www.carrozzieri-italiani.com

The ultimate italian coachbuilder site

This is how Ghia stole the De Tomaso Vallelunga from Fissore

Alejandro de Tomaso was certainly not new to episodes of dubious correctness, considering his strong character, just think of the episode of plagiarism against Bertone, when at the 1971 Turin motor show he presented a copy of the Fiat X1/9 built by Ghia and branded De Tomaso. Even Tom Tjaarda, author of this 1600 Spider, confesses several times that working with Alejandro was very challenging, due to his explosive character.

Carrozzeria Fissore also ended up in the clutches of De Tomaso, albeit in a different way with the model “Vallelunga“, which was designed by the Savigliano based coachbuilder.

The De Tomaso Vallelunga berlinetta which its birth was a little perplex because it was first unveiled by Fissore at the 1964 Turin Motor Show, and the year after, without any substantial dimensional and stylistic variations at the Ghia stand.  Of course, this episode causes anger to Mario Fissore, by seeing one of his creations exhibited under the sign of a competing brand.

The De Tomaso Vallelunga at the Fissore Stand

This photograph pictures the De Tomaso Vallelunga car in the foreground which, starting from the following year, was exhibited by Carrozzeria Ghia (whose stand can be glimpsed at the bottom) of which Alejandro De Tomaso became the owner and entrusted its production to it. Mario Fissore, to whom we owe the design of the model, for years beared with him the disappointment for the lack of recognition of the paternity of the same and for De Tomaso refusing to buy several bodies already produced. The bodies were later sent to a wrecker who was based right in front of the Fissore plant for their scrapping. In that stand of 1964, on the left you can see the Fiat 1600 Fissore spider designed by Mario Fissore assisted by Franco Maina and, behind the Vallelunga and the Elva GT BMW 2000 prototype designed by Trevor Fiore in collaboration with Mario Fissore’s staff.

1964 was a truly memorable year for the Fissore coachbuilder. Then, in the dispute over the preferences on the models made by the carrozzeria that was unleashed between uncles and numerous cousins, the most popular was the Vallelunga. The satisfaction was not only expressed by many family members for the good creative work that was being carried out at the time but also by the specialized press: on Motor Italia (n ° 9 of 1964), for example, Giorgio Rossotto defined the cars presented at the 1964 Motor Show by Fissore (referring especially to De Tomaso Vallelunga and Elva BMW) “the most interesting archivement in the field of medium-displacement gran turismo” defining the De Tomaso “more traditional but also more attractive”. Still recently Luis Ramos Penabad said: “Vallelunga stands out above all for its aesthetics. The the Fissore brothers and its designers created an authentic masterpiece, full of curves and lines that lead us to think that it was created by Bertone or Pininfarina.” Today, the world of collectors is looking for confirmation on the number of cars produced and on the creative authorship. Regarding the first aspect, the precise number of cars produced is not known: obviously everything depends on the conservation of production records. In case of Fissore they are unfortunately gone lost.

De Tomaso Vallelunga Fissore

In any case, 2 Fissore prototypes in sheet metal (probably aluminum) were produced: the cars has different front grille. The 1963 “Barchetta” version, on the other hand, is not to be attributed to Fissore, as it was made by an artisan body shop near the DeTomaso plant. The Ghia production, according to almost all the authors of articles that have appeared on Vallelunga, was between 50 and 58 units produced. The Ghia version was distinguished from the prototypes designed and built by Fissore for its body built in fiberglass (instead of sheet metal) and features some differences such as the very narrow access to the engine that took place from a glass door rather than through the entire hinged rear of the prototypes (certainly more expensive) which facilitated maintenance on the mechanics, a system adopted later (1966) also by the well-known Lamborghini Miura.

The designer was Franco Maina. Usually Fissore’s technical office, directed by Mario Fissore (1920-2005), who was succeeded in 1977 by Franco Maina (1939-2019), worked out a first layout in 1/10 scale, sometimes 1/5, which was followed by a 3D model made in plasticine or wood. They were followed by the creation of the shape plan and the typing model in 1/1 scale. Only from the end of the 1970s style models were made in epowood and polystyrene. After the creation of the body  it was customary to carry out an “as built” survey of the same, returning the orthogonal projections in 1/10 scale for storage in the archive. The date imprinted on this drawing tells us that the first car was completed in October 1964, shortly before its presentation at the 46th Turin Auto Show.

The 1964 Elva BMW designed by Fiore for Fissore

A final note: in 1966 Vallelunga Ghia version, was awarded by the MOMA of New York as “an example of technological progress and outstanding design”. “Too bad”, this was the recrimination of Mario Fissore, that it was a project developed entirely by Fissore which had been denied the official recognition received by the prestigious and even more famous Ghia coachbuilder. In this period of time the contextual presence of a very young Trevor Fiore (born in 1937, he was then 27 years old) gave a strong creative impulse to Carrozzeria Fissore. Projects like the Elva BMW of 1964, TVR Trident of 1965, TVR Tina of 1966 and Monteverdi HAI450 of 1970 has been created. His prolonged and permanent presence in Savigliano was a great stimulus to all the staff of the technical office headed by Mario Fissore in which Franco Maina was also emerging with professionalism and interesting ideas.

