT team, and Volpi with the technical support of Piero Drogo and Giotto Bizzarrini, created the famous Breadvan starting from a 250 SWB and raced it at Le Mans. Faster than the official Ferraris, it however succumbed to engine failure. Having emerged from the failed ATS project, Volpi created his own Sports Prototype together with the engineer Massimino whose 3000 cc V8 engine was also used in the first Formula 1 created by Bruce McLaren. The year was 1966. Huge investments, a failed attempt to produce GT cars destined for the road sealed Serenissima’s fate and the company closed in 1970.

The noble gentleman who brought the colours of the Republic of Venice to the track, with important cars and drivers. Above, the famous Breadvan at Le Mans and below, the 250 TRI/61 that won at the 12 Hours of Sebring in 1962

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Sold!

The interesting marketing case designed to position eClassic in the world of collecting: the first example of Leggenda, at the RM Sotheby’s aution in St Moritz, set a record that confirms the appeal of the program and its content that go far beyond the value of the driving simulator alone. by Antonio Ghini

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The RM Sotheby’s auctioneer sells “Leggenda” number 1 for CHF 192,000.

he automobile market is a rich and varied one that embraces everything from the most exclusive products to the most common items. The pricing system of a market like this is well established, and the purchasing cost of any item acquired usually falls within a range that is known or, at the very least, imagined. We could ask ourselves “who sets the prices?”, but we already know the answer: the market. However, when a product is completely new and has no market, the price is the result of a business plan that includes everything from the original conception

to its manufacture and final delivery. When the product is as new and as profoundly innovative as the eClassic driving simulator, it is not difficult to wonder how the public will perceive its value. As has been amply illustrated in these pages, eClassic is a complex product that comprises a simulator produced by one of the two great coachbuilders, pininfarina or Zagato, that is merely a part of the whole. In fact, the simulator is the gateway to an exclusive TCCT platform “The eClassic Club”, the eAcademy with its extensive training programs, and of course access to events and competitions, club life and much more besides. The question that TCCT posed itself, in SoLD! 117

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accordance with the strictest marketing principles, was just how close the price attributed by the market was to the price calculated on the basis of its own economic model.

Sotheby's in St. Moritz at an estimated price of between 120,000 and 150,000 Swiss Francs, but without a reserve. That is to say, if offers had stopped much lower, it would have been sold all the same.

In the world of collector cars, the sales channel of great auction houses is the only true reference. So TCCT decided to put up for auction the very first simulator of the limited edition Leggenda series – just 9 in all, with special colour and accessories and paolo pininfarina’s signature on the steering wheel - at RM

A packed hall, many important cars up for sale along with Leggenda, and the perfect atmosphere. What would the outcome be? For reference, the estimated range published in the catalogue was in line with the real price which, of course, was unknown to everyone. There were naturally additional bonuses

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for the buyer: it was the very first one produced, number 1 of 9 and therefore very significant for collectors. Added to this was the possibility to integrate one of the cars in the buyer’s collection into the simulator, to be used personally or to include it in the menu, giving it unprecedented visibility. The offers commenced, the first coming in at 50,000. However, in a flash no fewer than five potential buyers started a mini bidding war. In less than 30 seconds, the price had exceeded 100

A true bidding war for the purchase. Many arms held high, just one winner.

thousand. But no one was giving up. In particular, one of the bidders seemed very determined and led the sprint: 150,000… 160,000.. The auctioneer did not stop, calling for offers in german, English and Italian. Then the hammer struck. Sold! Leggenda went to the bidder who had shown clear signs of not wanting to stop. great applause for the final price of Swiss Francs 192,000.

The experiment worked: the market determined a price: The price for each of the 8 remaining Leggenda collector edition simulators - the celebratory edition for the 90th anniversary of pininfarina without the special auction features in Europe is €158,000 and in Switzerland CHF 164,000 (including VAT, delivery, installation and instruction). Prices for the Zagato Elio Z or the pininfarina Sportiva

Edition simulators €134,000 are for the Italian market and CHF 138,000 in Switzerland. Always including VAT, (standard) delivery, installation and instruction. Interesting and above all consistent with the many innovations introduced by eClassic, a fascinating program for the range of activities and content designed to satisfy everyone who embraces it. ■ SoLD! 121

Top 100 Collectors 2021

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ith The Key 2021, we have now reached the fourth year of publication for the ranking of the world’s top 100 collectors. It is an important result that enhances the cultural heritage and the social and economic value of historic cars. Restorations, maintenance, events, auctions and trade exist for the passion of those who collect, enhance and preserve the vehicle that has changed our lives over the last 150 years. Surveying collectors, identifying the cars in the collections through sources that are not always easily accessible, and verifying their correctness as far as possible with the owners themselves, has been a long and arduous path. Much has been done and much remains to be done: the fluidity of the market requires constant attention and collaboration. But the path has been taken and more and more often, we have the full support of collectors and experts to achieve the result we’re aiming for. For maximum clarity, we would like to reiterate that the Ranking of the Top 100 Collectors is not based solely on the economic value of the collection. This has a “weight” of 50% in the overall score. The remaining 50% is calculated on the basis of qualitative parameters that form just as many rankings, which then combine to form the final result. These parameters consider the usability of the collection by enthusiasts and scholars, the historical and cultural value of the collection itself and the prizes and awards collected in major international events. An unstoppable but extremely stimulating monitoring exercise. proof of the weight of all these variables is Arturo Keller with his 1938 Mercedes 540 K which was crowned Best of Show 2021 at pebble Beach, who acquired the points percentage necessary to overtake the 2020 leader, Evert Louwman. Honours go to merit, then, but beware: the intent of The Key, and of the TCCT Market Intelligence machine that collects and processes this data, is not to create imaginary podiums with trophies and champagne: Ralph Lauren, Fred Simeone and Miles Collier, who are extremely

close to one another, have identical merit for the work they do to preserve and enhance the extraordinary history of the car. Just like all the other collectors in the world, up to the 100th and beyond, because each of them deserves our admiration and respect. In all this, however, it is interesting to note that there have been changes in the overall results: an important exit for the sale of a large collection, and other drops in the ranking through significant sales. Then some noteworthy progress through the acquisition of new and remarkable cars. But also for other merits measured by our judgement parameters. Lawrence Auriana, who provided the list of the latest cars acquired, climbed from ninth to sixth position, the same applies to Albert Spiess who climbed to tenth position. other significant progress was made by Jack Nethercutt, nicholas Schorsch, peter Sachs, Brian Ross, Bernie Ecclestone, nicola Bulgari and Fritz Burkard, just to mention the biggest movers. Clearly, these movements have affected the overall ranking, causing shifts down yes, but by no means through lack of merit. Also noteworthy are three new entries: the Italian Monica Mailander who inaugurated a foundation that presents the beautiful collection of her husband, gino Macaluso, a rally driver who died 10 years ago; the Frenchman François perodo, a well-renowned driver and refined collector of racing cars and the Argentine pablo pérez Companc with his important collection. As you can see from the following pages, the presentation of collectors has been both simplified and reduced to make the ranking more easily usable. But it is only one step towards the future: our work for the 2022 Ranking has already begun and we’d like to take advantage of this presentation to invite those who, among the 100 classified, have not yet been able or wanted to give us information on their collections, to help us improve it by writing to us directly, in complete confidentiality, to our Chief Editor, Antonio ghini, using his personal e-mail: thekeyeditor@tcct.com Top 100 CoLLECToRS 2021 -123-

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Arturo Keller Age: 80-89 | Score: 84.00

There are many ways to love the cars in your collection. Arturo Keller has created his own: one of absolute democracy that gives each of his cars a starring role when they are on display. For this to happen he was not content to simply bring each of them back to the best possible condition through restoration and conservation, but he also created a series of publications that document their identity and history with the support of excellent consultants. A very serious approach that enhances his collection and one that has allowed him to claim the top position in the ranking of the world’s 100 most important collections. This recognition is nothing more than the final step towards a widely recognized goal, underpinned by winning the Best of Show at Pebble Beach 2021, an award that has a hugely symbolic value because it marks the return to a long-awaited normality. Arturo Keller is a very reserved man, one who does not like to show off but who, together with his beloved wife Deborah, does not escape the attention of everyone for the sheer quality of his cars when he enters Concours d’Elegance events. It happened once again this year when their 1938 Mercedes 540 K was crowned Best of Show. This passion for the cultured and refined collection that includes, among many others, various Alfa Romeo and Mercedes-Benz cars of extraordinary historical value, involves the entire Keller family including their four children who have perfectly assimilated the spirit of their father.

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Evert Louwman, together with the Queen of Netherlands

Evert Louwman Age: 80-89 | Score: 83.04

One glance at the presentation of the Evert Louwman Museum in the first pages of this issue of The Key is enough to understand how the apparently prodigious discretion of this man is nothing more than an intimate and profound interest in the thing he loves. His museum, on the outskirts of The Hague, is more his personal residence than a car exhibition. Indeed, even if the presentation is arranged in a convincing and highly informative manner, everything is designed and created with the same love and care taken with furnishings and decorations for the home. The choice of his cars is not based on passing fashions but on the roles they played in automobile history. Of great interest, to give you an idea – and a contextually relevant example since it is a Dutch brand – the enhancement of the role of Spijker in the evolution of automobile history. Known today as Spyker, this small Dutch company built a six-cylinder, four-wheel drive model with brakes on all four wheels in 1903, which is one of the many magnificent attractions of his collection. It doesn’t stop there either: there are electric and even petrol and electric hybrid cars such as the 1896 Armstrong, illustrating the breadth of the collection. Louwman does not limit himself to enhancing his automotive collection through his museum. He personally participates in challenging events such as the Le Mans Classic or Goodwood Revival, driving his own cars or entrusting them to his daughter, who is a respected driver on the racetrack. A visit to his museum is essential for all those who appreciate the intricacies of the automobile and who understand its significance. The collection was started by Evert Louwman’s father, who grew it over time and oriented its messages with the precious collaboration of the man who runs the museum.

Ralph Lauren Age: 80-89 | Score: 83.00

The opportunity to visit the Ralph Lauren collection in person is an occasion reserved for a select few. Those who have had the privilege never forget it is truly out of this world: all the icons of car collecting are meticulously presented against a white background on perfectly illuminated platforms, without interfering with each other, giving visitors the opportunity to immerse themselves in the wonder of the collection. The overall style is perfectly in line with what you’d expect from a famous fashion designer whose brand has become the undisputed champion of refined elegance. The Bugatti Atlantic - black, originally in a different colour but preferred by the designer as an Atlantic had been made in that colour – a Mercedes SSK “Conte Trossi” together with the most important Ferraris and Porsches, his cherished McLaren F1 that he drives often and is one of his favourites. Ralph Lauren has a real passion for cars, so much so that he has used them in the past for sporting events, driving them himself, and has also participated in international Concours d’Elegance events with well-deserved awards. The exhibition at the Louvre in Paris, which combines the excellence of the automobile and art, will go down in history as one of the finest ever. 126 TOP OF THE CLASSIC CAR WORLD

Ralph Lauren

Age: 70-79 | Score: 82.53

At the end of 2021, Miles Collier published a book on the value and culture of restoration based on his experience with the cars in his Revs Institute. A book that’s more like the chronicle of an important archaeologist who, in his life as a scholar, has discovered many precious artefacts and has personally taken care of their painstaking recovery. For Collier, a car brought back to its original state through research and attention to every detail, is like the conclusion of a film in which he is always the main character. This love and passion for automobiles was inherited from his father who was a driver in the 1930s – the MG Midget with which he raced at Le Mans is still preserved in the collection. The historical archives of the Revs Institute, which is part of the Museum in Naples, Florida, conserves precious and extremely rare documentation. All this, together with the restoration centre, lies at the heart of the activities to promote automotive culture, which Collier continuously enhances with seminars and training programmes. Among the many treasures that have become part of his collection are the cars built and collected by Briggs Cunningham including the first Ferrari racing car imported into the United States.

Miles Collier

Fred Simeone Age: 80-89 | Score: 81.28

A famous doctor, an internationally acclaimed neurologist, who f ills his time after work looking for and collecting cars, mainly racing models, in order to exhibit them in a museum that, among the various peculiarities, allows visitors to admire almost all of the sports cars that made the 24 Hour Le Mans race famous. To ensure the continuation of the patient work of research and conservation as faithful as possible to the original, and after dedicating his entire life to the collection, Simeone has deprived himself of his own collection – of immense value it should be said – by donating it to a Foundation that bears his name and that preserves it in a magnif icent museum in Philadelphia. This is to ensure that it will not be dispersed in the years to come, giving historians and enthusiasts the opportunity to see the stars of generations of motorsport all together. Among the many activities of the Museum, to ensure each car is kept in fully working order, there are demonstration days carried out along a special road built outside the structure and open to the public who can revel in the sounds of the variety of engines. There are, of course, many extraordinary car museums all over the world. Still, there aren’t many car museums with stories like that of the Simeone Foundation Automotive Museum in his hometown Philadelphia.

Fred Simeone

Top 100 CoLLECToRS 2021 127

William "Chip" Connor Age: 70-79 | Score: 69.01

Japanese by birth, American by culture, Asian – in Hong Kong – for business, William Connor, known as “Chip”, knows every dimension of the pleasure offered by the automobile: a driver, first professional then amateur, and a lover of Concours d’Elegance events in which he participates both with his own cars and, when invited, as a judge. In fact, his experience has led him to be an authentic connoisseur of cars and their history. His passion for racing has meant that in his collection there are many cars that have written important pages in the history of the sport, including a Ferrari 250GTO and a 250 TR 59/60 by Fantuzzi.

Laurence Auriana William "Chip" Connor

Laurence Auriana Age: 70-79 | Score: 71.05 Anne Brockinton Lee

“My collection is a broad tribute to Italian engineering. I chose to resurrect Italian automobiles because, when you turn the key, the technology and the art ignite – become alive – in a way that is not seen in any other human creation. The cars are alive. They speak to you” Lawrence Auriana recently told Forza Magazine. Born in the United States to Italian parents, although he does not speak the language, he has a deep love for Italy and has dedicated his passion for automobiles to Italian cars. His “garage” in reality a beautiful museum open to friends, is not a place where his cars “sleep” and merely evoke the past, but the place they leave from to compete in historic races such as the Monte-Carlo Historique and the Le Mans Classique. His collection includes rare pre-war cars, especially Maseratis and Alfa Romeos, and an almost complete series of the most successful Alfa Romeos from the post-war period. Ferrari Formula 1 and Sports models complete the collection. Recent additions have moved Auriana up to sixth place in the Ranking. 128 TOP OF THE CLASSIC CAR WORLD

Anne Brockinton Lee Score: 68.40

Ferrari’s first victory at the 24 Hour Le Mans in 1949 was clinched by Luigi Chinetti together with Lord Seldson, with a small 166MM that is carefully preserved, along with its original number 22 and the small spotlight mounted on the front, by Anne Brockinton Lee who, with courage and talent, continues the beautiful story of collecting which was started by her late husband, Robert. The collection she manages with great skill and composure –remarkable research into the style and colours of the clothing to wear during the Concours d’Elegance events she participates in – is an outstanding example of how the female touch can make an enormous contribution to the image of collecting. She has received numerous awards at the world’s most prestigious competitions.

Samuel Robson Walton Age: 70-79 | Score: 65.86

He owns them and drives them on the track very seriously. Samuel Robson Walton, a long career at the helm of the famous Walmart chain, collects mainly competition cars and does not hesitate to take them out on the track, even though many are immensely valuable authentic jewels. He is the owner, among others, of two Ferrari GTOs, he is also the co-owner with Peter Mullin of one of the most admired pieces of collecting: the Bugatti Atlantic Tipo 57SC, which was elected Peninsula Best of the Best from all the winners of great international competitions in 2018.

Samuel Robson Walton

Albert Spiess Age: 70-79 | Score: 64.83

Silent and discreet, Albert Spiess continues to grow his magnificent collection of cars according to different approaches united by the same logic: to understand and deepen the values and characteristics of the brands in his possession: his Lamborghini collection is the only true witness to the history of the Sant’Agata brand in the world. The same path was taken for the rebirth of Bugatti, from the prototypes of Artioli to the experiments of Ferdinand Piëch, including the perfectly preserved 18-cylinder prototype. The same approach also applies to Alfa Romeo, where the models chosen are always rare or unique, such as the Pandion by Bertone. With numerous recent acquisitions, Spiess has further improved his ranking, even if he cannot count on the scoring that rewards those who show their cars in museums or exhibitions. Alongside him and driven by the same passion is his wife Rita who often personally drives his cars at events. Recent acquisitions have given a further boost to the ranking of Albert Spiess, who is now positioned tenth overall.

Peter Mullin

Peter Mullin Age: 80-89 | Score: 58.40

French cars have always stood out in a mix of rational originality and aesthetic vision, particularly in the Deco era, without forgetting the veritable technological and stylistic revolutions that were introduced by the Citroën DS 19. Peter Mullin, with his museum collection in Oxnart, California, allows visitors to discover the essence of French automobiles with the most representative models from Talbot, Delage, Delahaye and, of course, Bugatti including the Type 57 Atlantic that he shares with Samuel Robson Walton. He has collected countless awards at major international events. Peter Mullin is currently engaged in a major historical and futuristic operation to enhance the automobile with the construction of the Mullin Automotive Park in West Oxfordshire, England. A project created by the famous architect, Norman Foster.

Jack Nethercutt Age: 80-89 | Score: 57.70

A great passion for motor racing, also a practiced professionally in the past when he was very young, and then his car collection that are testaments to a story full of fantasy, such as those made before the war which he favours together with his wife Dorothy. This is Merle Norman, Jack - as everyone calls him - Nethercutt who created a fascinating family museum where his precious “creatures” – roughly 250 in number to give you an idea of the importance and his commitment - are preserved, meticulously restored, and brought back to their original condition. In this adventure, Dorothy’s support is fundamental, and it is not surprising to see them together when the cars of the Nethercutt collection participate in major events. In addition, the continuous growth of the collection has earned them five places in the Top 100 ranking.

Jack and Dorothy Nethercutt

Albert and Rita Spiess

A. Dano Davis Age: 70-79 | Score: 54.64

In Jacksonville, Florida, the story of a successful team called Brumos Racing has been transformed into an interesting and very rich museum thanks to the commitment of A. Dano Davis, who left his business as an important car dealer to focus on the exciting history of cars, with a specific propensity for racing models. After many successes in endurance races, such as Daytona, with respectable drivers like Rolf Stommelen and Peter Gregg, some of the team cars have become part of the Brumos Collection that has progressively been enriched with important pre- and post-war models. Numerous acquisitions of important pieces have brought considerable satisfaction at the most prestigious Concours d’Elegance events and helped develop his reputation.

A. Dano Davis

Top 100 CoLLECToRS 2021 129

Sir Michael Kadoorie

Dynamism and the pursuit of precision and excellence are some of the characteristics of Sir Michael Kadoorie who, based in Hong Kong, has developed his international business in the hotel sector with the Peninsula brand. The Peninsula Best of the Best award which awards the best of show winners from the top international concours from the previous year, is still held in one of his hotels in Paris. Sir Michael’s collection is quite eclectic and covers cars starting from 1903 to important cars from the 50s and 60s such as the 250 Testa Rossa. One of his many merits is organising the magnificent Quail Concours d’Elegance during the Monterrey week. His contribution to the enhancement of historical heritage contributes to his ranking in our list.

Sir Michael Kadoorie

Age: 80-89 | Score: 54.01

Lulu & Anthony Wang

Anthony Wang Age: 70-79 | Score: 53.24

Anthony Wang and his wife Lulu, originally from Shanghai but who emigrated to the USA where his family runs a substantial business in the software sector, use their cars mainly in track events and historic races. Their truly excellent collection is composed mainly of Ferraris while Lulu drives an Alfa Romeo SZ. In their “garage” are two GTOs as well as other racing models from Maranello, such as the perfectly restored 250 Testa Rossa Pontoon Fender with a magnificent sporting history.

David MacNeil Age: 60-69 | Score: 52.73

There are two ways to live your passion for sports and classic cars: drive them, perhaps in races, or to “get help” from those you love. From a son, for example, with a name which would appear to have its own agenda: Cooper. The name Cooper belongs to the son of David MacNeil who preferred to leave the racing side of his passion to his talented offspring, focusing more on collecting. He did it methodically, choosing mainly Ferrari models of all ages, culminating in a masterstroke when he purchased one of the most significant Ferrari 250GTOs in existence: car number #4153 which, among its various successes, boasts one at the Tour de France Automobile in 1964 with Lucien Bianchi and George Berger behind the wheel. MacNeil does not shy away from Concours d’Elegance events though, as he demonstrated by winning the Best in Class award with his Aston Martin DB4 GT Zagato in Pebble Beach.

Bruce McCaw Age: 70-79 | Score: 53.39

Collecting is a family passion, so much so that if you put the collections of the three McCaw brothers together the standings of The Key Ranking would be given a jolt! However, each one is an individual collector, both for the choices of the models within each of their collections and the activities they carry out. Bruce loves competing and measures himself in speed races and rallies by driving his “creatures” . This does not mean that he eschews the Concours d’Elegance events, especially the most important ones including Hampton Court and Pebble Beach, where he won the title of Best in Show with his Mercedes-Benz S Barker Tourer from 1929. 130 TOP OF THE CLASSIC CAR WORLD

Bruce McCaw

David MacNeil

Bruce Meyer Age: 80-89 | Score: 52.23

Having grown up in California in the years of Hot Rods and Dragsters, in the Hippy atmosphere where the pursuit of the new and the original in everything that was homologated, including cars, was an absolute priority, gave Bruce Meyer’s passion for cars a very significant boost. For him, the discovery, fun, and sheer pleasure of cars customised in a way that was as disrespectful to the establishment as it was fascinating to see where all this progression was heading, is something he has never abandoned. His collection began and continued to grow following his free-minded spirit, attracted, as still happens today in the USA, by the charm of European sports cars that are as essential as they are beautiful and powerful. For Meyer, collecting exceeded the limits of his beautiful garage in Beverly Hills and he now counts on the support and management of the famous Petersen Museum in Los Angeles, where many of his cars are also exhibited. His enthusiasm and commitment to enhancing the cultural heritage and financial value of collector cars, make him one of the pillars of American motoring, if not worldwide.

