In 1946, the city of Paris hosted the 36th Salon de l’Automobile, marking the first major European motor show after the ravages of World War II. As a post-war regulation, defeated nations were prohibited from participating, which included Italy. This ban was imposed as a reprisal for the Italian aggression of June 1940. However, one Italian visionary refused to accept this exclusion: Battista Farina, the audacious founder of the Pininfarina design company.
A Determined Journey to Paris
After the war, Italy was banned from exhibiting at the Paris Salon for political reasons surrounding the war. Despite this prohibition, the event saw an unprecedented surge in attendance, attracting 809,000 visitors—twice the pre-war figure—with queues stretching from the main gate to the Seine. Pinin Farina and his son Sergio, determined to defy the ban, drove two of their cars (an Alfa Romeo 6C 2500 S and a Lancia Aprilia cabriolet) from Turin to Paris on a grueling 15-hour journey.
Instead of bowing to the restrictions, Battista Farina decided to make an unconventional statement. Accompanied by his son Sergio, he set out for Paris with two beautifully crafted cars: an Alfa Romeo 6C 2500 convertible (chassis number 915.169) and a Lancia Aprilia convertible (chassis number 439-11397). Battista took the wheel of the Alfa Romeo, with his secretary by his side, while Sergio drove the Lancia, accompanied by Stefano Bricarelli and his wife Luisa. Bricarelli, the director of the Italian automotive magazine ‘Motor Italia,’ documented the journey with his camera.
The journey to Paris was not just a road trip but a statement of resilience and passion. The group faced logistical challenges, as the post-war situation had made travel across Europe unpredictable and demanding. Nonetheless, driven by their dedication to Italian craftsmanship, they pushed forward, fueled by the desire to demonstrate to the world that Italian automotive artistry was very much alive.
An Unofficial Exhibition
The Italian team arrived in Paris on the evening of October 2nd, just before the grand opening of the Salon. The next morning, Battista and Sergio strategically parked their cars right in front of the Grand Palais, drawing the attention of passersby even before the official event began. The sleek, elegant lines of the two convertibles captivated the crowd, causing such a stir that Baron Charles P., president of the organizing committee, summoned the police to clear the congestion.
Reporters flocked to the scene as the police intervened, and after a brief negotiation, the cars were moved to the Esplanade des Invalides and then to Place d’Italie, close to the hotel where the group was staying. Bricarelli tried to advocate for Battista, but the Baron remained unmoved. The following day, the French newspapers cheekily proclaimed: “That old devil Farina has opened his own anti-Salon!” Le Figaro and other Parisian newspapers also covered the event, highlighting the remarkable success of this impromptu “Anti-Salon” staged by Pininfarina. The French press commented, “Ce diable de Farina a ouvert son antisalon personnel.”
Pinin was still savoring the triumph of his unofficial show when suddenly he found himself in serious trouble, as the increased attention also brought unexpected complications. However, the bold move paid off as the Salon directors later acknowledged Farina’s determination, stating that his effort was worthy of a spot in the following year’s Salon.
The Cars Themselves
The Alfa Romeo 6C 2500 Sport Cabriolet Speciale by Pininfarina (chassis number 915.169) was originally manufactured in 1942 by Alfa Romeo in Italy, with an engine number 923.969. Despite being produced during the war, it was not completed until 1945, featuring a drophead coupe-convertible body built by Pininfarina with brown seats adorning the interior. In March 1946, the car appeared in the Italian press with a review titled “Rassegna Di Belle Vetture A Torino” published in Motor Italia. Later that year, it was registered with the plate number MI-91036.
The Lancia Aprilia Cabriolet (chassis number 439-11397) was produced in June 1946 and completed at the Pininfarina workshop on Corso Trapani in September 1946. This model was a four-seater convertible with fenders partially integrated into the body. It was painted in ivory with pale green upholstery, marking it as the first in a small series that was produced until late 1947. At that point, Lancia management decided to introduce a new model with ponton sides in their price list.
Both cars symbolized the spirit of post-war revival, reflecting a commitment to beauty and innovation in an era burdened by scarcity and hardship. Their presence in Paris, despite the ban, was not only a testament to Pininfarina’s ingenuity but also a symbolic gesture of Italy’s desire to reclaim its place in the automotive world.
Continuing the Journey: Lausanne and Turin
Undeterred by the Parisian resistance, Battista and Sergio continued their journey to Switzerland. On October 5th, they reached the Lausanne Concours d’Elegance, an event crucial for Italian coachbuilders. At the Exposition de la Mode Italienne in Lausanne, the car was presented by Giuliana Tortoli, a wealthy entrepreneur and owner of a perfume design company. Later, at the Concorso d’Eleganza di Torino, the car won the prestigious Coppa ACI for the best cabriolet. In March 1947, the car also appeared at the Concours d’Elegance Automobile Monte-Carlo, where it was awarded the Grand Prix d’Honneur.
Legacy of Resilience
Battista Farina’s bold decision to circumvent the ban on Italian participation at the Paris Auto Show exemplified the tenacity and ingenuity that defined post-war Italy. His determination to showcase his creations despite the odds not only kept Pininfarina in the spotlight but also marked a significant moment of resilience and innovation in automotive history. The two cars, despite their unofficial status, garnered admiration and respect, proving that creativity and passion know no boundaries.