It is a pity that a considered “small” coachbuilder, compared to the more well-known companies, could not enjoy the recognition it deserved, and we hope that for the future, Vallelunga will be remembered as the daughter of Fissore, despite the Ghia emblem on the site.

Source and photos by Paolo Fissore

5 1 vote
Article Rating
Subscribe
Notify of
7 Comments
Oldest
Newest Most Voted
Inline Feedbacks
View all comments
Coachbuilder
Coachbuilder
3 years ago

Amazing story! Thank you and Paolo Fissore for sharing it, this is the content we are looking for.

Carlo Pinin
Carlo Pinin
3 years ago

Che Alejandro avesse un caratteraccio era risaputo, mi chiedo come abbiamo fatto a passarla sempre liscia…

Stefano
Stefano
3 years ago
Reply to  Carlo Pinin

come dice anche la sua pagina wikipedia: La filosofia industriale di De Tomaso contemplava un approccio particolarmente aggressivo al mercato

Mark84
Mark84
3 years ago

Is the Fissore protype still in existance?

PP90
PP90
3 years ago

Very interesting backstory! Please more

Wilhelm_52
Wilhelm_52
3 years ago

very interesting… i didn’t know the story of the X1/9

Robert_lov
Robert_lov
3 years ago

DeTomaso = Mr. Selfish in person

Bugatti EB110

In the world of high-performance automobiles, few cars command as much intrigue as the Bugatti EB110. Brought to life by Italian entrepreneur Romano Artioli, the EB110 was a groundbreaking effort to revive the storied Bugatti name. Combining avant-garde engineering, meticulous design, and theatrical presentation, it was a car that set new benchmarks for what a supercar could achieve—both on paper and in practice.

Who Is Romano Artioli?

Romano Artioli is a visionary entrepreneur and car enthusiast who played a pivotal role in the revival of the Bugatti brand. Born in the Province of Mantua, he grew up in Bolzano, where he established himself as a key figure in the luxury and performance automotive world. In the 1980s, he managed the largest Ferrari dealership in the world, expanding his reach into northern and southern Germany.

Artioli’s expertise extended beyond Italian exotics. He entered the business of importing Japanese cars through his company Autexpò, which in 1982 became the first official importer of Suzuki vehicles in Italy. This venture bolstered his business acumen and financial resources, laying the groundwork for larger ambitions.

Bugatti EB110

A passionate admirer of Bugatti, Artioli joined forces with Ferruccio Lamborghini and Paolo Stanzani to resurrect the legendary French marque. Leveraging their credibility and Stanzani’s industrial expertise, Artioli negotiated with the French government, which controlled the Bugatti brand at the time. In 1987, he successfully acquired the rights to Bugatti, forming the Bugatti International holding company, with Jan-Krister Breitfeld as president.

The same year, Artioli and Stanzani co-founded Bugatti Automobili S.p.A., with Stanzani acting as sole administrator and technical director. Initially, Artioli took a backseat, not assuming a direct managerial role until 1990, when he became president of the company. However, deep-seated disagreements over business strategy led to Stanzani’s departure just as the Bugatti EB110 prototypes were nearing completion.

Romano Artioli’s Vision for Bugatti

The Bugatti marque, dormant since the mid-20th century, was revived in 1987 when Artioli acquired the rights. For Artioli, Bugatti was more than a brand; it was an embodiment of perfection and artistry. His vision was to resurrect the marque in a way that honored its legacy while propelling it to the forefront of automotive innovation.

Bugatti EB110

To that end, he established Bugatti Automobili S.p.A. in Campogalliano, Italy, a high-tech facility designed to reflect Bugatti’s meticulous ethos. Even the smallest details of the factory, from its architecture to its branding, were crafted to exude sophistication. Artioli’s pursuit of excellence extended to every facet of the operation, with no expense spared to ensure that the car would become a technological and artistic marvel.

The Bugatti EB110: Designed for Elegance and Performance

The design of the EB110 emerged after several high-profile proposals were reviewed. While initial sketches by Marcello Gandini offered an angular and aggressive aesthetic, Artioli found them inconsistent with Bugatti’s legacy of elegance. Additional proposals were considered, including contributions from Italdesign Giugiaro, Bertone, and Paolo Martin.

Ultimately, the task of finalizing the car’s design fell to Gianpaolo Benedini, who also oversaw the construction of the Campogalliano factory. Benedini reworked Gandini’s initial drafts, softening the harsh lines and introducing a more aerodynamic, timeless shape. The final design balanced modernity with subtle nods to Bugatti’s heritage, including a minimalist interpretation of the iconic horseshoe grille.

Artioli’s design philosophy for the EB110 drew inspiration from the weight-saving principles famously championed by Carrozzeria Touring, applying advanced materials and innovative techniques to achieve unparalleled efficiency and performance.