Peter Sachs Age: 80-89 | Score: 50.76

Peter Sachs’ collection only includes cars of extraordinary historical value. However, to judge him just for that would be a serious mistake. His love for the history of motoring has led him, over the years, to save and collect an immense photographic heritage including, among others, the Klementaski archive with the most beautiful photos of the magical years of the f irst post-war period. Peter Sachs was able to make these choices thanks to the serious and continuous experience he had in car racing, f irst as an amateur and then in historical races with commitment and talent. Certainly a man of considerable importance in the world of motoring characterized by a style of his own: discreet and polite, almost shy, something you discover in his competence and passion by talking to him at length. Then there are the cars of course, including a 1964 Ferrari GTO rebodied in period with a truncated tail.

Peter Sachs

Bruce Meyer

Tom Price Age: 70-79 | Score: 50.63

If a car was born to race, Tom Price wants to drive it on the track, and he does so with skill and passion. This skill that was acquired after a lifetime spent in the car business with one of the most important dealer networks combined with the passion of those who love to race, make him a very special man. He himself declares that he has driven his 250 Testa Rossa on the track at least eighty times since it came into his possession more than 25 years ago: if Enzo Ferrari were still with us, he would be surprised and proud. His important collection is also home to one of the 36 Ferrari 250 GTOs ever made. In 2010, the purchase of about twenty Ferraris belonging to the European dealer Kroymans at a price that’s very different f rom what it would be today, strengthened his position and it was, undeniably, a very good deal.

Tom Price

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Andreas Mohringer

Andreas Mohringer Age: 70-79 | Score: 50.10

More than a collector, Andreas Mohringer is a patient and methodical researcher of forgotten cars or cars to be discovered, as was the case of the 1953 Ferrari 375 MM, abandoned for years in a garage and discovered almost by chance. A jewel which, after repeated visits to Maranello to reconstruct its history and verify its original characteristics, has become one of his most interesting cars. The same thing can also be said for the Maserati 150 GT Spider, the only example of its kind, and the Ferrari 335 S from 1958 which, after restoration by the famous Paul Russell, won the Villa d’Este Concours d’Elegance event and, subsequently, the Best of The Best car concours season award organized in Paris during Retromobile 2020 at the Hotel Peninsula.

Richard Workman Age: 40-49 | Score: 49.91

In just twenty years, the young Illinois dentist Richard Workman created the Heartland empire and in 2011 he was able to devote himself to his passion for cars by creating a collection that also includes the most coveted pearl of all, the Ferrari GTO. As with his rapid success in the dental industry, doctor Workman has been quick to grow his reputation and car acquisitions and is well acclaimed amongst collectors and judges alike. His collection includes a Ferrari 275 GTB4 NART and some special or one-off models. In all this, without a shadow of a doubt, being part of the “GTO club” was an important step.

Nick Mason

Nick Mason Age: 70-79 | Score: 49.74

If he hadn’t joined Roger Waters, Syd Barret and Richard Wright in 1965, when he was 21 years old, to form Pink Floyd, perhaps Nick Mason would have become a real racing driver for the passion and skills he demonstrated. An opportunity that was only postponed, however, because after the global success of his music, he returned to automobiles and assembled a collection of cars, mainly racing models, with which he still measures himself today in the most demanding events on the calendar. Moreover, he does so with the full support of his wife, Nettie, who is not averse to donning overalls and a helmet herself, ready to get behind the wheel. Discreet, silent, calm, Nick Mason conceals a world of different talents, and expresses them only when necessary, without any fanfare and counting on the facts. A great character and an equally great collector.

Martin Viessmann Age: 60-69 | Score: 50.08

One of the flagbearers of European car collecting. Compared with the large number of American collectors who can choose from exotic cars from the “old Continent” and those from their home country with the opportunity for many variations and elaborations, European collecting is almost always oriented towards the history of brands that have created the legend of the car on this side of the Ocean. The German-born Martin Viessmann, a car collector for over 25 years, has focused his attention on “made in Germany” cars – among these is his Mercedes Benz 720 SSK from 1929 and the magnificent W 125 Grand Prix, both perfectly preserved – and his collection includes many models of significant interest. His passion for car collecting is very often enhanced by the pleasure of actually driving them, even in demanding events such as Goodwood and Mille Miglia. 132 TOP OF THE CLASSIC CAR WORLD

Richard Workman

Martin Viessmann

Nicholas Schorsch Age: 60-69 | Score: 49.64

Nicholas Schorsch’s pride and joy can be summed up in one word: Audrain. Audrain has in fact become the flag bearer of the East Coast of the United States for collector cars and events. The Audrain Newport Concours and Motor Week and the Audrain Museum with its collection of cars of great interest that in recent months has been enriched with new additions, are rebalancing the relations between New York and California. In fact, after Monterey Week, everyone heads to Audrian. Nicolas Schorsch, with the support of important specialists and collectors such as Jay Leno, leads the way with a collection that presents an authentic history of the automobile, f rom 1901 to 2005, today enriched by the 14 new cars f rom the Nick Begovich Collection that push him up the rankings together with the quality of his initiatives.

Shelley and Nicholas Schorsch

Corrado Lopresto Age: 60-69 | Score: 49.52

The search for unknown or lost models, meticulousness in reconstructing their history, an obsession for perfection through long and patient restorations are the principal characteristics that bring Corrado Lopresto to a position of great importance in the ranking of The Key. For Lopresto, preserved or recovered originality is the one true multiplier of the cultural, historical and economic value of a car. Famous for the conservative restoration methods he used in the first prototype of the Alfa Romeo SZ coda tronca, found abandoned in a barn in the United States and still completely original that was recognized by UNESCO. A particular trait of Corrado Lopresto, who collects only rare Italian cars or those with a peculiar feature such as being the first example produced or a prototype that never entered production, is that he is guided by unwavering rigour and methodically studies the historical details of the cars in his possession from precious archives he has acquired over the years.

Anthony P. Bamford

Age: 70-79 | Score: 49.62

He is the perfect representative of British aristocracy in the way he presents himself and the way he dresses. The way he composes his collection and also in the choices he has made at work, where he has built a strong and distinctive image to his famous excavator company, JCB. His collection is not only made up of cars with significant historical importance, but also of memorabilia and unique objects, such as the Ferrari Formula 1 twin-cylinder engine designed by the engineer Lampredi in the 50s to get the maximum torque, which was destined to remain a unique example after a less-than-fortuitous start. Although strongly linked to British cars, of which he has numerous highly valuable examples from Bentley and Rolls Royce, the British passion for Ferrari is unequivocally represented by his two Ferrari GTOs.

Corrado Lopresto

Anthony P. Bamford

Joe Lacob

Joe Lacob Age: 60-69 | Score: 49.04

A sportsman cannot accept half measures, much less so if the sport in question is as important, demanding and intense as the NBA championships. Joe Lacob approached the world of car collecting with the exact same attitude and selected truly outstanding cars for his collection. If your name is also linked to a team of the calibre of the Warriors, winning on the courts for 75 years, owning the Ferrari 250/275 P that won at the Nürburgring and Sebring with champions such as Surtees, Mairesse, Parkes and Maglioli is but a mere reflection of the qualities of the man. It’s easy to imagine that Joe Lacob’s beautiful collection and the activities they are involved in, including Concours d’Elegance events, are a way to forget the stress of professional sport. In other words, pure pleasure and relaxation. Top 100 CoLLECToRS 2021 133

John McCaw Jr.

John McCaw Jr. Age: 70-79 | Score: 48.54

Someone once said, probably correctly, that if you combined all the cars of the McCaw brothers you would have the world’s most important collection. This is not possible however, as each collection is affected by the influence and passion of the person who built it and nurtures it. John Jr, who climbed to 29th position in the 2021 rankings, owns one of the cars with the greatest symbolic value in the world: the Ferrari 315S with which Piero Taruffi won the final, tragic Mille Miglia in which, with an identical car, de Portago and Nelson were victims of an accident that marked the end of the extraordinary Italian race. It was with his 315S that John had the pleasure of starting the re-enactment alongside Prisca Taruffi, daughter of the Italian champion who is herself a driver. A moment of intense emotion. There are not only Ferraris in its collection, but also pre-war British cars the majority of which are Bentleys.

Ed Davies Age: 70-79 | Score: 48.48

To belong or not to belong to the caste. This is a fixed reference point, undeclared but perceived nevertheless by everyone from the car collecting universe: those who possess a Ferrari GTO are part of it. There are 36 seats available, that’s how many GTOs were built and still exist, plus two in the 330LM version. If you consider that some collectors have two, you understand just how elite and selective this caste is. Judging which GTO you own is also selective. In this regard, Davies is on the highest podium, for his GTO is chassis #3705 with which Jean Guichet and JP Noblet came second overall and first in the GT class in 1962, an authentic sign of nobility. Ed Davies, for his beautiful collection that counts numerous important competition cars, more than the Concours d’Elegance events loves races, real ones, where he gets to put himself to the test with commitment and talent.

Ed and Leslie Davis

Charles E. Nearburg and Karen Spencer Miller

Charles E. Nearburg Age: 70-79 | Score: 48.27

In 2010, to celebrate his sixtieth birthday, Charles E. Nearburg decided to attempt to break the wheel-driven land speed record with his Spirit of Rett, pulling it off brilliantly with 414.4 miles per hour (667 km/h) on the two speed runs required by the Bonneville Salt Flats. In fact, in his life he has always combined his business affairs with the activity of a racing driver, participating in great events such as Le Mans and Sebring at the wheel of cars that claimed outright victory, and a world record was a true gift. Over time, his interest in cars grew with a collection that also includes a very famous Ferrari GTO, a Porsche 917K and a Ferrari 250 Testa Rossa that officially raced with the drivers of Maranello.

Jon A. Shirley Age: 80-89 | Score: 48.48

There are so many beautiful and interesting things to do in life besides a professional career. John H. Shirley chose to collect cars as one of those things. When he left Microsoft, a place where Bill Gates had given him a top role, Shirley searched for and collected cars with an important and significant history behind them. This method has taken his collection to the top of the world. Considering his cars as models to be used in races or at Concours d’Elegance events, Shirley combines the pleasure of collecting with pure fun. His important collection is now slightly smaller in size after the sale of some significant pieces. Hence a repositioning in the ranking that, nevertheless, does not change his approach to this passionate world. 134 TOP OF THE CLASSIC CAR WORLD

Jon A. Shirley

David Sydorick Age: 70-79 | Score: 47.92

There comes a moment when certain people understand how to devote themselves to the nicer things in life. For David Sydorick, this moment came entirely naturally thanks to a passion for beauty that pervades his Hollywood home, his art collection, his many travels and of course his automobile collection. It is cars that occupy his time, which he devotes wilfully and with immense pleasure, participating in activities that are propaedeutic to the enhancement of automobiles, while safeguarding them from wrongful contamination. In this role, he is on the board of the Petersen Museum of the automobile and its culture, in Los Angeles, and also the beautiful private collection of Peter Mullin. However, he dedicates most of his time to his own refined collection that includes several award-winning examples such as the famous Ferrari 250 long wheelbase bodied by Zagato, and the Alfa Romeo 8C 2900B. Quality, not quantity, is his philosophy, and it shows.

Harry Yeaggy

David Sydorick

Brian Ross Age: 60-69 | Score: 47.09

The dynamism of Brian Ross is recognized by the constant growth of his collection dedicated to Ferrari. Not only great classics and recent supercars, but also interesting examples that make the news. This is the case of the magnificent Ferrari 335 Sport Scaglietti from 1957 which, in 2016 became the most expensive car ever sold at auction in Europe – sold by Artcurial – for over 35 million dollars. This is certainly not the only rare piece in his collection. Another example is the Barchetta 166 MM Touring, the car that marked the beginning of Enzo Ferrari’s international success.

Harry Yeaggy Age: 70-79 | Score: 47.85

If your family could not even afford a car when you were a boy, when things change (and a lot) the choice of cars you want to have in your garage is driven only by your dreams and the desire to possess those objects that were simply out of your reach. This is why Harry Yeaggy’s collection is only full of extraordinary cars that tell a story and he remains true to this principle to this day even if several important pieces have been sold recently. In Cincinnati, where it is located, several extremely significant American cars have been in his possession such as the first Corvette that won a race, several Duesenbergs, and one of the three Ford GT40s that paraded in 1966 when Ford finally managed to beat Ferrari at Le Mans. That’s not all, also some of the most interesting Ferraris ever seen on the racetracks

Brian and Kim Ross

The late Oscar Davis

The Davis Collection Score: 46.42

Oscar Davis, the esteemed, serious and admired collector, frequently seen at events and competitions in the USA and Europe, left us on 21st February shortly after turning 95. A shocking pain for his friends and admirers, and a concern for the future of his collection. The collection, which includes many important European cars, from the Alfa Romeo 2300 Monza, the Talbot Lago “Goutte d’Eau”, the Ferrari 400 Superamerica Pininfarina and the Maserati A6G 2000 Zagato spider, was taken over by the family and his son Robert who today is at the helm of their company, Hayward Industries. Top 100 CoLLECToRS 2021 135

Friedhelm Loh

Age: 70-79 | Score: 45.65

One of the most important European collectors and highly esteemed in the environment for the quality and presentation of his cars. As a German, he chose Mercedes-Benz as his reference brand – his Mercedes-Benz 680S Sports Tourer from 1928 was a class winner at Pebble Beach – but he also loves and collects Italian cars, some with significant historical value such as the Ferrari275/330P which was first at the Nürburgring 1000 Kilometres in 1964 – a touch of Germany here too! – driven by Mike Parkes and Ludovico Scarfiotti and, in the same year, second overall at the 24 Hour Le Mans.

Bernie Ecclestone

Bernie Ecclestone Age: 90-99 | Score: 44.19

Bernie Ecclestone’s collection of Formula 1 single seaters is the very symbol of the ultimate formula of motoring. The role he played in the development of racing, first as a driver, then as a manager followed by a manufacturer, with the purchase of Brabham and, finally, as the visionary organizer of the Formula 1 Grand Prix. This gave him the opportunity to collect all the most significant single seaters in history. These include the Mercedes Grand Prix W 125 from 1937 and the Ferrari 375 with which José Froilán González won Ferrari’s first Grand Prix at Silverstone, on 14th July 1951. This car has been immaculately and correctly restored by Ferrari Classiche. 136 TOP OF THE CLASSIC CAR WORLD

Friedhelm Loh

William "Bill" Pope Age: 60-69 | Score: 44.08

The pleasure of possessing cars that tell a specific chapter in automobile history is the maximum motivation of Bill Pope, who boasts a collection so original he often calls himself “the guardian of a heritage that belongs to humanity” . An example of his intelligent strategy was demonstrated at the Concorso d’Eleganza Kyoto 2019 where, at the event that celebrated Lamborghini and Zagato – with two different rankings – he presented the unique Lamborghini 3500 GT bodied by Zagato. Who, if not hiwm, could have won the “Best in Show” award?

Giorgio Perfetti

Age: 80-89 | Score: 43.90

A man of undisputed entrepreneurial talent and excellent taste, given that among the companies in his group he also created the famous Victoria’s Secret, and he has a special passion for Ferraris. His collection is testimony to this, given his tenacity to try to enrich it with examples of significant historical value, such as the recent purchase of the Ferrari 290 MM by Scaglietti used by Manuel Fangio in the Mille Miglia in 1956, which finds itself alongside other cars of considerable interest such as the Ferrari 275 GTB/C of which just three examples were made, and the Pininfarina Ferrari 375 MM Coupé Speciale that was made for the film director Roberto Rossellini who gave it to his wife, Swedish actress Ingrid Bergman. The golden grey colour of the car was recreated by Ferrari and was named Grigio Ingrid. Wexner participates in all important Concours d’Elegance events with well-deserved awards.

Leslie Wexner

William "Bill" Pope

Leslie Wexner

Giorgio Perfetti Age: 70-79 | Score: 43.88

Known for the extraordinary nature of his collection, Giorgio Perfetti, a Swiss entrepreneur from Canton Ticino, is also known for his desire to keep things for himself, without allowing anyone to see or take his cars to events or to lend them for exhibitions. A perfectly preserved heritage that covers the main stages of Ferrari’s history, both on the road and on the track. Among his many, magnificent cars there is a 250 GTO, a 250 Testa Rossa, a 333SP and much more.

Carlos Monteverde

Carlos Monteverde Age: 50-59 | Score: 43.22

Brazil has given the world a number of great racing drivers. Perhaps it would have given us one more if Carlos Monteverde, now living in Switzerland, had raced with contemporary cars instead of historic ones. His races behind the wheel of the Ferrari 250 Testa Rossa Ponton Fender in the yellow and green livery of the Brazilian flag, in the Historic Ferrari Challenge organized by Ferrari are memorable. His talent and courage also exposed him to serious risk in Imola when he had a very serious accident in a Ferrari single seater from the 50s during official practice. Fortunately, once he had recovered, he continued to collect cars and use them on the track, achieving many successes. Among his cars is the Porsche 917 that won the Le Mans in 1970.

Peter Kalikow Age: 70-79 | Score: 43.04

The idea of having his own car, a custom-made Ferrari is part of Kalikow’s relationship with cars: they must be his. He did so with the Ferrari Scaglietti K, where K is the initial of his name, proudly presented at Villa d’Este a few years ago. This determination to create unique examples has also created some discussion withing the walls of Maranello that naturally tends not to like its models being elaborated. His collection includes numerous cars of considerable value, including sports cars from great endurance races.

Mario Righini Age: 80-89 | Score: 42.67

Mario Righini is perhaps unique in the world of car collecting. Not so much for the location of his museum, a castle on the plain between Modena and Bologna in Italy, used by border soldiers in the Renaissance, but for the way in which he has amassed his incredible collection: over the years Righini has preserved every single car his demolition company considered interesting. Many have been in disuse for decades but are absolutely faithfully preserved. A heritage enriched by some intelligent acquisitions, such as the 815 Auto Avio Costruzioni, the first car built by Enzo Ferrari in 1940.

Mario Righini

Jim Patterson Age: 80-89 | Score: 43.10

He is one of the collectors who places French cars from the 30s at the top of his passion, those called Art Deco but which cover more widely the excesses of what were known as the “crazy years”. Award-winning and greatly admired, he does not limit his presence to this stage: among his cars there are also numerous sports models from the 50s and 60s with particular attention to Ferrari.

Peter Kalikow

Jim Patterson

The Bahre Collection Score: 41.29

The cars in this beautiful collection, mainly pre-war, collected with love and care by Bob Bahre, are now safeguarded, by his wife Sandra and family, after his painful death in 2020. A heritage of considerable value, which enthusiasts and the general public can admire by making a donation, includes a number of very important cars, such as Duesenberg, Packard and many others that have been both admired and awarded at major Concours d’Elegance events.

Sandra Bahre with the late Bob Bahre.

Top 100 CoLLECToRS 2021 137

Robert Bishop Age: 60-69 | Score: 41.23

When you see the first example of the Ferrari 250 California Spider from Robert Bishop’s collection, you can’t help but think of Sergio Scaglietti and his panel beaters who, in Modena, hand-crafted shapes destined to enter the history of art. Applied art, certainly, but with the imprint of the hand of those who invented the car by creating it. If this is the most significant piece of the collection, there are numerous other cars that Bishop regularly brings to competitions with a good chance of taking home a prize, be it a Bugatti 55, a Maserati A6G Zagato or a Ferrari 400 Superamerica, signed by Pininfarina.

Robert Bishop

Jay Leno Age: 70-79 | Score: 40.48

When a job that combines notoriety and a vast public following is also driven by a great passion, success is guaranteed. Success for the celebrity and success for the passion. Jay Leno, an American TV star with his broadcast Jay Leno’s Garage has made a considerable contribution to the popularity of car collecting and the promotion of events dedicated to it. The most important showcase for his collection is the Audrain Concours d’Elegance, in Newport, which he also actively participates in.

William Heinecke

Jay Leno

Nicola Bulgari

138 TOP OF THE CLASSIC CAR WORLD

Robert Ingram

Sam Mann

William Heinecke Age: 70-79 | Score: 40.06

A magnificent character in both vision and creativity – when he was a teenager, he wrote about go-karting in a newspaper in exchange for advertising space. American by birth but raised in Thailand where he lives and works. His business, which began with advertising, has now extended to very successful hotel and restaurant chains. His has an important collection that has grown in recent years with models that remind him of his American origin and old Europe.

Age: 80-89 | Score: 40.25

Nicola Bulgari cultivates his passion for American cars from the 1930s, 1940s and 1950s. His initiative to collect once popular production cars, now lost, and bring them back perfectly to their original condition is truly visionary. Bulgari holds a prominent role in preserving the history of the American automobile, and the restoration centre and school annexed to its large collection is an example of seriousness and rigour.

Sam Mann Age: 80-89 | Score: 39.78

Sam Mann is the perfect example of how classic designs and cars can contribute to success: his career as a designer and inventor travelled in parallel with the successes of his cars, four times Best of Show at Pebble Beach.

Robert Ingram Age: 70-79 | Score: 40.22

Robert Ingram’s beautiful collection of Porsches took a hit in April 2019 when a gas explosion destroyed the building that housed them causing serious damage to the cars and injuring some people. With courage and determination he worked to recover as much as possible even if some examples seemed to be lost forever. This was a hit to the value but also the morale also of his wife Jean who supports him in the historical research work mainly related to Porsche in sport.