A Technical Masterpiece

At the heart of the EB110 was a 3.5-liter quad-turbocharged V12 engine, a marvel of engineering that delivered both raw power and remarkable sophistication. The engine, featuring five valves per cylinder (three intake, two exhaust), produced 553 horsepower in the GT model and 603 horsepower in the more aggressive SS variant.

This technological showcase included 12 individual throttle bodies, ensuring razor-sharp response. Engineered to operate at a stratospheric 8,600 RPM redline, the powertrain underscored Bugatti’s commitment to pushing the boundaries of what was mechanically possible.

Bugatti EB110

The engine’s advanced systems were paired with a six-speed manual gearbox, allowing precise control over the car’s immense power. To harness this energy, the EB110 employed a sophisticated all-wheel-drive system that delivered 27% of the torque to the front wheels and 73% to the rear. This rear-biased setup provided excellent traction while maintaining the dynamic feel of a rear-wheel-drive sports car.

The EB110’s chassis was equally advanced. Its carbon-fiber monocoque, developed in collaboration with aerospace specialists, was one of the first of its kind in a production car. This construction provided exceptional rigidity while keeping weight to a minimum. The suspension system, with double wishbones at all four corners, ensured precise handling and a planted feel at high speeds.

The car’s aerodynamics were optimized through extensive wind tunnel testing, with active features like a deployable rear spoiler that adjusted based on speed and braking inputs. All of this culminated in a car capable of 0 to 60 mph in just 3.2 seconds and a top speed of 218 mph, making it one of the fastest cars of its era.

A Spectacular Debut

The launch of the EB110 on September 15, 1991; Ettore Bugatti’s 110th birthday; was a spectacle befitting its ambitious design. The unveiling began in Paris, the birthplace of the original Bugatti marque, where a carefully choreographed celebration honored the brand’s heritage. Over 70 vintage Bugatti cars were displayed in a horseshoe formation, evoking both history and exclusivity. Thousands of guests, including dignitaries, journalists, and celebrities, were treated to an elaborate presentation that emphasized Bugatti’s past and future.

Bugatti EB110

After the Parisian festivities, the EB110 was transported to Molsheim, France, where Ettore Bugatti had established his original factory. There, the car was revealed to the public, symbolizing the brand’s return to its roots.

Artioli spared no effort in making the event memorable. From champagne receptions to grand dinners, the entire celebration reflected the opulence and ambition that defined the EB110 project.

Challenges and Legacy

Despite its technological brilliance, the EB110 faced significant challenges. The global economic recession of the early 1990s reduced demand for ultra-expensive supercars, and Bugatti’s ambitious production targets proved unattainable. Financial pressures mounted, exacerbated by Artioli’s overextension into ventures like the acquisition of Lotus.

Rumors of industrial sabotage and pressure from rival manufacturers added to the drama. Bugatti Automobili declared bankruptcy in 1995, having produced only 139 units of the EB110. The company’s assets, including the Campogalliano factory, were eventually sold.

Yet, the EB110’s legacy endures. It set the stage for modern Bugatti hypercars like the Veyron and Chiron, which adopted its pioneering use of carbon fiber, all-wheel-drive systems, and quad-turbocharged engines. The EB110 is now a highly coveted collector’s car, celebrated for its engineering prowess and historical significance.

Why the Bugatti EB110 Failed

The failure of the Bugatti EB110 was a tragic convergence of bad timing, overambition, and industrial intrigue. Romano Artioli’s vision for Bugatti included not just reviving the brand but also acquiring Lotus, creating a global network of luxury dealerships. While Lotus found modest success, Bugatti faced a rough start, worsened by external and internal challenges.

The EB110 launched in 1991, during a global recession that decimated the exotic car market. Bugatti aimed to sell 150 cars annually, but only 115 were produced over three years. Compounding this was the Black Monday crash in 1987, just as Bugatti Automobili was established, creating economic turbulence that hampered the brand’s revival.

Bugatti EB110

Behind the scenes, Artioli claimed sabotage: suppliers allegedly cut off deliveries under pressure from rivals, and even employees were rumored to have tampered with production. Adding to the turmoil, Suzuki terminated its distributorship deal with Artioli, cutting a critical revenue stream.

Ambitious projects, like the state-of-the-art factory in Campogalliano, drained resources, while Bugatti’s inability to meet supplier payments strained production. Despite a car that dazzled in engineering and design, the company’s collapse was a tale of overreach and misfortune. The EB110 remains a brilliant but brief chapter in Bugatti’s storied history.

A Bold Dream, A Lasting Impact

The Bugatti EB110 was a supercar born of audacity and innovation. Though its production run was short-lived, the EB110 remains a symbol of what is possible when visionaries push the limits of technology and design. Its story, marked by triumph and turbulence, encapsulates the essence of the Bugatti spirit: a relentless pursuit of excellence in the face of overwhelming odds.