56 Fritz Burkard

Fritz Burkard Age: 50-59 | Score: 39.30

Fritz Burkard is a Swiss businessman and vice-president of the St. Moritz Bobsleigh Club. Fritz is also becoming more and more recognised as a serious collector on the classic car scene. He won an award at the Concours Virtual 2020 with his Delage D8-120, one of the numerous Deco-era cars in his collection. Winning 2021 the Chairman’s Trophy at Pebble Beach and best in Class at Villa d’Este 2021.

Andreas Pohl Age: 50-59 | Score: 39.15

Chairman of German insurance company Deutsche Vermögensberatung, Pohl loves to use the many beautiful cars in his collection at events, whether it’s in the London to Brighton or the 1000 Miglia. An authentic and great enthusiast

Johann Peter Rupert

Age: 70-79 | Score: 37.95

A regular participant in the most important Concours d’Elegance events, Craig McCaw’s impressive collection includes a number of prized pre- and post-war cars, from Duesenberg and Bentley, Alfa Romeo and Ferrari. These include one of the 36 250 GTOs in existence, chassis #3505. Purchased with a really significant bid at Auction, in 2015. There was a motive for this price however: it was the car the great Stirling Moss drove in the race.

Craig McCaw

Silvia Nicolis Score: 37.55

Silvia is a perfect example of a second-generation collector. After inheriting a collection of considerable historical value from her father, she transformed it into a living museum that is full of events and exemplary passion in memory of him.

Silvia Nicolis

The Willbanks Collection Score: 37.50

The Delahaye 135 MS Figoni & Falaschi Narval is just one of the refined pieces in the collection Roger Willbanks put together in Denver, Colorado. When he retired after a successful career at AT&T Inc., he dedicated his time to his passion with the not too insubstantial advantage of living in a state where the roads and nature are the perfect partners for classic cars.

59 Shiro Kosaka

Craig McCaw

Johann Peter Rupert Age: 70-79 | Score: 37.50

Johann Peter Rupert, the famous president of the luxury group Richemont, maintains his impressive collection, which encompasses everything from steam cars to contemporary automobiles in his museum in Stellenbosch, South Africa.

Shiro Kosaka Age: 80-89 | Score: 38.23

A refined Japanese collector, he keeps his collection in a fascinating building on the slopes of Mount Fuji. The choice of his cars has always been aimed at originality, a trait that has made him the world’s most famous collector of Abarth cars and the owner of unique pieces such as the Alfa Romeo Kangaroo by Bertone and the Ferrari Mythos by Pininfarina. Despite being penalized by the distance from great European and American Concours d’Elegance events, his few appearances are always significant and very often rewarded. Top 100 CoLLECToRS 2021 139

Donald Murray

Donald Murray Age: 70-79 | Score: 35.39

An interest in history, the most important models such as the Ferrari 166 Touring and original Porsche cara including the 911, are the highlights of Don Murray’s collection. Extra care is always taken to preserve their originality.

The late P. Stieger

Giuseppe Lucchini

Stieger Family Score: 34.66

Giuseppe Lucchini Age: 60-69 | Score: 34.15

From Brescia and hence with the 1000 Miglia coursing through his veins, Giuseppe Lucchini combines passion with the pursuit of perfection. The Ferraris in his collection are perfect in every detail. Highlights of the collection include the bright green 250 GTO that raced with David Piper in 1962 and 1963. According to many, his collection of Ferraris is one of the most significant in the world.

Created out of the passion of Patrick Stieger, the gorgeous collection of mostly racing Ferraris, all fully functional, is now managed by his sons who also happen to be excellent drivers in historical races. Brandon Wang

Ray and Janet Scherr

The music of engines substituted the music of the business that made Ray Scherr famous: the famous Guitar Center chain. His collection consists mainly of important pre-war automobiles.

Age: 50-59 | Score: 34.56

Chris Cox’s Ferraris are very well known, from the Testa Rossa and the LM up to the famous blue and yellow GTO in Swedish racing colours. Cox takes particular care of his Ferraris, which are always certified by Ferrari Classiche.

Ray Scherr Age: 70-79 | Score: 34.79

Chris Cox

Brandon Wang Age: 70-79 | Score: 34.14

Brandon Wang, an Englishman of Asian origin, often uses his own collectible Ferraris and loves to hold exclusive meetings reserved for collectors of the cars he owns, such as the 250 GTO.

Andrew Pisker Age: 60-69 | Score: 34.52

Commitments to the world of finance do not prevent Andrew Pisker from following his passion for classic cars, especially racing models. A passion shared by his wife Belinda who prefers their beautiful 250 California SWB.

Andrew Pisker

Lee Harrington Score: 34,76

Lee Harrington is known for the expertise and attention he dedicates to managing his collection that consists mainly of Ferraris, many of which are interesting and important historical examples. These include the 1960 Ferrari 400 Superamerica Superfast II, chassis number 2207SA that was the personal car of Battista Pininfarina and won the Best of Show at the Cavallino Classic Concours d’Elegance in Palm Beach. 140 TOP OF THE CLASSIC CAR WORLD

Joseph Cassini Age: 70-79 | Score: 33.43

The collection of Joseph Cassini, a retired New Jersey Superior Court Judge, conveys a cultured approach towards collecting through a careful choice of cars, especially American ones, from the golden age of the pre-war period.

Carlo Vögele

Carlo Vögele Age: 60-69 | Score: 33.94

Carlo Vögele helped Jo Siffert during his wonderful yet unfortunate career as a racing driver and created the collection that his son Carlo passionately manages today. Carlo skilfully drives the 330 GTO and the Maserati 300S from the collection in historic races.

James Jaeger Score: 33.69

James Jaeger, who lives in Indian Hill, Ohio, belongs to the category of great Ferrari collectors. His most famous car is possibly the 330LM, still in its original livery from the 1962 24 Hour Le Mans, won Best of Show at Amelia Island.

Matteo Panini

Michael Leventhal

Joseph Cassini

Michael Leventhal Age: 70-79 | Score: 33.32

Michael Leventhal is a respected opinion maker in the Ferrari world. Michael loves his outstanding cars to the point of saying that the Ferrari Daytona spider is the sexiest car in the world. His collection of Cavallino models, which includes the 340MM, 250 Tour de France and the 166 Touring MM Berlinetta, is truly magnificent.

Matteo Panini Age: 50-59 | Score: 33.40

Matteo Panini rigorously and lovingly maintains the original Maserati Collection of the company, which includes several unique models including the 250F 12 cylinder and the Eldorado built to race in the 500 Miglia in Monza by Stirling Moss in the challenge, and Indy cars bought by his father to prevent them from being lost forever at auction.

Kurt Engelhorn

Steven Read Score: 33.59

Steven Read can be defined as an action collector: his car collection includes important Ferrari racing cars such as the 512 M and 312 PB, and he drives them with commitment and passion in historic races. Among the cars in his collection, which he also races regularly, is the Ferrari F40 transformed by the specialist Michelotto for GT races. This car, in MonteShell livery, was very successful in Europe and Japan.

Steven Read

Kurt Engelhorn Age: 70-79 | Score: 33.26

A refined collector, able to choose curious and unique cars for his collection, such as the Jaguar XK 120 Sprint Test used for the speed record. He enjoys his family’s support for his passion with his daughters who, very often, take the wheel as in the case of Bernina Gran Turismo, an event he created with great success. Top 100 CoLLECToRS 2021 141

Gregory Whitten Age: 60-69 | Score: 33.05

Gregory Whitten achieved success at Microsoft as Chief Software Architect when he also developed a passion for cars. His important collection includes mainly Ferraris, with several rare or unique pieces.

Robert Kauffman

Robert Kauffman Age: 50-59 | Score: 33.13

Robert “Rob” Kauffman is an American businessman, investment banker, racing team owner, and racing driver. As a racing enthusiast and a driver himself, he participated in Le Mans and Daytona. His collection of vehicles in North Carolina also includes the Ford GT40 that won Le Mans with McLaren and Amon in 1966.

The Miller Collection Score: 32.75

The allure of the all-American motoring movement to challenge Europe is perfectly represented by the Miller Motorsports Park created by Ferry H. Miller. Today his son Greg continues the story with the acquisition of important cars by Carrol Shelby, including the incredible Ford GT 40 chassis P-104 and the Cobra Daytona Coupe, class winner at the 1964 24 Hour Le Mans.

Jack Croul Age: 90-99 | Score: 32.72

Europe, its cars and the 1000 Miglia all captured Jack Croul’s heart after the war he spent in Europe on board B52 bombers. His collection includes both magnificent Ferraris and fighter planes. His Ferraris include the 340 Vignale which was first overall in the 1951 1000 Miglia and a 250 GT Tour de France from 1956.

Fred Phillips

Jack Croul

Gregory Whitten

J. Willard Marriott Jr.

The late William Lyon

The Lyon Collection Score: 32.21

William Lyon, who sadly passed away in May 2020, created his collection of prewar cars with passion and method. His son Bill prefers post-war sports cars including Porsche and Abarth, which he regularly races.

Fred Phillips Age: 50-59 | Score: 33.10

A small donation to the Alberta Adolescent Recovery Center is all it takes for Fred Phillips to welcome you into the halls of his collection, the result of choices made more with the heart than with reason. It’s very nice indeed. For him, his collection is his greatest weakness. Magnificent. 142 TOP OF THE CLASSIC CAR WORLD

J. Willard Marriott Jr. Age: 80-89 | Score: 32.21

Although he created an empire, with hotels bearing his name and numerous other businesses, J Willard Marriott Jr. also found time for his passion for cars. Some of the finest examples from his collection include his silver and red Talbot Lago 150 SS Teardrop Coupe, the Derraq Talbot Lago and the unique example built by the celebrated coachbuilder Sergio Scaglietti, on the chassis of a Chevrolet Corvette.

Age: 60-69 | Score: 31.97

All it takes is just one car from his collection, the Ferrari 250 SWB “Breadvan”, a unique model made by Bizzarrini for the Scuderia Serenissima, to understand Martin Halusa’s taste and passion for racing. Interesting to know that the “Breadvan” was the consequence of a bitter quarrel between Enzo Ferrari and Count Volpi di Misurata, owner of the Serenissima.

Fritz Kaiser

Martin Halusa

Fritz Kaiser Age: 60-69 | Score: 32.19

For Fritz Kaiser collecting is the joy of driving, the pleasure of beauty and the desire to contribute towards creating a bright future for classical cars. It is no coincidence that his favourite office is located amidst his car collection in a bright and inviting garage. His collection of 1950s and 1960s iconic sports cars and his commitment to TCCT is testament to this.

Daniel Sielecki Age: 60-69 | Score: 31.87

Daniel Sielecki, together with his brother Carlos, Argentine pharmaceutical manufacturers, are well known at international Concours d’Elegance competitions and major events such as the 1000 Miglia, where Carlos was the absolute winner in 2003 with his Bugatti T23 Brescia.

Martin Halusa

Daniel Sielecki

Wolfgang Friedrichs Age: 70-79 | Score: 31.05

Aston Martins are the true heart of his beautiful collection. Among the many models he possesses, special mention goes to the historically important DP 212, a unique car that contributed to the company’s climb to success at Le Mans.

Wolfgang Friedrichs

Pablo Pérez Companc

Pablo Pérez Companc Age: 40-49 | Score: 32.00

Pablo Pérez Companc joins the Top 100 Collectors this year with his collection almost entirely dedicated to racing cars. Argentinean, he spends a lot of his time in the United States, where he has chosen to dominate Formula Indy and Nascar. There is no shortage of “Latin” models, always devoted to the track or high performance as in the case of the Lamborghini Supertrofeo and one of the five Pagani Zonda Revolutions ever built. The “winds of home” if you will.

Axel Marx

Axel Marx Age: 60-69 | Score: 29.99

Axel Marx’s collection, recently placed in a new and important museum space in Canton Ticino, tells the long history of Alfa Romeo with great precision, through the most diverse models, with magnificent examples of pre-war cars, special series and the most recent models. Passionate about modern and contemporary art, he follows his cars with the same attention and care and uses them in events: he drove his beautiful, metallic green Alfa Romeo 1900 Zagato in the 1000 Miglia 2021. Top 100 CoLLECToRS 2021 143

Jack E. Thomas

Age: 70-79 | Score: 29.80

Jack E. Thomas is well known and respected in the American collector’s world for the quality of his extraordinary Ferrari collection. The collection includes the unique 1955 Pininfarina model, built for future Fiat president Giovanni Agnelli on a 375 American chassis called Coupé Speciale.

Cameron Healy

Cameron Healy Age: 60-69 | Score: 27.94

Cameron Healy, colourfully known as the “potato chip magnate” collects and competes with important Porsche models, such as the 356 SL from the 1951 Le Mans and the 908 from the 1971 Targa Florio.

Jim Glickenhaus

The D'Ieteren Collection Score: 28.71

Roland D'Ieteren left us prematurely in 2021. His fine collection is now preserved by his children with proper respect. Roland was an historical star on the Belgian market and also the owner of Carrozzeria Touring. His collection began with carriages and now it also counts important pre-war Alfa Romeos.

Age: 70-79 | Score: 26.45

Jim added his passion for classic cars and racing to the family’s film making business. The collection boasts some very important examples, such as the 1970 Ferrari Modulo concept by Pininfarina. Today Glickenhaus is engaged in Motorsport at the highest level with his 007S hypercar for Le Mans.

Jack E. Thomas

Jim Glickenhaus

The late R. D'Ieteren

François Perrodo

Age: 40-49 | Score: 28.54

He made his debut in the ranking of the 100 Top Collectors in the same year he won the GTE-AM class at the 24 Hour Le Mans at the wheel of a Ferrari 488 GTE Evo. The real one, from 2021, to be clear. It’s nice to know that his race debut in 2010, happened with one of the classic cars in his family’s collection. Hence the desire for real racing. His collection includes some extremely significant cars, such as a McLaren F1 GTR, a Porsche 917K and a Ferrari 288 GTO. At 44, he is the youngest collector in the rankings. 144 TOP OF THE CLASSIC CAR WORLD

Jean Pierre Slavic

Christophe d'Ansembourg

Jean Pierre Slavic Age: 70-79 | Score: 25.79

The collection of Swiss watchmaking industrialist Jean Pierre Slavic includes many important Ferraris, Abarths, Porsches and the Miura P400 that triumphed at Villa d’Este in 2017.

Christophe d'Ansembourg Age: 50-59 | Score: 27.01

Thanks to the magnificent collection of both endurance and single-seater racing cars, d’Ansembourg is a well-known regular at events such as the Le Mans classic, the Goodwood revival and the Silverstone classic.

Fondazione Macaluso

Score: 25.50

In 2021, near Turin, Monica Mailander, and the four children of Rally champion Gino Macaluso, inaugurated the foundation dedicated to her husband, who died 10 years ago, with a large structure that houses the cars he used in races and many of those he competed against in international championships. Although the beautiful and large collection features numerous important road cars, the heart of the collection are the authentic Rally cars from different categories, in particular from Fiat and Lancia.

Julio Palmaz Age: 70-79 | Score: 23.46

Julio Palmaz, the inventor of the first FDA-approved balloon-expandable vascular stent for angioplasty, has a collection of race cars in his Napa Valley winery that features the winners of major international events including the Porsche 936 that won at Le Mans in 1976.

Monica Mailander Macaluso

Julio Palmaz

Jan De Reu

Kotaru Maruyama

Jan De Reu Age: 50-59 | Score: 24.46

De Reu has one of the most complete collections of Fiat 8Vs in the world, which includes many interpretations of the same model by renowned Italian coachbuilders.

Kotaru Maruyama Age: 70-79 | Score: 24.23

Japan’s Kotaru Maruyama inherited his passion for classic Western cars from his father, Kazuo. His collection includes Ferrari, Iso Rivolta and Abarth cars as well as a stunning 1964 Shelby Cobra Daytona Coupe.

Samuel Lehrman

100

Age: 70-79 | Score: 24.30

Samuel Lehrman has a special passion for pre-war American cars: His latest success was “Best in Show” at Amelia Island in 2020, with his Duesenberg J-2018 “Whittell” limousine. Samuel Lehrman currently resides in Palm Beach Florida.

Helmut Rothenberger

Samuel and Lisa Lehrman

Helmut Rothenberger Age: 70-79 | Score: 22.66

Prominent German businessman Helmut Rothenberger collects important cars such as the 1929 Mercedes SSK and the 1931 Invicta S-TYPE ‘low chassis’ with which he also took part in the Goodwood revival and the 1000 Miglia. Top 100 CoLLECToRS 2021 145

What is the future of collecting? During the Monterey car week The petersen Museum promoted a high-level debate on a very important contemporary issue. Bruce Meyer, Miles Collier, Jon Shirley and phillip Sarofim, coordinated by McKeel Hagerty, drew everyone’s attention to what has become a significant matter. by Dan Kahn

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Arturo Keller's 1938 Mercedes-Benz 540K Autobahn Kurier, Best of Show Pebble Beach 2021

Passion Continuation using these cars. We need to work hard against the limitations of using them. Developing non-polluting-fuels for classic cars might help to support this goal.

The future of collecting is central to those who love Classic cars. Defining the path we need to travel for a sustainable future of classic cars requires an understanding of the motivation behind the passion.

Here are 3 good reasons: 1. preservation of the cultural values of a car through its history. Every car from the past carries a message linked to its particular moment in time that goes beyond the mere function of the vehicle itself. values that derive not only from the country of production and fashion of the time, but also from the marque of the vehicle and the history of its manufacturer. 2. The well-being that luxury brings. This is of course a subtle issue: Luxury does not just equal wealth. As Coco Chanel once said, luxury is the opposite of vulgarity. In other words, the cultured luxury

of owning a classic car is the same whether you can afford a Bugatti or you settle for a small cheap classic. The curiosity, interest, care and pride of ownership will be just the same. This is why there are no obstacles to collecting for the younger generation. 3. The pleasure of using them. Collectors' cars are magnificent objects that delight their owners with the pleasure of being driven, admired and cared for. Everything that contributes to this supports its future. So, it’s worth certifying the quality of events and inventing new formulas that stimulate the pleasure of

I had the honor of being invited to moderate this roundtable. Restrictions on travel to the USA due to Covid prevented me from doing so. However, ever since the creation of The Classic Car Trust and publication of this Yearbook, I always aimed to help find ways to safeguard the future of collecting. In a world that changes so rapidly, protecting the past and the possibilities they create for the present are great opportunities. However, this requires accepting new realities and thinking and acting in new dimensions to navigate the world of collecting on the right side of change. Taking passion into the future will help to enable the Tomorrow of History. Fritz Kaiser WHAT IS THE FUTURE oF CoLLECTIng? -147-

The magnificent setting of Pebble Beach 2021. On the left McKeel Hagerty the esteemed moderator of the round table. Above the collectors Jon Shirley and Miles Collier.

onterey Week is one of the world’s centres of car collecting and combines events and auctions with significant debates on the values of Collecting. At the Quail Lodge & Golf Club, on 13rd August, inside the Bonhams tent, McKeel Hagerty, member of the Petersen Museum board who organized the meeting, commenced a discussion on the future of car collecting together with some of the sector’s leading proponents. 148 TOP OF THE CLASSIC CAR WORLD

Phillip Sarofim, a collector of Meyers Manx, Petersen board member and lifetime member of the Petersen Checkered Flag 200; Bruce Meyer, founding president of the Petersen Museum and member of the CF200; Miles Collier, founder of the Revs Institute; and Jon Shirley, former president and chief operating officer of Microsoft and a member of CF200, spoke strongly of their experiences with the renowned teams they represent. During the discussion,

three main obstacles that today’s and tomorrow’s car collectors will face were highlighted. The most damaging blow, as explained by Jon Shirley, will be the push for laws that favour autonomous vehicles and limit the public’s ability to continue to drive. While fully self-driving cars are still years, if not decades, away, the speakers agreed that enthusiasts should remain vigilant about the actions lawmakers will take to move the autonomous technology agenda forward.

“The greatest threat to what we do and how we enjoy cars is not going to be the tech of new cars, it’s going to be whether or not there will be efforts to prevent us from driving our cars,” Shirley said. “That’s something we need to deal with as proactively as possible.” Miles Collier brought up the second challenge, which is the lack of expert mechanics and restorers who can work on specific vehicles, especially those with

more complex electronics and made of exotic materials. While technologies such as 3D printing have made sourcing components easier, the number of people who have the expertise to service high-tech cars and components is dwindling. The panellists added that this will be a growing challenge over the next 10 to 15 years and be most prevalent in supercars and hypercars, which are becoming increasingly complex and expensive to maintain.

Along with talented mechanics to service these vehicles, the demand for original parts for both classic and modern collector’s cars will become unsustainable as materials such as fabric and composites continue to decay. The group agreed it will become more difficult to find people who can renew these components and many collectors will have to turn away from maintaining the originality of their vehicles. WHAT IS THE FUTURE oF CoLLECTIng? 149

“We need to respect each automobile individually,” Collier said. “You need to, as the custodian, design your own program for those cars and you need to recognize that all use is consumption, and you need to come to some resolution as to what kind of consumption is acceptable.” The final but most immediate hurdle is that younger generations are quickly losing interest in car collecting as a 150 TOP OF THE CLASSIC CAR WORLD

whole. Classic cars have become more expensive and thus less accessible to college-age students and below. Fewer teenagers are getting their driver’s licenses - this belief, fortunately, is contradicted by the results of the survey we published on page 999 - while city traffic worsens, making ride sharing services and alternative forms of transportation more convenient and more

popular. “At the Petersen we’re constantly finding ways to engage young people and entertain them, but you almost have to figure that some kids are going to get it and some kids aren’t,” Meyer said. “So you have to appeal to the ones that get it... We just keep changing up and hitting every hot button that brings people in, whether it’s movie cars, rock ‘n roll cars, Porsche Le Mans winners or lowriders.”

The spectacular presentation of Porsche 917s on the 50th anniversary of their last victory at Le Mans. On the right from the top, three eras in awarding: 1910 Winton 17 Seven Passenger Touring, 1937 Cord 812 Phaeton and the 1964 Ferrari 250 GTO

One of the many elements that continues to bring new blood to the hobby are racing video games such as Forza Motorsport and Gran Turismo. These games feature massive collections of cars for players to drive around and game developershave made an effort to create more authentic driving experiences in a relatively affordable package that millions of people can enjoy at home.

“Social media platforms, online forums as well as gaming are other tech aspects that are changing the world of collecting and bringing so much attention to collectors,” Philip Sarofim said. The panel agreed that it is the current car collecting community’s responsibility to help nurture younger enthusiasts’ passion for cars if they want to preserve the hobby for the future. This includes not just storing them, but sharing them,

taking them to shows, letting children sit in them and anything that creates memories for budding car lovers and drives them to pursue their dream cars. “Automobiles are active matter,” Collier said. “They are an artifact that was designed to function in some way and you can’t see it as active matter if you don’t see it in the real world. “ ■

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A visionary car journey t Martina Mazzotta, exhibition curator and academic, specialises in how art, science and philosophy relate to each other. What follows is her imaginary journey through the 20th century. by Martina Mazzotta Illustrations by Massimo Grandi Photo Editor Stefano Beloni

By framing the QR code with your smartphone you can hear the selected music.

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hrough the 20

century

The 1900s The term avant-garde, which is used to refer to the artists and art movements of the first three decades of the 20th century, embraces the parallel development of two different languages: on the one hand, a trend that drew heavily on the art of “primitives, children and the insane” in its efforts to discover the original source of artistic creativity; and on the other, the myth of the machine and the idealization of energy – themes that were present throughout the art of the 1900s. The artists of the time nurtured a love/hate relationship with the machine, perceiving it as the materialization of efficiency, precision and detachment in its “geometrical, mechanical splendor”, and possibly also an enemy to be rebuffed. Raoul Haussmann, the art critic and founding member of the Berlin Dada group, declared in 1921 that “beauty is something that originates during the process of production!”. He was also convinced that “we tend towards conformity by means of increasingly mechanized

forms of labor, and we shall have to grow accustomed to the idea of seeing art in factory workshops!”. At the Universal Exhibition in Milan in 1906, there was a pavilion devoted to temporary displays in Piazza d’Armi that hosted an event with the significant title: Automobilismo e Ciclismo - in other words Motoring and Cycling. Clearly there was much that was vibrant and new in the air, and this stimulated the birth of avant-garde movements such as Futurism, which elected the automobile as one of its idols. The unknown photographer (right) provides us with a view of the inside of the pavilion, which featured the Pirelli tire stand at center back, the Fiat stand in the foreground, and in the background on the right the stand representing the Isotta Fraschini works in Milan showing a limousine and a two-seater racecar. According to reporter Andrea Maggiorotti, “Isotta Fraschini in Milan also exhibited 5 elegant and perfect automobiles in a rich stand”.

From Mode & Modi, Gillo Dorfles 1970, Mazzotta Editore.

Afternoon Walk, Bois de Bologne, gelatin silver print by Jacques-Henri Lartigue, 1911; in the Yale University Art Gallery, New Haven, Connecticut. Yale University Art Gallery, gift of George Hopper Fitch, B.A., 1932 (1992.53.136). 154 TOP OF THE CLASSIC CAR WORLD

Exceptional hats, sticks, purses and jewelry can all become status symbols, as we can see in these examples from the Victorian period and the early years of the 1900s. Moreover, they can be paired with particular brands of automobile. The brilliant young photographer J. H. Lartigue captured the period in shots that often featured racecars streaking by at high speed, in evident contrast to the fashionably clad figures proceeding at the slow pace of the 19th century.

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From Mackintosh to Gaudí Two different trends in architectural development at the beginning of the century: the organic and inorganic, the dynamics of nature as opposed to geometrical linearity. On the one hand there is Hill House, designed in 1902 by Charles Rennie Mackintosh, a building that speaks in rectangles, circles and ovals, a forerunner of 20th century trends exemplified by the Vienna Secession and Cubism. On the other, Casa Batlló by Antoni Gaudí (1904-1906), an urban creation of such organic impact that entering the driveway in a car is like being engulfed in an amazing subterranean cave - one that is nevertheless furnished with all modern conveniences.

Ernst Ludwig Kirchner, Brandenburg Gate in Berlin, 1915 Die Brücke came into being as a movement in 1906 that aimed to be a bridge between the past and the future. In 1910 its members launched German Expressionism in Dresden and Berlin, mindful of the German engravers of the 15th and 16th centuries, and yet also drawn by primitive art, nature and color. Kirchner’s take on the urban environment was both circular and harmonious, with touches of landscape, cars heading away from the Brandenburg Gate and pedestrians out for a stroll.

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Histoire du Soldat – Stravinsky Igor Stravinsky portrayed “the Devil dragging the soldier Joseph into nothingness because he was unable to choose between Light and Darkness.

Energy, dynamism, the avant-garde conceived as a scorched-earth attitude towards the past. Ceaseless creative élan focused on the future, from Nietzsche to Bergson: Balla’s Speeding Automobile of 1913 is one of the many works celebrating the centrality of the automobile in the art, literature and theater of the Italian Futurists. In his Manifestos, Marinetti went as far as to declare that “a roaring motor car, which seems to run on machine-gun fire, is more beautiful than the Victory of Samothrace”.

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The 1920s These were the years in which the historic avant-garde movements made their presence felt, radically changing the scenario of early 20th century art – often predicting in dramatic terms what was still to come: Cubism, Futurism, Expressionism, Metaphysics, Dadaism and Surrealism. The pioneering spirit and the speed at which events followed one another in this period shaped the evolution of the arts through to the post-war years and, in some cases, beyond to the 1970s. The paradox of destruction and construction was intrinsic Dadaism as the two extremes of vital renewal. Obsessed by the idea of new art for a new life, the “shocking” trend that marked the revolution in the arts of the 20th century did not revolve around a particular style. Instead the Dadaists paid tribute to freedom in everything, from how people lived their own lives to what materials were used in self-expres-

sion. A car wheel draws the observer into Heartfield’s photo-montage, with a dynamic interplay of looping heads and hats, placed centrally in the vortex by Georg Grosz. The 1920s were also a period of return to peace and conspicuous luxury, with new materials and “original” applications. For instance, wrapping a limited-edition car in snakeskin in the Berlin of bricks and stone. Widely read by the younger generation after the First World War, Nietzsche had declared in The Gay Science that “the snake that cannot cast its skin has to die”. From Dadaism to Surrealism, the snake was a metaphor for vital renewal, featuring not only in jewelry, but also in the “machines” of Francis Picabia, the automobile-loving Spanish artist captured by Man Ray. Unfailingly present in the background, an aura of the brilliance of Marcel Duchamp.

Francis Picabia (right), Serpentins (Coils), 1922. Galerie Ronny Van de Velde, Berchem (Antwerp).

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Strong geometrical accents, shiny surfaces, Deco furniture and cushions for “Our Dancing Daughters”, the 1928 silent film with sets by Cedric Gibbons, one of the first exponents of a new profession that reflected the influence of European experimental art, architecture and theater, especially Expressionism, on creativity in the USA. Gibbons described his job as an art director in simple terms: “The audience should be aware of only one thing – that the settings harmonize with the atmosphere of the story and the type of character in it”. Hollywood films spread the message of American Modernity in dialogue with the arts. The ideal automobile for the outdoor scenes? The Ruxton Model C Sedan.

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L.W.Hine, Powerhouse Mechanic, 1920.

Eclecticism The Bugatti family was already a name in the fields of applied arts, interior design and sculpture – moreover Aunt Bice had married the famous painter Giovanni Segantini. Bringing together different cultural references and diverse materials in a cohesive whole was a feature of two great artistic techniques of the period: assemblage and collage. Carlo Bugatti’s eclectic creations were bound to inspire Ettore in his designs for the aerodynamic Bugatti Tank, so named on account of the bolts used to fix the bodywork parts together. This high-performance vehicle also proved to be ideal for the experimental theater devised by some of the Bauhaus members, in particular Oskar Schlemmer and the Ballet Trio. Frederick Kiesler, the sculptor and architect behind the De Stijl movement, also had aerodynamics in mind when designing his City of space in 1925. 160 TOP OF THE CLASSIC CAR WORLD

Carlo Bugatti's exotic-moresque furniture.

Fritz Lang, Metropolis Poster, 1927.

Designed too early to open up the way for functional aerodynamic automobile design, the few Rumpler Tropfenwagen built were destroyed in the catastrophic scenes of the collapse of the future city of Metropolis. Fritz Lang’s emphatic Expressionist message paved the way for later science fiction movies, but deprived the brilliant, forward-looking car designed by Edmund Rumpler of a future. Fritz Lang’s masterpiece was used in the 1984 Radio Gaga video by Queen, a nostalgic tribute to the radio as it succumbed to the world of images, from television to music videos.

Le Boeuf sur le toit Op. 58, 1920, is a surrealist composition by Darius Milhaud that ehxhibits considerable influence from Brazilian music. It was conceived as a sound track for a Charlie Chaplin film, Cinema-fantasie, originally scored for violin and piano, and later transformed into a ballet with scenes by Jean Cocteau and designs by Raoul Dufy. Against the background of a percussion accompaniment, the music races like a car through a city full of different, slowly moving characters.

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The 1930s

Gentleman rally driver with a passion for mechanics and speed, Count Felice Trossi not only backed Enzo Ferrari, but in 1933 also became the first owner of what is considered to be one of the most amazing cars in the world: the Mercedes SSK, duly known as the “Count Trossi”. Following various vicissitudes that led as far as Japan, the automobile produced in Stuttgart in 1930 was refitted by Trossi with aerodynamic bodywork inspired by airplane design.

A difficult period in the history of the 20th century, often considered a reaction to what had gone before, or indeed a resurgence of realism. In actual fact the Thirties marked the introduction of ways of exploiting and spreading art messages that were to characterize the 20th century: major exhibitions, for instance. The outcome was a complex tapestry of frequently conflicting interests between artists, power and capital. These were also the years in which the establishment reacted against Modernism, especially in Germany and Russia.

The uniqueness of the car made it the perfect vehicle for displaying the achievements of numerous superheroes of the 1930s, figures that embodied the

Count Felice Trossi.

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emerging values of muscularity and physical performance and required a counterpart in the shape of groundbreaking advanced technology and product versatility. The idea of designing vehicles for conveyance over the water or through the air also became an obsession for the regime officials and Nazi Germany. Form and function had to reflect an efficient, controllable system, even in grueling conditions, and this sense of order applied to bodies and products alike.

An expression of the splendor of France, the Normandie was the longest ocean liner in the world, longer than the Eiffel Tower. During its maiden voyage, one of the passengers compared it to a “femme fatale”. Designed by the foremost Parisian decorators of the period, the saloons showcased the talent of French cabinetmakers, artists and craftsmen. An ideal counterpart on dry land? The Delahaye 165M Marianne, sinuous and polished, spruce in every detail, the perfect conveyance for visiting the fashionable destinations of the age. Grand Salon du Normandie, 1935.

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Speed Alfa Romeo 1750 GS Aprile – The highly successful Alfa Romeo 1750 came into being in 1931 in versions for racetrack and road, with coachwork built by a number of Italy’s foremost specialists. Designed by Mario Revelli di Beaumont, this particular example is intrinsically original and interesting. It featured rows of linear grooves along the sinuously muscular body, the

promise of perfection in performance. Gabriele D’Annunzio declared it to be “a feminine automobile, with the grace, slimness and vivacity of a seductress. Moreover, it embodies a virtue absent in women: perfect obedience”. Dated though the figure of speech may be, it nevertheless lends itself to telling developments: females who became sportswomen, began to wear suits and demanded independence and equal rights.

Mario Sironi, FIAT 500, 1935

Ivanhoe Gambini Record di Agello 1934

Coco Chanel with a tailleur that becomes classic daywear.

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The Palazzo della Civiltà Italiana, Guerrini, Lapadula, Romano, at EUR in Rome

An elegance that once pertained to a select female realm was applied to vehicles designed for everyone, such as the Balilla. The walls of buildings were suddenly emblazoned with huge paintings and billboards designed by Sironi and other artists of the period. As well as painters, the regime also encouraged sculptors, architects and fashion designers to take part in major exhibitions and collective events. “Automobiles, airplanes, fleeting kisses...”

Colonia Agip – Cesenatico (FC), Fabio Gubellini.

M. Dudovich, FIAT. La nuova Balilla, 1934.

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The New Deal

Mother Work Incentive Posters, 1930s.

There are terms that sum up the trends and changes of a decade in the USA: the “progressive years” of the early 20th century, the “roaring Twenties”, the “New Deal” that followed, all of them part of American advancement between 1917 and 1945. Marking the start of this “miracle” was the first assembly line for automobile production opened by Ford in Detroit, which in due course led to a number of astonishing transformations that also brought to light the plight of those who didn’t fit into the new system. Walker Evans, Garage, Atlanta, Georgia, 1936. Library of Congress, Prints&Photographs Division, FSAOWI Collection, Washington DC.

Forced to move by drought, North Dakota, 1936. Families were displaced by the Dust Bowl. Photo by Arthur Rothstein, Courtesy of the Library of Congress, Prints & Photographs Division, FSA/OWI Collection.

George Gershwin - Summertime

Gary Cooper and his 1931 Duesenberg Tourster.

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The implications of the New Deal could be painful, political and social conflict were on the rise, and many people saw their fragile futures as under threat: farm laborers, white and black, the elderly with no pensions, non specialized workers whose only hope was to seek new horizons in the vastness of America. All this contrasted radically with the urban glamor of the vibrant American way of life, where rationalist concepts imported from Europe fitted in well with the world of skyscrapers and modern architecture that spoke for power. The stars of Hollywood became universal icons, like Gary Cooper and his beloved Duesenberg, the perfect gentleman always ready to help, even when this meant enrolling in the National Guard.

Summertime by George Gershwin, 1934. Described as “the best lyrics in the musical Theater” this is a piece that takes us back to the 1930s. What a brilliant mixture of jazz, the black vocal style of the southeastern States, Ukrainian lullabies and the Yiddish tradition.

Flatiron Building, New York.

Chrysler Building, New York.

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1945 - 1955 The immediate post-war period witnessed the spread of abstract art as an international phenomenon, paving the way for Late Modernism that burst onto the stage during the econom-

ic boom years. The great number of artists, humanists and scientists who moved from Europe to the United States gave rise to a remarkable sense of renewal and cultural exchange.

Back to life A few months after the liberation of Auschwitz, amidst the ruins of Europe and the ravages of war, the architect Le Corbusier and the artist Jean Dubuffet visited the lunatic asylums of Switzerland in search of the raw, primeval processes of artistic creativity and perception, which Dubuffet was to call Art Brut: the spontaneous creations of people freely expressing themselves completely outside the sphere of official art. Within this framework, Le Corbusier and Dubuffet united their efforts using new materials and technologies, often with the human body as a yardstick. It was in those years that Le Corbusier came up with his “Modulor” model for architectural proportion and fine-tuned his concepts of urban design.

Publifoto – Italia, anno zero, 1945. As the poet Friedrich Schiller wrote: "A new life blossoms in the ruins".

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In the 1960s Jean Dubuffet, artist, theorist and collector of Art Brut, was working on the texts for Asphyxiating Culture, at the same time pursuing his growing passion for cars. In the very years in which the automobile industry was becoming central to the economy of western countries, focusing on production growth and a variety models for different pockets, Dubuffet’s paintings began to feature urban renewal and the presence of smaller vehicles. This was to culminate in the work he did for Renault, a major art project at the Paris headquarters that was unfortunately never finished.

Jean Dubuffet, Touring Club, 1946. Le Corbusier, Modulor Illustration, 1948.

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Italian magic In the years following World War II Italy began producing automobiles of great aesthetic appeal, many of them built by coachworks in Turin. First and foremost Pininfarina, whose masterpieces included the Lancia Aurelia B24 America, which reconciled Italian style with certain aspects of American design. Other coachbuilders of excellence were Bertone, Touring, Frua, Vignale, Ghia and the consummate craftsman Sergio Scaglietti.

Wall lamp for Casa Rivetti, 1949.

Carlo Mollino, Dining Table, 1949.

Armchair for CADMA, one-off, 1947.

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Artist and designer Carlo Mollino (19051973) was very much part of the somewhat eccentric and select art scene in Turin. His creations reflected the tastes of an affluent social elite that perceived the automobile as a way of gratifying the desire for renewal and self-assertion. Happy to experiment in various fields, Mollino delved deeply into the mechanics of physical processes, inquiring into the harmony of movement, shifting trajectories of snow on the mountainside and sudden changes of direction and curve. “Style shapes technique” was his motto. Mollino was also a formidable racing driver who turned his hand to designing an aerodynamic racecar in the shape of a double torpedo: the Bisiluro that he drove in the Le Mans 24 Hour endurance race, the legendary event that in 1949 had brought a new entry to the fore in the shape of Enzo Ferrari’s 166MM. This was a model that Giovanni Agnelli, owner of Fiat and future partner of Ferrari, wanted in an unusual and courageous combination of green and blue, far removed from the hallmark red. The outcome was magnificent, a tribute to the taste and elegance of Turin in those years.

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British spirit and German angels Following defeat in the war, Germany managed to raise its head again with the Mercedes SL 300 Gullwing: highly advanced, harmonious lines together with almost unknown technical solutions, such as replacing the usual carburetors with a fuel pump that injected gasoline into the engine. The doors opened upwards, like the wings of an angel, creating an image that returned in German cultural renewal throughout the century: Paul Klee’s “Angelus Novus” of 1920, the angel in the story by Walter Benjamin, the angels in “Wings of Desire”, the Wim Wenders Christian Dior, Paris, early 1950s.

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movie of 1987. These were spiritual beings that pined in anguish because they were unable to alter man’s destiny, sparks from perfect eternity that observes the lacerated world. Yet it was these creatures, the angels, that awakened in people the ability to go beyond the constrains of history, to look ahead as well as backward and all around, pausing in “zero time”, the start and the end of everything. In the name of progress. Fashion made the female figure coldly ethereal, angelic apparitions appeared in the center of urban reconstruction, from Berlin to Paris.

Paul Klee, Angelus Novus, 1920. Wim Wenders, Der Himmel uber Berlin, 1987.

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Deeply American The vast landscapes of America provided raw materials that spoke for the natural environment and exalted the body and movement: surfboards used by young people to ride the ocean waves were ready-made to incorporate in the family automobile. Wood was also the material chosen by Frank Lloyd Wright for the homes he designed in harmony with the human body. In the USA Abstract Expressionism also focused on the body as a source of dynamic creativity, with Jackson Pollock stretching lengthwise as in a dance to paint on the ground, “like they used to do in the East”. Movement was also part of the dripping technique the artist used to let the colors run down from the can. He had learnt how to do this from Max Ernst, the genius of German Dadism, of Surrealism and much more besides who had left France for the United States when World War II broke out. “The modern artist... is working and expressing an inner world - in other words, expressing the energy, the motion, and other inner forces”, declared Pollock, who admired Native American art. Little wonder that he is considered to be the quintessential American painter.

Frank Lloyd Wright, 1940s house interior in Kansas City, Missouri

Max Ernst, Europe after the rain, 1940-42

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Jackson Pollock, Number 13 painting, 1950.

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From Dalí to Loewy The Cadillac: dressed, undressed, praised and reviled by Salvador Dalí who used it for his American travels with his belovedwife Gala beside him (from Rainy Taxi to Double Victory of Gaudí, in 1982). The Cadillac Eldorado became the quintessence of American opulence of the post-war period, with the New Deal relegated to the past and all sights focused on tangible success. While the coachwork often went distinctly over the top, the design of the interiors revealed detailing of the sort you would expect to find in airplanes and spacecraft from science fiction. These were indeed the years in which science fiction established itself as an important segment of the publishing industry: no longer a niche for dreamers and visionaries, but rather a form of literature that looked ahead to worlds to come. Isaac Asimov, a master of the genre, declared that “the dropping of the atom bomb in 1945 made science fiction respectable”. His foundation series, initially written between 1942 and 1950 as short stories, was based on ideas in Edward Gibbon’s History of the Decline and Fall of the Roman Empire and in due course became a cornerstone of “tomorrow fiction”.

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Salvador Dali Cadillac habillée, 1941.

One of the great exponents of design Americanstyle was Raymond Loewy, pictured here in his office. It was he who created an icon by restyling the Coca Cola bottle. His 1950 design for the Studebaker CSC reflected certain features already put to the test in his passenger locomotive designs.

The triumph of consumerism in prosperous post-war America was also evident in spacious kitchens with chrome appliances and laminated surfaces, in large refrigerators and freezers, in family playrooms, and last but not least, the family automobile, housed in a garage that was visibly part of the happy family home. Even more so when this was a wood-bodied station wagon.

1951, Straight, No Chaser (Monk in Tokyo) by Thelonious Monk Composed and played on the piano by Thelonious Monk, a complete original frequently associated with images of city skyscrapers: crystalline, almost abstract, mindful music projected into the future. Extraordinarily modern, even 70 years later.

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1956 - 1965 The near future The salient feature of the years bridging the ’50s and ’60s was a palpable yearning for the future, within the framework of the vast repertoire of utopias formed in the wake of the visionary prophecies of the early 20th century Avant-garde movements. A general mood of optimism prevailed as new avant-gardes arose, mass production forged ahead

and technology turned the unthinkable into potential reality. Utopia was back and introspection and history were fading. In 1960 Reyner Banham, the influential British writer on architecture, design and the aesthetics of the temporary, declared: “We live in a throw-away economy... It’s clearly absurd to demand objects designed for a short, useful life should exhibit qualities signifying eternal validity”.

Pietro Consagra, Città Frontale, ca. 1965. Yves Klein, Monochrome rose, 1955-56.

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The perfect combination of French cosmopolitan innovation, rationality and Italian stylistic imagination: unmatched in the history of the automobile, the Citroen DS 19 made a complete break with the past, creating an impact like a spaceship landing in a medieval village. In years when common people longed to escape from the past, this car was a true sign of the times. The automobile scene was beginning to expand, adding Asian countries to the list of players, especially Japan. It was in 1955 that Yves Klein, who had lived in Japan between 1952 and 1953, first showed a series of completely monochrome paintings in Paris. What they expressed was the attainment of the absolute through the use of pure color. The 1960s began with Kenzo Tange’s plans to expand Tokyo across the bay, with a huge bridge suspended over the water, like a flexible backbone around which the city’s residential and service buildings would be located.

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Dolce vita Design drew inspiration from new phenomena, including mass motorization that gave impetus to inventions such as the Vespa and the Fiat 500 – not to mention the Ferrari 250 Passo Corto, or SWB, a timeless masterpiece. The same creative fervor went into interior design, from groundbreaking Italian furniture to items designed by the Northern European architects, including Finn Juhl in Denmark, creator of interiors that still stand the test of time. Voluptuous Anita Eckberg and a stray kitten roamed through the streets of Rome at night. This was the ancient heart of the city,

a different world from the glitz of Via Veneto, crowded with paparazzi and luxury cars. The expensive Via Veneto sets created for Fellini’s La dolce vita were used again the following year by Sergio Corbucci in Totò, Peppino e la Dolce Vita, a parody of the famous movie that had won the Golden Palm at the 1960 Cannes Film Festival. In this version Totò and Peppino, the lead characters, found themselves engulfed in the undeniable temptations of hedonism, as expressed by the Roman glitterati and the presence of a gleaming Ferrari 250: a comical clash between the traditional values of Catholic Italy and the new world that was advancing.

The director Federico Fellini, in Rome, behind the camera.

The small Fiat 500 that motorized Italy.

Interior of the Nationalmuseum Finn Juhls, Denmark.

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Anita Eckberg in “La dolce Vita” by Federico Fellini, 1960. Scene in via Veneto with a Ferrari 250 in “Toto’, Peppino e… la Dolce Vita”, 1961.

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The West and the American dream The continual growth in size of American cars encouraged manufacturers such as Ford, Chrysler and General Motors to come up with new, compact models. The Chevrolet Corvair by GM was the most innovative, with a rear-mounted air-cooled engine that made it a bit like an American version of a VW Beetle. Its commercial success was limited, however, not only due to the fact that it didn’t hold the road too well, but also because in those Cold War years any hint of change felt like a threat to the happy days of opulence. Despite this the company continued to introduce new models and styles, and when J.F. Kennedy was elected President the following year society was already in the throws of transformation: this was the first time meticulous image-building using the press and television played a fundamental role in deciding which candidate won.

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America was in the lead, paving the way for trends in Europe, where people dreamed about possessing American products. Laborsaving household appliances, radios, TVs, cars and physical f itness became a must for the middle classes that paid tribute to the status symbols of the period. In 1956 British artist Richard Hamilton produced a collage with the title Just what is it that makes today’s homes so different, so appealing?, the f irst example of Pop Art. And at the opposite extreme there was the return of Neo-Dada and Readymades: Carelman’s unf indable objects, for example, perfect for the compact car. 1959 marked the commercial launch of a compact, portable doll that mirrored an idealized version of modern womanhood: Barbie, and her boundless wardrobe of outfits and accessories – the dream world of generations of girls (and their mothers).

Carelman, Catalogo degli oggetti introvabili, end of the 1960s.

Just What is that Makes Today’s Homes so Different so Appealing? R. Hamilton 1956.

John Fitzgerald Kennedy interviewed by Walter Cronkite.

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pop music and created on the streets. Everything came to a head in 1964, with the opening of the legendary Biba Boutique. 1959 was not only the year of the launch of the Mini. It also marked art critic Lawrence Alloway’s introduction to the concept of the aesthetics of abundance, and followed a few years later by the term Pop Art. A persuasive writer and leading member of the Independent Group in London, Alloway was very much an expression of

The Mini and Mary Quant Following the Citroen DS there was a second automobile revolution featuring small wheels, rational use of reduced space and, to fit in with this, a new driving position that was actually not very comfortable. The Mini designed by Alec Issigonis became the signature car for a new generation of young people, viewed in those years as an important potential segment of the consumer market. In Great Britain Mini was also the epithet connected with fashion designer Mary Quant, who lent her name to a version of the Mini whose interiors she designed. However, it was her take on the mini skirt that made the most widespread impact, contributing to the image of London streets such as King’s Road and Carnaby Street, where new music, new bands and new ways of dressing held sway. Four years later, it was a dress and knickerbocker ensemble that took trendy womens' fashions by storm. While haute couture remained highly stylized and surreal, youth fashions were engendered by 184 TOP OF THE CLASSIC CAR WORLD

a new, young intelligentsia that identified closely with the world of images. One hugely influential icon of youth culture to come from America was the jukebox. Among the leading manufacturers was Wurlitzer, which during the 1950s produced models inspired by the shapes, materials, lights and general design of automobiles. Cars also played a key role in the concept and culture of drive-in fast food joints.

Biba shop in Kensington in the 1960s.

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Milestone The successor to the lightweight, nimble Porsche 356 in 1963 was the 911, the first chapter in a history of style and sporty elegance that continues to this day. 1963 was also the year in which President Kennedy decided to call a halt to nuclear experiments and broadcast a speech on civil rights in which he proposed legislation that would later become the Civil Rights Act of 1964. In June he visited Germany, famously declaring “Ich bin ein Berliner”. In West Berlin, the Wall was opened as part of the New Year celebrations, allowing West Berliners to cross into East Berlin to visit relatives. The Zero Gruppe comprised of young artists who had been children during the war years. Their elegantly geometrical works embodied new materials and technologies, reflecting an interest in the East, in medieval German mysticism and in minimalism. As Sharoun’s Philharmonie was inaugurated in Berlin, Nice was hosting the Neo Dada world festival, Fluxus, showcasing the work of Korean artist Nam June Paik, who lived in Germany before moving to the USA, creating miniature automobiles fitted with engines and wheels made from cans that once contained coffee.

John Cage These were the years when musician, poet, theorist and visual artist John Cage was composing Variations, a homage to David Tudor: scores consisting of indeterminate forms and materials reminiscent of the visual impact of contemporary art, where players and audience alike had to re-create the music – including the silences – themselves. The outcome was an unrepeatable experience combining Western and Eastern traditions, a breath of fresh air for the music and art of happenings.

Nam June Paik, Can Car, 1963.

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The Diogene Gallery in Berlin in 1963, where members of the Zero Gruppe developed works that shared elements of the philosophy behind the legendary Porsche 911.

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1966 - 1975 The East The Neo-avant-gardes (or Post-avantgardes) of the 1960s and ’70s made an important impact on the art of the time, with the first happenings, Neo-Dada/ Nouveau Réalisme, Conceptual Art and Minimalist Art.

Japanese Woodblock print, ink and color on paper, 1861.

Artists were using new techniques to express themselves, especially film, photography, video, sound recording, hologram and computers.

Yoko Ono, Cut Piece performance, 1964

An example of modern Shunga theatre.

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Toyota 2000 GT 1967 Once Japan had addressed the deeply felt psychological and economic mortification of losing the war, it was able to focus on manufacturing products to market worldwide, amongst them automobiles. American support in the Cold War years had helped the country handle reconstruction and draw inspiration f rom local tradition to produce technologically advanced commodities that also looked good. Although inspiration for the styling was largely European, the main goal was unquestionably the US market, which was ready for alternatives to the American compact models. Strangely enough, the first happenings of the 1960s did not take place in Europe or America, but right there in Japan, where the Gutai (Concrete) artists had been organizing “informal” open-air shows and performances since the 1950s.

These tendencies also flourished elsewhere as artists endeavored to bring East and West together in specific events: the Fluxus movement of the early 1960s, for instance. Other significant examples were Yoko Ono’s Cut Piece, a performance held in New York in 1965 where the Japanese artist who married John Lennon had members of the audience come on stage and cut away pieces of her clothing; and the film Bottoms featuring a sequence of naked posteriors. While the basic inspiration may have been European, the sensuality and rhythm reflected the Japanese Shunga erotic art tradition.

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Land Art Land Art questioned the relationship between art and nature, introducing the concept of ecology to a wider public. Although it was not a specifically American phenomenon, it was - and remains - a form of expression that found some ideal sites in the USA, especially for large-scale works in inaccessible places. Geometry and artificial order versus a landscape that appeals precisely because it is natural, random, even chaotic. The best way to enjoy it? Photography, and an automobile. Often developed for military purposes, all-terrain vehicles gained ground in the automobile market as well, with purely functional models and others that offered all the comforts and benefits of a sedan. The Range Rover was a perfect case in point, ideal for cruising through America’s boundless landscapes.

The artist Walter De Maria photographed by Angelika Platen, 1968.

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Spiderweb-like rice paddy field in Flores, Indonesia.

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Land and sky

True to the rebellious spirit of the age, a crazy concept car designed in 1972 by Mario Bellini as an expression of freedom and fun: this is Kar-a-Sutra, a mobile conveyance for whatever you have in mind, a forerunner of a type of vehicle destined to gain ground in coming years.

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Enzo Ferrari’s close relationship with Luigi Chinetti, his US importer, fostered the creation of the cabriolet version of the Ferrari 365 GTB 4, called the Daytona (top right) following the Italian triumph on the Florida track. The Daytona cabriolet became a legend in no time, the ideal vehicle for enjoying the great outdoors and the skies above. 1969 was an amazing year for the cosmos: from live footage of Apollo XI landing on the moon, seen on TV by around 600 million people in 49 countries, to the launch of the USA Mariner spacecraft heading for Mars. These were incredible, futuristic achievements. Likewise the extraordinary designs of the Archigram group of architects that came into being in 1968 at the Architectural Association in London. These were designers who favored the dynamic forms (photomontage, cartoons and what Marinetti called “words-infreedom”) that were to herald the data communication, flexibility and speed of an era that was still to come: Plug-in City, Living City, Walking City (below right) and Instant City.

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1962, Lucio Fontana’s Le Jour The Fontana cuts associate well with Gandini’s design of the Lamborghini Miura, but especially with the stretched lines of the Espada and Countach. 1966 Lamborghini Miura SV

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Space halberd With essential input from Bertone and Marcello Gandini, Ferruccio Lamborghini reshaped the canons of design in the world’s most exclusive automobile sector. The Countach was both cold and hot, just like much of the art in the period. Reminiscent of the cold minimalism of works by Donald Judd, the only variation in the repetition of modules in the rear of the vehicle came from the hues and shades of metal surfaces with gloss or low sheen finishes. The outline, details and foreshortened views bring to mind Fontana’s handling of space, with the dynamic cuts that suggest movement.

Between the 1970s and ’80s, animated Japanese robots began to populate the imaginary world of young people. Their modularity, breastplates and geometrical accessories were reminiscent of the armor of the Samurai, whose code of honor they also shared: the bushido of the warrior Superhero who saved worlds and galaxies, flying through the air or maybe piloting a Countach to unite the earth world with the cosmic universe, as in Star Wars. These are the “Space halberd” years. A vISIonARY CAR JoURnEY THRoUgH THE 20TH CEnTURY 195

I’m mine Independence, critical awareness, creativity with unconventional colors and materials: a car with plastic shields instead of bumpers, an impertinence that transformed the very style of the automobile. It was a bit like choosing to wear a miniskirt, according to personal inclination, regardless of the occasion. The R5 came into being in Paris, the scenario for a number of remarkable Nouvelle Vague films such as those directed by François Truffaut, whose Two English Girls was released in 1971, an adaptation of Roché’s novel of the same name that revolved around a ménage à trois.

For function and personality, the Renault 5 seemed to embody a new style of womanhood.

From Mode & Modi, Gillo Dorfles 1970, Edizioni Mazzotta.

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Women’s rights, ecology and the Third World were becoming topical issues, and the Renault 5 was in some respects a symbol of feminism. During the 1960s the image of women as generous and maternal had begun to wane, and in its stead appeared a female figure that was unripe, adolescent and a bit androgynous. Glossy magazines began to feature fashion stories that were dreamlike and sophisticated. The fascination with photography and top models was like a new take on the relationship between artists and models, with portraits that also comprised works of contemporary art.

A fashion model poses with her sign for the "Save The Mini" campaign sponsored by the Sydney Daily Mirror newspaper. In 1969 fashion designers tried to replace miniskirts with maxiskirts.

Beatles - Drive my car

Baby you can drive my car, yes, I’m gonna be a star, baby you can drive my car and maybe I’ll love you.

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1976 - 1985 Next came a period that was somewhat affected in its attempt to bring together different aspects of 20th century art. Yet it also revealed global vision and multiethnic culture. There was plenty of irony, citations, curiosity, disenchantment and eclecticism, and this led to the feel good factor and brash consumer glee of the 1980s.

Small is Beautiful Joe Colombo’s Total Furnishing Unit shown at MOMA in New York in 1972 was a masterpiece of refined functional minimalism combining retro style and advanced technology. Brother of artist Gianni Colombo, Joe used car headlights

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set into the ceiling for his unit, an example of recycling that was certainly ahead of its time. Two different approaches to the concept of small can be seen in the Golf GTI that became a status symbol for its performance and interiors, even if it originally derived from a utility vehicle. Donald Judd’s art emanated a similar sense of reassurance, with repeated modules that achieved variation through minor changes of hue and rhythm, like a gearshift in a car. Yellow, white, blue, red and lots of small colored units were also features of the large, boxy Lada Niva, a sturdy, multifunctional vehicle from Eastern Europe that could cope with any terrain.

Donald Judd, “Judd” MoMA – Museum of Modern Art / New York.

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Alchemy and cultural crossover Audi Quattro, 1980: four rings that stand for the union of four companies in the course of circular time; gray as a symbol of skill in metalworking, a German specialty. Metallurgy was essential to the practice of alchemy, which attempted to turn base metals into gold. Michael Maier’s Atalanta Fugiens of 1618 is a compendium of emblems now available in a digital edition with music. These themes were also dear to the German artist Anselm Kiefer in the 1980s. Intrigued by history, alchemy and metallurgy, his works conjure up something of the perspectives and architecture of Renaissance Germany, bringing together past, present and future in figures and circular elements. The work shown here derives from this period and was created in his German atelier at Hornbach, in the Odenwald.

Furnace and Fugue – University of Virginia Press – a digital edition of Michael Maier’s Atalanta fugiens (1618) with scholarly commentary. upress.virginia.edu 200 TOP OF THE CLASSIC CAR WORLD

Anselm Kiefer, Urd, Verdandi, Skuld. (Die Nornen), 1983 – copyright Anselm Kiefer archive.

Swedish styling expressed in the poise and solidity of the Volvo 760 sedan and station wagon – a name that stood for understatement. Little wonder the car appealed to those who disliked ostentation and the aggressive look, particularly architects driving carefully along a silent and well-lit Strada Novissima at night (see image right). Such was the “street” curated by Paolo Portoghesi to symbolize the Venice Architecture Biennale of 1980, with its Post-Modern reconciliation of past and present: innumerable historical references and hybrid compositions involving elements borrowed from antiquity through to the early 1900s, f rom archeology to the avant-garde movements, from East to West.

Swedish styling expressed in the poise and solidity of the Volvo 760 sedan and station wagon – a name that speaks for understatement. Little wonder the car appealed to those who dislike ostentation and the aggressive look, particularly architects driving carefully along a silent and well-lit Strada Nuovissima at night. Such was the “street” curated by Paolo Portoghesi to symbolize the Venice Architecture Biennale of 1980, with its Post-Modern reconciliation of past and present: innumerable historical references and hybrid compositions involving elements borrowed from antiquity through to the early 1900s, from archeology to the avant-garde movements, from East to West.

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Imagination takes over It was kids that decreed the immediate success of the Renault Espace, which they perceived as a traveling playroom far removed f rom all rules and stereotypes. The versatility of the modular interiors and the functional brilliance of the car constituted a cultural revolution. A promise of imaginative f reedom, like the Land Art created by Richard Long in the 1980s. With their focus on the transition between the magic of childhood and adolescence, the coming-of-age movies of the 1980s still come across as poignantly powerful: ET, Stand By Me, The Never Ending Story, The Goonies, Gremlins and Karate Kid are just some of them.

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The revolution of plenty of space, mobile and easily removable seats for all the freedom you needed.

Youth cult movie posters.

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New codes The Testarossa was an important stylistic leap, reflecting aspects of full-blown Reaganomics. Optimism, faith in the future, greater mobility and cockiness embraced the world of showbiz, communications and art, which spread out onto urban walls, mixing ghetto language with the icons of Pop Art. In the US and in Italy art critics recognized Graffiti as a form of expression to be studied and celebrated: not just Andy Warhol and his Factory, but also Keith Haring and Basquiat. Outlying city districts, streets and highways changed how they looked.

Ferrari Testarossa Spider, one-off made for Gianni Agnelli

George Crumb - Processional and cancel the italian sentence Certain pieces elicit strong reactions, including aversion and shock. Yet like graffiti art, such music can draw you in and hurl you into new worlds. Take, for instance, some of the tracks in Emanuele Arciuli’s album of 20th century piano music by American composers, “Americans!”, especially George Crumb’s composition “Processional”. Arciuli is not only a fine musician but also a collector of Native American art, and as the recording reveals, he’s deeply familiar with the arts scene of the period.

Jean-Michel Basquiat, Dos Cabezas, 1982 (After a meeting with Andy Warhol).

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Prince explained the meaning of the song as follows: "When there's blood in the sky... red and blue = purple. Purple rain pertains to the end of the world and being with the one you love and letting your faith/God guide you through the purple rain.”

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1986 - 1995 These were years of enormous technological progress in which two contrasting trends held sway: on the one hand, nostalgia for earlier times and regional identity; and on the other, an open-minded attitude ready to embrace all that was new in the world of communications and the media. Post-Modernism sanctioned moving from one expressive language to another, from one style to another.

In the post-war years, in order to survive BMW even produced under license the tiny Italian Isetta, fitting it with a more powerful engine. Along with Mercedes and Audi, the brand is now one the great symbols of German excellence in automobile manufacture.

Fragments of memory The BMW 8 series stood for refinement, solidity, beauty and German rationality at its best: what a stunning achievement for the Munich manufacturers. 1989 was also the year that the Lenbachhaus in Munich, the city’s modern and contemporary art museum, hosted Gerhard Richter’s Atlas, a collection of photographs, newspaper cuttings and sketches that he’d been assembling since the mid 1960s. In this work Richter was clearly inspired by the Bilderatlas created in the 1920s by the great Hamburg-base art historian Aby Warburg, whose library and institute in London still play an essential role in art history and research. (see warburg.sas.ac.uk)

The Big Book of Architecture by the artist and photographer Gerhard Richter.

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Aby Warburg’s library in Hamburg, which was smuggled out of Nazi Germany to London in 1933.

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So far away The two contrasting styles that marked the period were both symptomatic of British identity and experimentalism, while remaining true to the values and traditions of the past. Eclectic and rebellious and far removed from Hardy Amies, the pioneer of ready-to-wear male attire since the 1950s, creator of elegant outfits for Queen Elizabeth II, of sportswear for Olympic teams and the

costume designs for Stanley Kubrik’s Space Odyssey in 2001. Like two different ways of experiencing cities at the wheel of a car: on the one hand the F40, and on the other a Rolls. What’s more, even the urban context was new, thanks to the London Docklands Development that got under way during the Thatcher years, leading to today’s Canary Wharf, a dynamic interplay of past, present and future that is curiously reminiscent of a videogame.

Canary Wharf in London is the fruit of an idea for urban requalification first backed by Margaret Thatcher. Today it is a thriving example of how past, present and future can coexist, just as they do in video games.

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Giorgio Armani on the catwalk in 1990 in Milan.

Enzo Ferrari’s last car was the perfect expression of his unfailing passion for automobiles. Iconically red, it represented skill at the wheel and pride of possession, a unique blend of racecar and status symbol. 1987 saw the explosive release of hard rock albums that have become classics by bands such as Guns N’ Roses, Aerosmith, Whitesnake, Anthrax, Heart and The Replacements...

Guns N’ Roses – Take me down to the paradise city

Take me down to the paradise city Where the grass is green and the girls are pretty. Oh, won't you please take me home, yeah yeah So far away. So far away. So far away. So far away

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Eastern mysticism Japan’s reaction to European supercars was more successful in the USA than in Europe. This was the case in other fields too, as Japanese stylistic identity gained in visibility while increasingly coinciding with forms of design that brought together elements from different cultures. In the 1990s this was certainly the case for Issey Miyake, whose garments were made from one piece of cloth folded in a particular way, like origami, a Fortuny fabric, or an African sarong wrap.

An image representing the world of Japanese manga.

A similar spirit also prevailed in Studio Ghibli, co-founded in 1985 by Hayao Miyazaki, animator, director, producer, screenwriter, author, and manga artist whose visionary animated films embodied aspects of oriental religious mysticism, psychoanalysis and traditional Japanese storytelling. Their impact on animated films worldwide was enormous, and they were hugely successful in China. Japanese food also became mainstream, to the extent that the pattern of a gown by Versace seems to echo the shape of nigiri.

Gianni Versace, Sushi Novelty, 1990.

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Issey Miyake and its origami dresses.

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Artificial and irresistible A courageous attempt to breathe new life into the Bugatti brand after 50 years of silence. Could the company revive and enjoy a new the glories of the past? Ettore Bugatti’s heirs failed to pull this off in the post-war years. The intrepid Romano Artioli also did his best, but to no avail. Next it was VW that tried to recapture the crazy years when the aristocracy drove Bugattis. Metal surfaces and extensions, magical hybrids and ambiguous man-machine relationships: such was the appeal of artifice, essential to the dialectics of Body Art and the Post Humanist philosophical perspective typical of the 1990s.

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The 1991 EB110 in the classic Bugatti shade of blue.

Here in the 1992 version (right) and the 1956 version (below right). Electronic appliances, white goods and computers stand out against the colorless blown-up microchip background. The man in shirtsleeves bent over his keyboard contrasts with the freaky muscularity of the female figure, far removed from the earlier image of the seductive pin-up reclining on a sofa. Where once he held a racket, she now brandishes a “Stop” sign.

British pride: World Champion McLaren placed the driver in the center of the cabin, like with a Formula 1 cockpit, providing two side seats for courageous passengers. Technology and scientific research altered the man-machine relationship, not least in the interiors and the

way the driver perceived his body in relation to external objects and equipment. Richard Hamilton’s famous collage “Just what is it that makes today’s homes so different, so appealing?” springs to mind, but in a new version four decades after its first appearance.

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Vipers The Dodge Viper produced by the Chrysler group from 1992 was like a return to the original spirit of the American sports car, pure and uncompromising. It was so successful that production continued through to 2014, rapidly gaining a place in collections worldwide. As the name suggests, it conveyed a message that was also reflected in the

animal, vegetable and mineral universe captured by the American photographer and bibliophile Rosamund Purcell. A reflection of her interest in late Renaissance cabinets of curiosities, Purcell’s studio is like a modern Wunderkammer, featuring among other marvels vipers, an essential ingredient for medical preparations during the 16th century and to this day an important element in shamanistic practice.

Wooden Snake. From the collection of Rosamond Purcell.

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Real and metaphorical vipers: female roles were reversed in The Devil Wears Prada, released in 1997, the same year as the Dodge Viper. The perfect automobile for all outfits, accessories and urban conditions.

After years of planning that spanned the 1980s and ’90s, the Getty Museum opened in 1997 and soon established itself as the foremost cultural center on west coast America. As with many of Richard Meier’s designs, the buildings were a far cry from the PostModern architecture typical of US urban landscapes of the period. Low walls encircle the complex like a snake, emphasizing the sense of overall visual coherence created by the different geometrical volumes of the buildings overlooking the surrounding landscapes.

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1996 - 2008

The universe in a box The new take on the city car suggested mobility on a different scale, like an extension of the body. The Smart is like a capsule that can take you anywhere in town, even to the most recondite destinations, without worrying too much about finding somewhere to park. The urban labyrinths of Andreas Gursky also draw you in to explore every detail, every hidden corner, to live the experience of horror vacui. A telling case in point is Atlanta of 1996, the very year the Smart was launched.

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The Smart world, the universe in a desktop: the first Macs were brightly colored, rounded and compact, though they were fairly unwieldy compared to the slim laptops that were still to come.

The etymology of “smart” is also interesting: Old English smeortan (verb), of West Germanic origin; related to German schmerzen; the adjective is related to the verb, the original sense (late Old English) being ‘causing sharp pain’; f rom this arose ‘keen, brisk’, whence the current senses of ‘mentally sharp’ and ‘neat in a brisk, sharp style’.

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“Ostalgia” "Ostalgia" is a neologism coined in Germany to refer to “nostalgia for the East” (in German, Ost = East), an emotional experience of the early 1990s, when the people of the ex-Soviet bloc hankered after their own past. Such feelings gave rise to various forms of cultural revival that also affected the worlds of fashion and design – albeit with an unfailing touch of irony. In fashion, for example, the s.wert label by German designer Sandra Siewert offered clothing and interior design featuring motifs borrowed from the symbols and buildings of East Berlin.

Sandra Siewert, Berlin Jannowitzbrücke poster and creations for her fashion brand s.wert Design.

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True or virtual The message of racecars on tracks: like other manufacturers, Mercedes proposed roadsters derived from racecars, the idea being to give those at the wheel the sensation that they were sharing something of the professional driver’s experience. This is a bit like the simulation offered by videogames such as Granturismo, which came out in 1997, providing players with a choice of different races, vehicles, licenses and awards in relation to performance – prizes to be invested in new challenges. From virtual to real, from videogames to driving on the road, and vice versa: the videogame as a way of converting your car into a remote control (in years to come, with Xbox for playing Forza 7!)

Björk - All is Full of Love The music video is often cited as one of the best of all time and a milestone in computer animation. It has been displayed in art exhibitions and was on show at the Museum of Modern Art in New York City

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The asymmetry of the new The three-door Renault Avantime MPV was by definition asymmetric, slightly oriental and too advanced for its time to be successful. Porsche, on the other hand, seemed invincible when it first enriched the SUV scene with a car that reconciled performance, size and comfort. These were the years when the buildings designed by famous architects began to take innovation and advanced technology into account. A case in point was Renzo Piano’s Kansai Airport with its high-tech intersecting elements and flowing lines. Several museums of the time also revealed a similarly asymmetric tendency, including the Jewish Museum in Berlin designed by Daniel Libeskind which featured soaring walls cleaved with scars and cuts: such a powerful symbolic message that the building was opened in 2001 when it was still empty. Renzo Piano’s Kansay Airport.

Models from Jil Sander's fashion show at the beginning of the new millennium.

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Daniel Libeskind’s Berlin Jewish Museum.

Luxury in challenging new forms.

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Elective affinities Certain aristocratic English brands acquired a new life in the hands of German manufacturers. The market for Bentley grew, and Rolls Royce continued to have the last word in exclusivity. However, it wasn’t the first time the UK and Germany shared similar views regarding culture and education. There’s an important German element in the

ancestry of the Royal Family itself, both prior to and after the trauma and devastation of World War II. In his study Anglomania. A European Love Affair, Ian Buruma examines the long-standing European fascination with England, transcending the stereotypes of the wicked, cunning Germans found in James Bond movies (granted, the portrayals of Götz Otto and the various versions of Blofeld were often amusing). A curious coincidence: Fleming specified that Bond’s first car was a Bentley.

Rolls-Royce 103EX, experiment for the future.

222 TOP OF THE CLASSIC CAR WORLD

James Bond never ceases to surprise: in "Casino Royale" f rom 1967 he drives a Bentley 4/5 Litre.

A vISIonARY CAR JoURnEY THRoUgH THE 20TH CEnTURY 223

Return to the future Sergio Pininfarina’s last masterpiece reconciles the functionality of a sedan with a racy soul. Alfa Romeo was back: after years of denying its origins as a racecar, the brand returned with a dream model. In the wake of the new Millennium came new approaches to design that invested contemporary functionality with something of the spirit of the past. The transparent, single-mold injected polycarbonate Ghost chairs designed by Philippe Starck for Kartell, for example: the first with an evident “Louis” figure in mind, and its sib-

ling, the “Victoria”. Compact, smooth and glossy in their clarity, these chairs proved to be versatile classics that fitted in anywhere, from classic homes to ultra-contemporary environments. Reassuring in her classical elegance, and yet also versatile, metamorphic and aware, Lady Gaga began her career in this period. While her lyrics and melodies may celebrate hedonism and widespread consumption, the songs themselves are full of fiery vocal experiments that express the joy and desperation of a generation: Just dance (2008). Lady Gaga Just Dance

Sergio Pininfarina's last model: an Italian masterpiece.

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The last true Alfa Romeo sports car harked back to the origins of the brand.

A vISIonARY CAR JoURnEY THRoUgH THE 20TH CEnTURY 225

Artists as brands. Artist manufacturers Saving space: small is necessary as Citroen, Peugeot and Toyota react to the growing demand for accessibly priced products. It’s color that made all the difference, while function tended toward similarity. Take smartphones, for example, which were becoming increasingly widespread. One of the salient features of 21st century art is the way particular works and artists are immediately recognizable, like a well-designed brand. This is the case of Jeff Koons, whose smooth, shiny Balloon Dogs turned up in various settings, including public venues. The same goes for the colored dots by Damien Hirst, they may seem anonymous, but they’re clearly his. The world changes: the smartphone is born.

One platform, three brands, three cars.

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Damien Hirst's Mini decorated for a charity auction in 2000.

The classic Balloon Dog by Jeff Koons.

A vISIonARY CAR JoURnEY THRoUgH THE 20TH CEnTURY 227

So easy. So difficult A hundred years after the first experiments applied to automobiles, the electric engine was back, heading for the future thanks to a courageous visionary whose ideas do not always initially fit in with reality. The Tesla embodies an “electronic nervous system” that can

simultaneously operate all the mechanisms essential to the performance of the vehicle. The outcome is a heroic automobile that speaks of a passion for cars and concern for the environment. On board, land and sky maps are always to hand. Design and concept seem somewhat reminiscent of the

Dymaxion car, though of course the theoretical and artistic components are very different. Designed in the USA by Buckminster Fuller during the years of the Great Depression, it was intended for Omni Medium Transport, a vehicle that could go anywhere, thanks to “jet stilts for instant takeoff and flight”. Truly a cosmic revolution.

"With such a vehicle at our disposal, [Fuller] felt that human travel, like that of birds, would no longer be confined to airports, roads, and other bureaucratic boundaries, and that autonomous free-thinking human beings could live and prosper wherever they chose." Lloyd S. Seiden, Buckminster Fuller's Universe, 2000.

At the dawn of the new Millennium, the mass media, TV, Internet and social networks called for a new definition of the confines of art and its expressive potential. We live in a world of pictures, immaterial images made up of pixels, megabytes and all kinds of digital support. Uniformity prevails and the obvious gains ground. But the “artisan of technology” Nam Jun Paik, Korean artist close to Fluxus and to John Cage’s universe, could combine in his works the tactility, fiscality and beauty of sculpture with all kinds of digital support. Like in the fifty-one channel installation Electronic Superhighway: Continental U.S., Alaska, Hawaii: a potential, poetic complement for a real travel – in a car, of course. ■ 228 TOP OF THE CLASSIC CAR WORLD

Our story ends here, with the presentation in 2008 of the first Tesla: the Roadster.

From journeys in all directions with the cars of the new Millennium to works of art. As the short memory century drew to a close, the role of the artist underwent subtle changes. Other people are called in to turn the artist’s ideas into reality. A case in point is Italian artist Alighiero Boetti, whose intricate Maps (above) are actually tapestries that capture the roving eye, made to his designs by Afghan and Pakistani women embroiderers. Though the direct relationship between opus and artist may be less distinct, the poetic depth of the work is in no way diminished.

A vISIonARY CAR JoURnEY THRoUgH THE 20TH CEnTURY 229

Cockpit 2021 TCCT Data and Analysis Following on from tradition, this section of The Key presents a series of data and studies carried out in collaboration with TCCT’s Market Intelligence unit along with international research institutes such as IpSoS. We have covered four topics in all, each with different content but of great interest: the first is a photograph of the collecting world that outlines the geographical perimeters of where the great collections are located and the distribution by age of the collectors. on this specific point, it’s clear that the average age of the great collectors remains quite high, even though the trend is falling. The second topic is the analysis of car sales through international auctions. A useful series of charts and comments that analyse the market in both the long and the short term. In particular, the dramatic market changes seen during the months of the pandemic compared with the last “normal” year of 2019 are certainly of interest. The data reported here un-

230 TOP OF THE CLASSIC CAR WORLD

equivocally show a solid recovery in the market as well as a great curiosity and interest in classic cars from every category, confirming the vitality of the sector. The third topic is one that’s generating a lot of attention of late and gives a strong and clear answer to any doubts about the interest of young people in the car: a representative sample of young Americans, Europeans and Asians, aged between 15 to 21, declares with unequivocal clarity that the car is indispensable. They also declare with equal directness that obtaining a driving license is necessary, and that cars have a minor responsibility for air pollution compared with other activities and compartments. This, despite the heightened sensitivity towards the environment of this generation, but also their doubts about full electric solutions. For then, hybrid alternatives and non-polluting fuels such as biofuel or hydrogen are valid alternatives. The study also confirms the appeal of classic cars for young people, something they consider as an attrac-

tive and personal alternative. Even more remarkable is their interest in racing, Formula 1 and nascar above all, for the omnipresent video games and for the more professional simulators. They have, however, very little experience of these but are attracted to them. This in-depth study by The Key is an important way to look towards the future with both realism and optimism. Finally, a topic that deserves our full attention in these years of profound change: how museums can convey this passion for classic cars to young people and, at the same time, direct consumers towards the various brands motivated by their history and their values. This great opportunity, from both our research and also personal contacts, has a vastly greater potential than what it appears to be today. With these pages, The Key wishes to stimulate a debate that can benefit everyone. In particular for the automobile, for what it has represented to all of us and what we all hope it will continue to embody.

1 Top 100 collectors. Age and location

2 Market. Vibrant and promising

TCCT Surveys. No pessimism: the young love cars

Museums. Marketing: there’s potential here

Data and figures

Auctions. An encouraging photograph.

Cars and young people. A revival.

Museums: time to shift gears CoCKpIT 2021 231

1. Distribution of the Top 100 collectors by geographical area

3. Collection average age by geographical area

79 years 74 years 68 years

America

The average age of the world’s most important collectors and their geographical distribution on our Ranking list reveal a widespread trend of rejuvenation. great collections are the result of many years of painstaking work and dedication, so, a decrease of one year in the average age of the top 100 collectors, which now stands at 72 years old, in just twelve months, is decidedly encouraging. A reduction that would be even greater had we included the younger generations who have

Europe

Rest of World

taken the family assets to heart, instead of imagining an easy but harmful monetization. Unsurprisingly, north America is home to almost 60% of the world’s greatest collectors, but Europe is growing fast, and also has a lower average age of 68. Asia, on the other hand, continues to have low values because not all collections are known, due to the reluctance to exhibit great fortunes in those countries. However, the market is not standing still and time will confirm these new trends.

2. Distribution of the Top 100 collectors by age in geographical area

13 8

1 Americas

Europe

40-49

232 TOP OF THE CLASSIC CAR WORLD

50-59

60-69

0 Rest of World

70-79

80-89

90-99

4. Distribution of collections by geographical area

34% 57% 5%

3% 1%

5. Distribution of the total value of collections by geographical area

56%

36%

2% North America

South America

1% Europe

Asia

Africa

The distribution of the value of the collections is tied to the presence of the collections themselves. And since the overall value of these collections is estimated to exceed €10 billion, even a few percentage points can have a huge impact. European collections tend to have a higher average value than their American counterparts even though they often consist of a smaller number of cars. great Britain, germany, Switzerland, Italy and Holland have similar numbers of collections, while the estimated values in Switzerland, great Britain and germany and Austria are noticeably higher than in Italy and Holland. The number of collections and the number of cars within them is much lower in France, Austria and Belgium. South America – Argentina in particular – and South Africa have a minimal presence on the Ranking but where collections exist, they are of considerable prestige and value. There is a strong potential for growth in Hong Kong and Japan, while in Australia, at least for the time being, we have been unable to identify collections capable of entering the top 100. CoCKpIT 2021 233

TCCT Auction Performance Dashboard 2020 versus 2021 January - September €5 87, 3 87,0 0 0 $ 69 5 ,6 9 5 , 2 8 8 50

500

250

750

80,23% 81,70% % TURNOVER

% SALES 0

100

€875, 216 ,000 $103 6 ,5 97,078

1000

Color Legend

2020

2021

2020

€8 5 , 8 75 $1 01 , 5 6 1

32 , 99% 30%

2020

8525 2021

9657

Cars offered

1914 Stutz 4E Bearcat sold for € 2,482,000 ($ 2,920,000)

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2021

€ 110, 913 $1 3 1 ,1 7 2 0

Average price

100

No reserve %

1959 Ferrari 250 GT California Spider Competizione sold for € 9,208,500 ($ 10,840,000)

Cockpit 2021

Auctions. An encouraging snapshot.

The 2021 market has turned a page. A nice recovery driven by enthusiasm that seems geared to continue. by Cliff Goodall

hat we are about to present is a double insight into the market and its trends. The data used is taken from the auctions held around the world each year, which we systematically publish and analyse. In other words, the data is taken from the largest Auction Houses and the majority of the medium-sized ones, and therefore should be considered official and real.

The first insight is as follows: how the market reacted to Covid. Therefore comparisons between the last three years of activity, considering 2019 as the starting point as it was the last “normal” year or, simply, comparing 2020 and 2021, while considering the same number of months, January-September, the month in which our survey was interrupted to produce The Key. The final figures for 2021 will

1968 Lamborghini Miura P400 sold for € 977,440 ($ 1,156,925)

be published in January 2022 on the TCCT.com website, along with numerous additional updates. The second insight concerns the time span from 2006 to 2021 and allows us to identify long-term trends. Let’s start from this second one, leaving the interesting observations about the Covid period to the latter part of this analysis.

2004 Porsche Carrera GT sold for € 1,028,500 ($ 1,210,000)

AUCTIonS. An EnCoURAgIng SnApSHoT. 235

Trend 2006 - 2021 In relation to long term value, the global market reached its peak in 2015, with sales values of 1.4 billion Euro ($1.65 billion) including commissions, as shown in table 1. From a more careful analysis, however, it should be noted (table 2) how the trend by price category of the vehicles sold stabilizes when we exclude those cars classified as Top Price. It goes without saying that because of the number and value of this particular category, the type of cars sold tends to greatly influence the overall results of the year. In this case, both 2015 and 2016 saw the segment increase considerably, while the cars belonging to the lower categories followed a very consistent trend that confirmed the recovery in 2021, a recovery that is clearly shown in table 1, which shows that turnover in 2021 exceeded pre-Covid levels of 2019. only one line deviated from the general trend and showed a decline in 2021: vehicles with a lower average price which, according to our hypotheses and assessments, after the increase in the number of online auctions in 2020, appears to confirm that for lower-value cars, this instrument, which was relatively less popular beforehand, saves on commission fees while guaranteeing good sales results. Coming to only one conclusion, we can say that the market in 2021 has constantly demonstrated signs of enthusiasm and recovery, with a trend that tends to rise promisingly. 1972 Matra Simca MS670 sold for € 6,907,200 ($ 7,978,600).

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Sales of high-end models have contributed significantly to this conclusion, especially since the market in 2020, had been waiting for promising audiences in the absence of face-to-face auctions.

1. Turnover at international auctions by year 2006 - 2021 € 1'600M

The totals for the main European and American auctions in Euros. From 2006 to 2009, turnover was stable (€350-€400 million per year) only to rise rapidly until 2015 (€1.37 billion), 4 times higher than in 2006. Then, it showed a slow but steady decline until 2019. After a slump of almost 30% in 2020, we can see a sharp rebound in 2021. According to our estimates, turnover will close above €1 billion, the best result of the last three years despite the smaller number of cars changing hands.

€ 1'400M € 1'200M € 1'000M € 800M € 600M € 400M € 200M 2006

2008

2010

2012

2014

2016

2018

2020

2. Average price of cars sold at international auctions by year 2006 - 2021 € 160'000

The average price per car sold is a strong indication of market trends. The amount (in Euros), excluding 2009, 2015 and 2020, remains fairly stable. The two “negative peaks” were in 2009 (when the market fell considerably due to the sub-prime debt crisis), and in 2020 due to the effects of the pandemic. Two positive peaks were registered in 2015 and 2021, making this latter the second-best year since 2006.

€ 140'000 € 120'000 € 100'000 € 80'000 € 60'000 € 40'000 € 20'000

2006

2008

2010

2012

2014

2016

2018

2020

3. Percentage of cars sold for more than € 1M, year by year 2006 - 2021 2.5 %

The trend in the percentage of cars sold over the one million Euro threshold (between 1% and 2% of all cars offered), highlights the tendency of the leading segment and is therefore very significant to our analysis. The excellent results of 2021 (1.90% of the market, the second highest figure since 2006) is a consequence of the fact that 2020 suffered from a significant lack of million-Euro cars on offer as their owners waited for more favourable conditions to put them on sale, and also the strong influence of online platforms – with their lower commissions – that attracted more affordable cars.

1.5 %

0.5 %

0% 2006

2008

2010

2012

2014

2016

2018

2020

AUCTIonS. An EnCoURAgIng SnApSHoT. 237

4. Price trends by category in international auctions sales by year 2006 - 2021 600 % 500 % 400 % 300 % 200 % 100 % 0% 2006

2008

2010

Top price

2012

100th Price

The market by construction year. The existence of multiple markets that intertwine is a well-known fact: there is the memory market, related to the age of the collectors who look for cars that were out of their reach when they were younger, the market of scholars who ignore time and base their choices on car values regardless of the years in which they were produced, and the market of

2014

2016

250th Price

2018

2020

An analysis of the trend of four price “bands”, based on purely financial logic, over a 16year period. The values are derived from the classification table for car sale prices, from the most to the least expensive , taking into consideration the one-hundredth, two-hundredand-fiftieth, and one-thousandth price point in addition to the average of the prices of the ten most expensive cars for each year. The table shows the multiplication of the value of the investment: On average, after 15 years, the value has multiplied between 2.5 and 3 times.

1000th Price

novelty seekers looking for fresh cars that are almost exclusively supercars. In our analysis of data relating to the production period, these variables are always taken into consideration. In 2006, cars from the years between 1946 and 1970 were the most sought-after items, together with a healthy interest for those from the immediate pre-war period (table 4). 15 years later, interest in cars built between 1931 and 1945 decreased sharply, while demand for cars built after 1960 increased sharply.

The pre-war cars which are mainly aimed at scholars and historians, after a trend that saw them well below 5%, regained popularity once again in 2021, rising 5% and driven by the search for important and significant models, in order to guarantee their value over time. Finally, the interest of the “surfers”, who ride the wave of the most recent models, in particular cars from the 1970-80 period as well as more recent supercars, now accounts for more than 10% of the market consistently.

5. Monthly turnover (January - September) 2020 and 2021 compared to 2019

200 %

100 %

2019

-100 % Jan

Feb

Mar

Apr

2019

238 TOP OF THE CLASSIC CAR WORLD

May

2020

Jun

2021

Jul

Aug

Sept

An analysis of the 2020 and 2021 market, compared to monthly data f rom the last prepandemic year: 2019. Due to global lockdowns, turnover in April 2020 was down 96% compared to the same month in 2019. After the market resumed once more in June and July with online auctions, it suffered f rom the cancellation of August events in Monterey. The trend for 2021 indicates that confidence in the market has returned with a noticeable peak in the summer. Note that August 2021 was a bigger month than the already excellent August 2019.

1995 McLaren F1 sold by Gooding at Pebble Beach for € 17,395,000 ($ 20,465,000). Top price 2021.

AUCTIonS. An EnCoURAgIng SnApSHoT. 239

1929 Duesenberg Model J Disappearing Top Torpedo sold for € 4,672,945 ($ 5,725,000).

How have the preferences of collectors evolved in the last 16 years? Analysing the composition of the total turnover every five years, we can see how there are cars that have lost appeal and others that have gained. For example, those from 1931 to 1945 have regressed: in 2006, almost one fifth of the market total was generated by this category, now that number is just 5%. On the other hand, although the comparison is less significant as it concerns more recent cars, those from the 90s* are currently in great demand: representing 9% of the total, they fit into the Youngtimer trend that’s currently in vogue.

2020 - 2021: the reactions to the pandemic shock The impact on the market of the 2020 pandemic was enormous, with turnover dropping to 587,387K Euro, a value slightly higher than the one registered in 2012 and less than half of the record of 2015 (table 1). Table 5 shows the month-by-month turnover trend, compared to the same month in 2019,

the last “normal” year. After the highest drop in April 2020, the introduction of the experiment of online auctions by the big players triggered a recovery which, between June and July, exceeded the turnover of the previous year, only to fall back down to minimum values in August, caused primarily by the lack of big appointments such as the Monterey week.

1974 Lancia Stratos HF Stradale sold for € 383,800 ($ 440,000).

The first signs of a recovery appeared in September, when the effects of the Covid pandemic began to recede and turnover returned to 2019 levels. Winter

6. Percentage of cars sold in 2021 by production period, split between cars with and without reserve 100 %

Compared to the data in Table 9, this data on the total cars sold for each production year range shows how the market is positive across all categories. A lack of reserve prices favours successful sales, clearly indicating the true prices of the cars on offer. Reserve prices are more pertinent for cars acknowledged as truly exceptional.

80 % 60 % 40 % 20 %

Sold with reserve

240 TOP OF THE CLASSIC CAR WORLD

Without reserve

1991-2000

1981-1990

1971-1980

1961-1970

1946-1960

1931-1945

1919-1930

1905-1918

1885-1904

7. Sales distribution by historic period in the years 2006, 2011, 2016 and 2021 35 % 30 % 25 % 20 % 15 % 10 % 5% 0%

1885-1904

1905-1918

1919-1930

1931-1945

2006

1946-1960

2011

2016

1961-1970

1971-1980

1981-1990

1991-2000

2021

then demonstrated with the return of the pandemic, that the situation had not changed. The clearly different trend of 2021 only stabilised after April with the return of face-to-face auctions. This momentum continued and doubled the turnover of 2019, ushering in an interesting recovery which, in August, reached its peak for the year. A direct comparison between 2020 and 2021, shown on our dashboard for the comparable period January-September, confirms the solid value of the trends: between 2020 and 2021, the average val-

ue of cars sold rose from 85,875 to 110,913 Euros, while turnover increased by 37%. The situation is different for the cars offered: we will have the official data at the end of the year, but in all likelihood, the downward trend is due to the downsizing of online auctions which, on average, offer cars of lower value than face-to-face auctions. All this data, which we monitor auction by auction, indicates a certain solidity in demand, and suggests that the recovery may well happen in the coming months. ■

1991 Jaguar XJR15 € 1,647,023 ($ 1,902,500).

AUCTIonS. An EnCoURAgIng SnApSHoT. 241

Cockpit 2021

Cars and young people. A revival.

242 TOP OF THE CLASSIC CAR WORLD

CARS AnD YoUng pEopLE. A REvIvAL. 243

What they do. What they think. What they dream of. The majority, 27% with a peak of 33% among Asians, aspire towards a scientific profession. The other activities, starting from work in the financial and legal sector, go from 10% down.

and cycling. Very significant is their decidedly high interest in automobiles, which prevails over motorcycling (63% of respondents like it compared to 53% for motorcycling).

Sport is generally practiced individually or as a team. Basketball prevails over football in the USA and Asia while football dominates in Europe. Then individual sports, such as swimming, running,

To stay up to date they mainly use the Web, with 98% of Asians using this channel, but television is still widely popular. naturally, this is data on habits which does not consider the frequency

of use. This leads us to confirms that a multitude of communication forms remains central even with the advent of digital, as confirmed by our results for radio and print media. Their means of transport include bicycles, even electric ones, classic skateboards, and kick scooters, which are used by 25% of our respondents. This is accompanied by using individual or family cars for those who already have their license.

Importance of World protection

For young generations the question of the environment is a priority: Asians lead the way with 75%, closely followed by Europeans at 71% and finally Americans at 67%. We will see during our analysis, how often Americans have different positions compared to others and how they are more attached to the internal combustion engine.

Total sample

Europe

7 5

Asia USA

42 44

6 4 Very much, it is a real priority A little

244 TOP OF THE CLASSIC CAR WORLD

23 13

6 7

8 4

A lot

Quite a bit

I think our worries are exaggerated

Source of information Total Sample

Information sites on the internet

I talk about it with friends and family or people who I think know more than I do

Social media

TV news and television information programmes

Radio or radio information programmes

Newspapers

Europe

USA

Always

Every so often

Asia

Never

Sector more responsible for pollution

Total sample

Europe

USA

Asia

Cars

Airline transportation Industrial activities

Heating and air conditioning systems

The most interesting element worth highlighting, however, is another: just 16% feel that cars are the main cause of damage to our planet. A realistic vision that puts road transport on the same level but that gives industry 40%

Road transportation (semi trucks, vans, buses, caravans)

Livestock farming

of the responsibility alongside heating, air conditioning and other activities, including air transport 28% of the total.

Agriculture

cars for environmental damage is seen by young people in a much more realistic way than one might think.

Speaking of the difference between facts and news, constant reference to CARS AnD YoUng pEopLE. A REvIvAL. 245

Young boys and cars: they want them and love them Among young males, the role of cars as a status symbol has marginal value, with just 5% declaring this as their first response. only in Asia are cars considered more of a status symbol with 21% if we also consider the other answers. These values were not very different among women.

Much stronger was the aspect of pleasure and fun: for one boy in four (24%), cars had this significance, which confirms the profound values by which means of transport revolutionized the twentieth century. This figure is also consistent with the results that emerged from our 2020 research on a representa-

tive number of European and American women with driving licenses. In that case, pleasure and fun reached 35%! Even for young males, as already identified with adult females, cars are a necessity for 62% of our respondents, reaching 67% in Asia where this means of transport in China in particular arrived very late.

The car meaning

Total sample

Europe

USA

Asia

A means of transportation

A need

An essential convenience

An obligation I could not do without

A pleasure

A source of fun

A status symbol

A source of problems

246 TOP OF THE CLASSIC CAR WORLD

Relationship with the car

Total sample

Europe

USA

Asia

15-17 yo

19-21 yo

More importantly, this generation likes cars. Just 6% say cars do not give them pleasure. It’s interesting to compare the average data from the very young (15/17 years), with those of the older age group (19/21). only 3% of the younger group do not like cars, rising to 8% with the second group. A similar situation for the question “I like them”: 65% of the very young, compared to 54% of the older age group declare themselves more neutral while a significant percentage declare that they are not “crazy” about cars despite wanting one. In essence, 94% of the young people interviewed consider cars in a positive light. 90% have one or will have one. The data for prospect buyers is almost the same in the 3 macro-areas (90% EU, 92% USA, 89% Asia); in America, however, more than one in 2 boys (53%) declares that they will buy a car within one-2 years max vs 40% in the EU, and only 25% in Asia (partly due to the possibility of driving at 16 years old). Finally, the driving license: 92% of respondents already have one or intend to get one once they are old enough to do so. As has already been pointed out in Europe, large urban areas reduce the need for cars. A figure that unequivocally denies the lack of interest of young people in cars.

I like cars

32 8

I don't dislike them but i'm not crazy about them Cars don't give any pleasure

Driving license & prospect buyers

Total sample

Europe

USA

Asia

Has or will want to have the driving license

Has or will want to have a car

CARS AnD YoUng pEopLE. A REvIvAL. 247

Future cars: passion and reason. In relation to what propulsion systems will be used in cars in the future, there are no certainties. The question allowed for multiple answers so we could only ask for opinions. There are two trains of thought: electric appears to dominate, with Asians who

or liquid hydrogen. We should not be deceived by the data on hybrid propulsion that appears low just because this technology has already become widely accepted.

hypothesize, albeit slightly, electrification created on board through the use of hydrogen (Fuel cell), something that is less popular with Americans, who confirm the greater resistance to electrification and predict there will be a significant recovery of traditional cleaner engines or powered by bio fuels

One final but non-trivial aspect: the very young appear, as they did in other

Future type of engine Total sample

Europe 43

Electric engines with batteries

Engines like today, with internal combustion, but cleaner

Engines like today, with internal combustion, fuelled by liquid hydrogen

248 TOP OF THE CLASSIC CAR WORLD

Engines like today, with internal combustion, but powered by biofuels

Hybrid engines: fuel plus electric

Asia

Hydrogen fuel cell electric engine

I don’t know

USA

Future car preference

moments of the interview, to dream a lot more about an electrified future, while the 19/21 age group is more realistic, keeping the door open to cleaner conventional engines (and hybrids, of course). Preferred models are largely consistent in terms of tastes, regardless of the engine. only in two cases are electric and traditional engines divided: City cars are imagined only electric while 4x4 off-road vehicles are not imagined with this type of propulsion. given the target and the repeated emergence, during interviews of the pleasure that cars give, it is not surprising that the most dreamed-of cars are high-performance sports cars. Fol-lowed by SUvs and Sedans, two favorite fashions in Asia, while pick Ups and All Terrain vehicles have a slight prevalence in the USA. However, it is significant that in the three areas studied young people are attracted by unconventional vehicles such as these and multi-purpose vans, further highlighting the role cars have in providing a sense of freedom.

48 42 36 25 22 18 18

High-performance SUV sports car

Sedan

City car

Electric

Roadster

Van

Pick-up

All-terrain

Ecological fuel

CARS AnD YoUng pEopLE. A REvIvAL. 249

How they affect the choice of family cars. Family car purchase involvement

Those most involved in the choice of family cars are Asians: 82%. The least, Europeans who are excluded from the choices in one third of cases. Both when they have a role in the choice (17%) and when they are asked for opinions and advice (57%), the main theme is the type of engine: 50% of Americans recommend traditional engines, while Asians stop at 26%, pushing for hybrids (40%) and electric (27%). Electric motors are preferred by slightly more than 20% of respondents in Europe and the USA, with about 30% preferring hybrid engines, highlighting the difference between what they imagine for the future and what they are inclined to choose in reality.

Total sample 17

Europe 14

USA 20

My advice is always a factor in the decision

Asia 18

I offer opinion as well

They don't ask me anything

Type of engine

Very significant is the demand for performance, which in Asia exceeds 50%. Here, too, there is a desire for a key characteristic that historically belongs to cars.

Total sample

USA Europe

Asia 22

27 33

The importance given by young people to the Brand of car to be purchased is very interesting: almost 60% demonstrates the pursuit of a “pact between buyer and company” that goes beyond being a simple status symbol.

Electric

Importance of performance

Hybrid

50 26

Internal combustion

Importance of the brand

Asia

Total sample

Europe

USA

Asia

Total sample Europe

USA

Importance of performance

250 TOP OF THE CLASSIC CAR WORLD

Importance of the brand

Young people and motor racing: charm that joins progress.

Interest in motor sports

Total sample 6

63%

They follow racing cars?

Europe 8

Total sample

66%

USA

Asia

Asia 9

Europe

60%

50%

I like and play it at a competitive level I like and play it at an amateur/non-professional level I like, but I don't play it

The results exceed expectations. We will also see the reason in the chapter on simulators. However, it is significant that 6% of respondents practice this sport at a competitive level (Karting above all). It is a sport that as many as 56% of young people follow, with Europeans and Asians enthusiastic about Formula 1 and Americans following nASCAR

56%

59%

63% Formula 1

NASCAR Cup Series Rally/Rally Raid

52%

55%

66%

60%

50%

Formula E

Formula Indy

Touring car racing

Yes

championships featuring cars inspired by production models. Asians are more passionate about Rally and Rally Raid while Formula E races are marginal, with just 13% interested, rising to 17% in Asia. Beyond the sporting and entertainment aspects of races, for the young people interviewed, motorsport is important for

the development of tomorrow’s cars: clean engines (bio fuels or hydrogen), hybrids or electric power (including battery development), for them, racing is the best technical arena that exists. Even experimentation of materials useful for safety – carbon fiber for example – is considered important for 68% of respondents. CARS AnD YoUng pEopLE. A REvIvAL. 251

Classic Cars. What they are and why they love them. once again – we refer to the study on the comparison of opinions and tastes regarding Classic cars between young and mature respondents published in The Key 2019 – a double image of this universe emerges. For 47% of respondents, without significant differences between geographic areas, a classic

Ultimately, classification between periods has several motivations: pre-war cars are stereotypes from which the name “classics” derives. The 50s are the dream of beauty discovered as art but not lived. The 90s are childhood memories and discovery of the world and what characterizes it. It is not surprising, therefore,

car is a pre-war car. Yet their favorite classic cars are others: those from the 50s and, surprisingly, for Asians and Europeans, those of the 90s – so-called Youngtimers, linked to their memories. The figures show 35% for Asians, 34% for Europeans and significantly less for Americans: 27%.

12 22

Historic car preferred

Historic car identification 16

30's

50's

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70's

90's

Pre-war

50's

70's

90's

Classic cars are Total

Europe

Engineering and design objects that tell the history of progress

USA

An opportunity to stand out from others

Fun, and a test of one’s ability to drive them without electronics and aids

Valuable items, a way to properly invest one’s savings

A myth, because these cars recall wonderful times that I never got to know

An opportunity to have fun, maybe by spending little money

A memory, the cars from my childhood

Dusty things, of no interest

We should destroy them all, they pollute

that these years are very attractive for the very young. This reference paradigm perfectly captures the image that collectible cars have created for themselves. For Americans who live in the country that invented mass motorization where, consequently, they are a well-known and normal reality, they represent fun even at low cost (the American market offers everything you want in this field), as well as a possible investment (the many auctions are an easy showcase for those who want to sell, as well as for those who want to buy). Not only that: America is a country that, among other

Asia

15-17 yo

19-21 yo

things, gives owners considerable freedom in terms of use and elaboration, so the classic car becomes a “pretext” to be different or to associate with a specific group. not surprisingly, Asian attitudes derive from culture as well as from history: here, together with admiration for technique and design, the charm of things from the West and the nostalgia of unlived eras that were imagined to have been happy have a considerable impact. It is no coincidence that the provocative question “should classic cars be banned or demolished” is opposed much more fervently by Asians

than Americans and Europeans. (19% in agreement compared to 28%). The positive points that emerge in favor of classic cars confirm the importance of their role on the roads across the world. Excluding architecture, there are no comparable objects with the same ability to encompass the social and cultural values of different eras. A heritage which, strangely enough, institutions underestimate in their activities to promote sharing and participation. We can only hope that the current technological revolution will help us focus on what cars have represented and represent for our society. CARS AnD YoUng pEopLE. A REvIvAL. 253

The virtual world of cars: interest and curiosity. As already mentioned in the chapter on interest in motor sport, our study highlights how real and virtual races help keep this passion high. The younger generations willingly use video games both with keyboards or pads just as much as they use steering wheels, seats, and external controls.

What do they use to play?

Total sample Europe

USA

of driving. Another third did exactly the opposite, seeking the pleasure of racing through video games. The rest simply play in the same way they probably do other types of game.

The majority use both, even if the use of external equipment happens to a lesser extent. The question asked to those who play these games indicates how a double effect has been created: on the one hand, games have led a third of the respondents to become curious about racing and want to discover the secrets

Synergy between car races and video games

Total sample 15-17 yo

15-17 yo Asia

19-21 yo

Europe

USA

Asia

19-21 yo

Steering wheel, seat and pedal set

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From racing to SIM Keyboard / Pad

From SIM to racing

Not interested in racing

Simulators are not video games. our study highlights how driving simulators are perceived as something very different to video games. Those who have tried them have not always been satisfied: out of those who had experienced one in the past (42%), 31% had a positive reaction, while 11% did not declare themselves satisfied – with all probability due to the difficulties encountered – while

most of the others would like to try them. First and foremost, Asians with 41%. of the remaining respondents, 10% were not interested and just as many did not know what they are. However, it is clear that increased use of these devices will enrich the pleasure of simulation and challenges, since the

Knowledge of simulators

Europe

USA

A large proportion (27%) describe them as sophisticated professional equipment. In short: another world compared to games.

What is a driving simulator

Total sample

majority identify them as machines that reproduce reality (44%) or sophisticated games, as the Asian group most often defined them.

Asia

Total sample

Europe

USA

Yes, I have tried them, I liked them

A machine that reproduces reality

Yes, but I haven't tried them, I'd like to

A very sophisticated game

Yes, I have tried them, but I didn't like them

A professional tool for pilots who want to train

Yes, but I wouldn't care to try them

I don't know

Asia

27 14

No, I don't know them

CARS AnD YoUng pEopLE. A REvIvAL. 255

Pininfarina and Zagato simulators: an attractive surprise.

Interest in Pininfarina/Zagato prototype driving

Seeing the photos of the two eClassic simulators the reactions were very precise: in addition to surprise, 68% would like the chance to try them, even if 23% would be afraid of not being able to handle them. Another 16% clearly said they would need help. In short, they were perceived as machines that aroused a certain awe - so much so that 16% give up ex-ante.

Total sample

Europe

USA

Asia

39 51

19-21 yo

23 22

19 28 15

15 4

Yes, I'd like to but I'm afraid I don't know how I don't know, I should see it in real life, I need advice No, I don't think I would be able to No, I wouldn't care to try it

Yes, I'd love too

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15-17 yo

Prototype preferred Europe

Total sample

USA

15-17 yo

19-21 yo

Asia

I prefer Zagato

I prefer Pininfarina

cal model like the Cisitalia 202, and it should not come as a great surprise to learn that countries with a very different automotive history from the West are more attracted to classic shapes.

Which one do you like the most? presented without declaring who the designers were. The pininfarina simulator was chosen less by young people than the Zagato: 46% compared to 54% for Elio Z (this is its name). Analyzing by subsamples, pininfarina claimed victory in Asia with 51%, while Zagato was strongest in Europe, USA and among the youngest respondents. The data has its own logic: the design of the pininfarina was inspired by a histori-

A surprise – but not surprising, on reflection – was discovering the lack of notoriety of two important brands from the history of the automobile like these two. Just 40% knew or have heard of pininfarina and even less of Zagato.

Even less among the younger groups, but this should not be too surprising: with the exponential growth of the automotive industry, manufacturers have created their own style centers and have neglected the creative opportunities provided by the great coach-builders, especially Italians. It’s a good thing these simulators are here to rekindle awareness of these brands, both in adults who know them well, and in the younger generations.

Pininfarina (PF) vs Zagato (Z) awareness Total sample I know it very well

Europe 7

8 17

I didn't know it

Asia 9

21 26

I have heard it

USA

26 16

15-17 yo 7

24 27

22 30

22 24

9 19

19-21 yo

70 57

CARS AnD YoUng pEopLE. A REvIvAL. 257

Cockpit 2021

Museums: time to shift gears

The great heritage of car museums is utilized very little and poorly. very little regarding the image of the brands, poorly for the limited profits they generate. The Key opens a discussion aimed at transforming the great number of museums around the world into a strategic force. by Antonio Ghini

We look forward to receiving your messages: thekeyeditor@tcct.com

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useums are an important component of the history and image of automobiles. They are, and should continue to be, custodians of a message that has the power to swing the attention of those who visit them from the simple visualisation of vehicles from the past to the perception of what cars have and continue to represent, by enhancing the history and content that the various marques are taking into the future. These days communication demands content that can live on its own, riding on a spontaneous wave of enthusiasm and attention. Content with enough inertia to tell its own story without sponsorship or an additional marketing nudge. Museums possess this strength. We want to ensure they are given the chance to express it. We thought about creating a Ranking of World Museums. However, we decided to approach the subject of museums in a different way, one that was more contemporary and projected towards the future. There are two reasons for this, both of which are contingent and far from trivial: the first is the effect that the pandemic has had on opening hours and on the mobility of people. The concept of Ranking cannot be separated from the success of an activity of this type – even if public visits are an indicator but by no means the only data that can create the hierarchy – indeed there are numerous other elements to be taken into consideration. To do this requires the collaboration of every individual museum. Getting the museums to collaborate is the second negative contingency: while many responded in a timely fashion and enthusiastically to our questions, others did not, even after repeated requests. This fact alone could be one of the parameters used to judge them, but we want to believe that this was an unfortunate result of a passing MUSEUMS: TIME To SHIFT gEARS 259

bureaucratic or organizational cloud. What emerges, showing just how much room for growth these structures have, is that those at the helm do not always have suff icient delegation and power to take initiatives that go beyond the normal day to day running of the business. Paradoxically,a lack of purpose and strategic vision of many structures is linked to the concept of a museum of the past: well organized, silent and dormant, something that cannot be accompanied by the history of objects made for movement and f reedom. In my professional life I have been commissioned to relaunch three museums: both the Ferrari Museum in Maranello and the Lamborghini one in Sant’Agata doubled the number of visitors in 12 months after years of lethargic routine. Even more important was the rescue from bankruptcy of the MEF, the Museo Casa Enzo Ferrari in Modena. A magnificent architectural structure managed as a parking lot of beautiful cars which, just 12 months after an enthusiastic intervention, reached break-even. There was no witchcraft at play here: all it took was to think in terms of marketing and communication and give the public the emotion they expected and that very often, they do not find. We therefore consider The Key 2021 as a starting point for the study and analysis of museums with the aim of creating a thriving scenario of the history of the automobile to leave behind for posterity. To begin with, we have published a list of museums on our website, TCCT.com,

Indianapolis Motor Speedway Museum, USA

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along with their addresses and a brief description. This is just a starting point. For simplicity, we have divided them into categories that are as consistent as possible: brand museums, national museums and public organisations, Independent non-themed museums and museums dedicated to events, drivers and celebrities. Much like dealing cards before playing a game. Now, in the hope that the players – the heads of the museums at the highest levels – will follow us, we will push for change by remembering that the heritage of cars in the greatest museums exceeds the value of the top 100 collections in the world, a number that exceeds ten billion dollars, just to drive the point home. Is it acceptable that this heritage, on average, never makes a profit? There is a lot of work to be done: the world of Classic cars can and must be a strategic one for manufacturers, no matter where their cars are located. The changes announced for everyday cars (that still have to be demonstrated), will remove that creative magic that emerged around the mechanics of internal combustion engines and new manufacturers, without any history of note, will undermine the experience of the big brands if the symbol that stands proudly on the front of the car cannot talk about its history. The heritage represented strategically by museums – I repeat, not only those run by the individual marques - is an asset that cannot be cast aside for the image and commercial success of tomorrow.

Louwman Museum The Hague, NL

The key to knowing them An expert in museums, active with the very popular “AutomotiveMuseums.com”, Claudio Rava has collaborated with The Key on the project to develop and enahnce the standing of automobile museums. His valuable work, which we begin to document in this issue, can be further explored on TCCT.com and provides a valuable way to deepen our understanding of the world of international museums through addresses, emails, and links. The QR code will take you directly there. By Claudio Rava With the aim of increasing the visibility of the many museums that celebrate automobiles throughout the world, we have classified the structures according to vocation and content. This list also follows a detailed subdivision criterion, as in the case of brand museums, separating them into official ones and those created by private enthusiasts. The subdivision by category also makes it easier for scholars and interested readers to carry out more targeted research. Publishing this initial output of our work is also a prerequisite to stimulating those associations that represent the various motor museums across the globe – the World Forum for Motor Museums, the Australian Motor Museums Association A.M.M.A. and the National Association of Automobile Mu-

Cité de l'Automobile Mulhouse, FR

seums N.A.A.M – into being part of this initiative, which we only benefit from our passion. The conditions for more effective promotion programmes through well-targeted and interesting offers, are ready and waiting. Collaboration is, therefore, the preferred weapon of choice. Let’s take a quick look at the situation divided by categories: the first is brand museums which, when well managed and promoted, become a significant marketing tool for the company itself. In this sense, German manufacturers are a prime example. On the other end of the spectrum are American manufacturers, with companies such as General Motors which don’t even have a museum that’s accessible to the public. Important progress has been made by Ferrari and Alfa Romeo in terms of the supply of content and the quality of their exhibition spaces. Others have a good heritage on display but suffer from a lack of space or poor quality settings. Many of these museums have archives that can be consulted, which are extremely useful when trying to deepen one’s knowledge of the history of the brand. Among the various brand museums, some were extremely collaborative when providing data, while others, including the big ones, demonstrated just how much the limits of bureaucracy and rigidity distance them from the needs of a period of great change. Among the absences in the documentation of TCCT.com, we should cite FCA Heritage Hub which has a rich heritage of interesting models and documentation but is not yet open to the public. Given that all the museums in this category are important and well worth a visit, some of the facilities would benefit

Museo Juan Manuel Fangio, Buenos Aires, AR

from a small investment to enhance their image. The private brand museums on the other hand, are almost always cared for and attractive because they are the result of passion and dedication to a specific brand. They are often catalysts for events dedicated to collectors or are used as their destination. National museums and public organisations are difficult to identify without the direct collaboration of the museums themselves: in fact, it’s extremely hard to identify the corporate composition, which is rarely declared. These are structures that frequently offer educational paths by adding exhibitions and temporary events to their permanent displays. Given the public intervention that corresponds to a commitment with a strong social connotation, they deserve, at least in this first year, equal status: identical respect for the French State and the magnificent Cite de l’Automobile in Mulhouse and the Principality of Monaco or the Vatican City with their fascinating collections. Another category encompasses independent museums, which represent an extraordinary heritage. Almost always lacking in resources, they must resort to creativity and the communication tools linked to it. What is surprising is the variety of structures and content: those belonging to collectors in general are well presented and easy to navigate, as in the cases of the Fred Simeone Museum in Philadelphia or Peter Mullin in Oxnard. Overall, there is almost always something interesting on display, and sometimes something truly unique. Many are the result of family histories, such as the Lou-

Museo Enzo Ferrari Modena, IT

tcct.com/media/directory see all museums and related information wman in The Hague, Holland. Important and praiseworthy are the museums dedicated to drivers and celebrities. It is not surprising to find one dedicated to five-time World Champion Manuel Fangio in Argentina and the one dedicated to Ferdinand Porsche in Austria. Finally, there are the museums of motor racing and racing cars. To preserve the legend of major events, several dedicated museums have been created which often collect data and precious archives in addition to cars: Indianapolis, 24 Hour Le Mans, 1000 Miglia, even the Tourist Trophy, on the Isle of Man, are part of this group and allow visitors to relive epic stories. The world of automobile and motoring museums is a world worth knowing and visiting. A world which, in this period of uncertainty about the future of motorization, becomes the anchor of an absolute truth: the extraordinary nature of the history of the automobile and its contribution to the evolution of the economy and our collective well-being.

Petersen Automotive Museum LA, USA

MUSEUMS: TIME To SHIFT gEARS 261

Museum Tinguely, CH

Museums. Old names or a lack of ideas? Ideas and experiences to get car museums in gear. Euterpe was a muse who used the arts to “give delight”. She was one of the 9 muses in Greek mythology that inspired the name Museum, all of them bearers of positive and cheerful messages. If we start from this assumption, it’s clear that the word Museum has ended up almost completely betraying the role given to it by these mythological deities. It wasn’t enough to replace the name“ Museum” with acronyms created to remove the dust that a classic definition fatally attracts to disguise the betrayal. Paradoxically, the more valuable the works exhibited in a museum, the more they tend to remain true to themselves. Even the great MoMA, completely renovated after months and months of hard work, has returned to being a sequence of rooms full of priceless wonders. Beautiful, but traditional. The same tends to happen with car museums: silent and noble no doubt, but grievously desolate. The cars seem to beg you to take them out and to live once again. At the very least, they ask themselves why so few things happen around them. Perhaps, or rather, certainly, instead of racking our brains to invent and popularise an acronym to replace the name Museum, our time would be better spent trying to return the Museum to its original meaning of liveliness, participation, multi-sensoriality, adventure and anything else that the muses may have inspired. Are there any examples of these? There are numerous cases, and more coming. It would therefore be unwise to leave automobiles languishing in the past. To 262 TOP OF THE CLASSIC CAR WORLD

fully understand the potential offered by the stimulation and participation of those who visit one of these structures, just reflect on the fact that in Milan, there is a museum for the blind. They accompany you through dark rooms where you see absolutely nothing while your smell, hearing, and touch are all stimulated, transforming what was previously fearful and disturbing into a sensation of being alive, to the point where our imagination fills in the perception of sight, exactly like what happens in our dreams. With this premise, we can only ask ourselves why, with all the heritage they encompass, we can’t imagine anything more than plain exhibitions, where even the educational ones struggle to entice and engage. We have entitled these pages “Let’s turn the Museums upside down”. Now, we should attempt to do just that, perhaps with contaminations, for example combining cars with, playful and, why not, moving works of art such as compositions by Jean Tinguely - famous for the Stravinsky Fountain in front of the Pompidou Centre – or the Museum of Madness created by the art critic Vittorio Sgarbi, where classical works of art coexist with modern realities such as motorcycles, typical of a “ready-made” Duchampian memory. Other examples help us understand that there really are no limits to the imagination, as in the case of the Swarovski Museum in Austria or the optical illusions of Zagreb, which are as simple as they are engaging. In this new type of museum proposal, we could not possibly neglect music: in the Museum dedicated to ABBA in Stockholm, you can momentarily become one of the band members by getting up on stage with them at a concert. Another example of the fact that there are no limits to the imagination, although we are well aware that this example for cars could not work, is the underwater museum in Cancun, Mexico where you can find a life-size VW Beetle coated in algae and coral, resting in about 30 feet of water. Returning to Automobile Museums, one question we should ask is this: what ingredients do

MUSA Cancun, MX

Swarovski Museum, AT

Museo della Follia, IT

Museum of Illusions, HR

we have to invent what today’s public wants? As a matter of fact, we have many: speed, noise, heat, touch, odours such as burnt oil or hot brakes, not to mention the curiosity, dreams, fun and history of both the past and the future. Are we talking about dreams? Absolutely not: the beautiful MAC museum, Museum of Art and Cars, in Singen, Germany, is a stunning reality. It is a cultured and intelligent project that exalts fascination in a way that only art can. And what else is the car if not art? Applied art, undoubtedly, but art that has a thousand ways of expressing itself. Ways capable of going far beyond and attracting so much more than the positive yet inevitably monotonous surprise of seeing magnificent cars. ■

MAC Museum Art Cars Singen, Germany

MUSEUMS: TIME To SHIFT gEARS 263

Yesterday. Today. Tomorrow. Enzo Ferrari returns to a dream recalling the values of the past and emphasizing the importance for the future of not forgetting that courageous and determined spirit that accompanied him on his adventures as a driver, the founder of a Scuderia and Car Designer and Builder. by Antonio Ghini Illustrations by Massimo Grandi

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Sigmund Freud maintains that dreams always contain an element of truth, even though sometimes the situations seem far f rom any reality, as Shakespeare so masterfully described. This is why these two books are at the centre of the unexpected meeting with Enzo Ferrari.

YESTERDAY. ToDAY. ToMoRRoW. 265

A Midsummer Night's Dream A journalist, a girl and Enzo Ferrari, all walking together, fully dressed but without getting wet, in a clear, calm sea Enzo proud after transforming his first car into the hypercar that will race at Le Mans in 2023. Then it’s off to the traditional lunch at the Cavallino restaurant... let's join them to understand more. The coastline is a stony one – large, sharp pebbles that make it difficult to walk on. A few meters away, three people are walking in the water. They are immersed almost up to their waists but still moving quite nimbly. There is a young woman in the group. It’s Menta, the daughter of the last manager of the Cavallino restaurant in Maranello, the one opposite the entrance to the iconic Italian car manufacturer’s Maranello factory. With her is Franco Nugnes, Editor in chief of Motorsport.com Italy, he's talking to a person who’s not too difficult to recognize. He’s speaking to Enzo Ferrari. He too is immersed in water, albeit a little less than the others due to his height. The Enzo Ferrari here is still somewhat young, f rom the 1950s, the same person who recently created Ferrari in Maranello. I find it too difficult to walk on the sharp stones and decide to go down into the water myself: I want to hear what they’re saying. Or rather I want to hear what Ferrari is saying to Nugnes who, ever the serious journalist, is listening to him very attentively. To my surprise, the temperature of the 266 TOP OF THE CLASSIC CAR WORLD

water is perfect, I don't even feel the slightest discomfort and the bottom is delightfully soft on my feet. A surprising contrast to the brutal harshness of the shore. I think I’d like a picture of this magical moment: the water is calm, without so much as a single ripple on the surface, the dreamy horizon reddened by the sun that’s setting – or is it rising? – behind thin clouds of absolutely idyllic weather. There's no one here to take the picture, no one who can capture this surreal but very real situation. Without any effort at all, I reach the three of them. Menta is a little further back, she doesn’t seem interested in what Enzo has to say. “I found the 125, the real one, the one built in Maranello that I drove when it still didn’t have any bodywork,” says Enzo. “It’s quite different to the replica that everyone knows, and I’m putting it back together. I want to take her to Le Mans, I put a spoiler on her and her ‘Ala Spessa’ profile makes her very suitable for the new regulations.” In this magical atmosphere, the car suddenly appears and Ferrari, still waist deep in the welcoming water almost as if it were amniotic liquid, extracts a small Leica camera and takes several pictures of some of the details. Later, when we are sitting at our table in the Cavallino restaurant, his photos will have already been printed and we’ll all understand what he meant when he said he wanted to return to Le Mans. The sharp stones have disappeared and the coast, which is reminiscent of the sleepy and rugged one in Liguria, has become sandy. We leave the water. Now it’s Menta leading the way. In fact, in front of us is the Cavallino restaurant, the one from yesteryear, a little dilapidated, full of trophies and memories, where so much history and so many characters have passed through. They lead us into the private room of “Il Commendatore”, the one with the fireplace and the table that accommodates a maximum of eight people. We are perfectly dry, we sit down and Oscar, one of the trusty

waiters who never has to ask what's wanted because he knows the tastes of “Il Commendatore”, arrives with a tray of baked lasagne. Magnificent: there are three strips of lasagne in different colours on the tray: green, made with basil pesto, white with bechamel sauce, and red with tomatoes. An Italian flag to enjoy with gusto. Menta has not sat down with us. As the daughter of the manager, Beppe Neri, who too many at Maranello have forgotten, she says she’s heading back. She will cross the water alone. Nugnes, true to his nature of a cultured, educated and selfless person, offers to carry her on his shoulders to avoid the long crossing. I convince him to stay, I convince him not to interrupt this great opportunity to meet Enzo Ferrari who’s looking towards a tomorrow that isn’t his, but one that appears far more like our own, today. He agrees not to go while Menta, as she leaves, opens the door leading to the large dining hall of the restaurant. This is full of characters from yesterday and today who have given something to Maranello, sometimes with and without luck. I can see there are so many from the number of coffees Mario keeps coming and taking back into the hall. That’s right, because the magical private room now has the back wall open onto the kitchen with the coffee machines where the waiters come and go with fragrant espressos of the finest Italian tradition, almost oblivious to those present. As I look at the photos of the modified 125, I am struck by the silence that has suddenly engulfed the room as if it were amniotic fluid the the door was opened to allow the other guests to see Enzo Ferrari at the table. Is it him? I turn around. He’s not there anymore. I ask Franco to tell me what just happened, what he saw or understood, how he left, what this Midsummer Night’s Dream meant for that magnificent Prancing Horse that lives in the hearts of so many the world over.

A welcoming water that does not soak like a liquid, that accompanies us through life and three constant references in Enzo’s adventurous story: journalists, women and his beloved cars.

YESTERDAY. ToDAY. ToMoRRoW. 267

The private room of the Cavallino restaurant, so coveted by those who longed to be invited, Lambrusco, Italian food, the intimate secrets of a man who never said anything by chance.

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YESTERDAY. ToDAY. ToMoRRoW. 269

Surreal but true

column on motorsport.com, called, not by chance, “Candido” (“Pure”), while Enzo Ferrari is the genesis of that Ferrari experienced by Antonio for decades.

Franco Nugnes, the journalist who accompanied Enzo Ferrari into the metaphysical universe of a dream, seeks its meanings between the past and the future. Here they are. By Franco Nugnes

The past and the present that merge towards the... future. Enzo looks to Le Mans. To the 24 Hours with the 125 fitted out with a spoiler. It is nothing more than a transposition of the Hypercar the Scuderia will take back to the Le Mans marathon in 2023 looking for an outright-win and not settling for success only in the GT class. 40 years will have passed since it last participated. Too many, because for Il Commendatore that was the essence of races, not F1 that subsequently took all the attention.

A dream. An impossible meeting, one that was missed because I never had the privilege of meeting Enzo Ferrari in person. For this reason, I rather like the idea of entering the dreamy thoughts of Antonio Ghini, because at least in his subconscious, that event took place. According to Freud, dreams are nothing more than a representation of one’s unconscious desires. You leave the spacetime dimension and enter a temporary bubble where anything is possible. Including meeting the “Great Old Man” with the same features he had when he fulfill his dream by giving life to Ferrari at the age of 50. I gather the intimacies of King Enzo during a walk in the sea. The scenery is idyllic: the water is crystal clear, calm and clean. This is not by accident, the sea represents the unconscious that can never be probed or fully understood. Researchers claim that dreams... speak to us through images with universal meaning. Symbols that reveal how man’s eternal patrimony of wisdom is combined with the personal history of those having the dream. So I must be the element that represents the present, with the many questions and considerations at the centre that arise from the conversations I have with Antonio, every Saturday during the video 270 TOP OF THE CLASSIC CAR WORLD

There is a return to the origins, to the roots. John Elkann interprets the founder’s thoughts and does not betray his mandate. On the shore of the body of water is “the Rossa”, just bigger than a house, while Menta, the young woman who accompanies us, takes us to the entrance. The house represents our personal sphere. The house is us and everything that happens concerns us. The image conjured up inside is the Cavallino Restaurant. Specif ically, Ferrari’s private room, once intimate and exclusive,

The journalist Franco Nugnes, director of Motorsport.com, who accompanies Ferrari on a nocturnal walk, collecting his thoughts.

while in the dream, it appears with a view of the kitchen. However, beyond the glass there is no Beppe Neri, the historical owner, instead it would appear we caught a glimpse of Massimo Bottura, the Michelin-starred chef in charge of his brigade. It is clear why Menta, Beppe’s daughter, decides to cross the stretch of sea once again and leave the present to return to a past that’s no longer there. It’s been canceled. The Cavallino Restaurant has been dismantled and all its memories have gone to auction. It should come as no surprise then to see Ferrari moving like a ghost. His legendary image still echoes in the dream even though he is no longer present. What bothered him? All those people at the door, each one part of the history of the company, intrigued and, perhaps, also intimidated by him “being there” or having found the Cavallino Restaurant renovated to the point where he almost wants to remove the memory? Which Ferrari will bear witness to his legacy? The one that returns to the 24 Hour Le Mans looking for an outright win or the restaurant revisited by the Iranian-French architect India Mahdavi, to meet the expectations for food that go beyond classic tortellini?

125 S Ala Spessa: the design of the first Ferrari between past and present Gioachino Colombo's sketches of the mechanical arrangement of the first Ferrari gives a first glimpse of its shape.

The first Ferrari, without the Ferrari name: the 1940 815, designed by Bianchi Anderloni of Touring, introduces the “Ala Spessa” or “Broad Wing” profile.

1947: the 125S hides the typical “Ala Spessa” or “Broad Wing” profile.

How the 550 Alaspessa for Le Mans appears in the dream.

The pursuit to discover the best air penetration for racing cars has gone hand in hand with the development of the automobile. In the pre-war years before the intuition of the effectiveness of downforce-based aerodynamic studies, inspiration from aircraft design concerned studies, inspiration from aircraft design concerned the upper section of the wing, as the underside of the car was flat. The wing profile was therefore a “convex plane” and the shape, given the volume of the car, was defined as the “Ala Spessa” or “Broad Wing”. The first famous example of this solution came from Ettore Bugatti with his Type 32 from 1923, commonly known as the “Tank”. The wing also had the function of making the shape of the car “cleaner”, which included fenders and headlights for cars that were equipped with them. This shape which was considered ideal had numerous developments and the 815, the first Ferrari built without the name in 1940 by Touring was inspired by the wing shape. When designing the first Ferrari, the 1,500cc V12 125, engineer gioachino Colombo revived the Ala Spessa concept in a model whose bodywork was never signed. The year was 1947. A car that was never meant to be beautiful – some-thing that Touring managed successfully to do with the 166 MM, its evolution that arrived in 1948. It’s curious to note that in the dream, Enzo Ferrari indicated his 125 “evoluta” for the 2023 Le Mans challenge. Curious because the idea of a contemporary evolution of the 125S that exploited the Ala Spessa principle had already been studied and developed in 2004 by Massimo grandi, professor of Car Design at the Faculty of Architecture of the University of Florence. Based on the 550 Maranello, grandi further developed the design of the historic barchetta arriving at the car that closes the sequence of profiles of the 125S. Profiles designed by grandi during the study phases of a possible evolution. It is clear that, the shape adapted to the mechanics of the 550 Maranello evokes the fascinating and contemporary idea that led to the construction of the first ever Ferrari which, on its second outing, brought its first victory home to Maranello.

YESTERDAY. ToDAY. ToMoRRoW. 271

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The Key 2021

Articles inside

Yesterday. Today. Tomorrow

Museums: time to shift gears

Chivalrous comparison

Sold

Tokens: everything or nothing?

Fuel the passion. In young and old

What is the futureof collecting?

The fourth dimension of passion

Innovation.The key to enjoying the past

Louwman. A man and his collection