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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

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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

Prince Skyline Sport Allemano

The end of World War II left Japan in a difficult position, having to transition its industries from military production to civilian use. This challenge was particularly tough since Japan, like Germany and Italy, was a defeated nation. However, Japan’s ability to adapt would set the stage for one of the most exciting collaborations in automotive history.

Among the companies responsible for this transformation were Tachikawa and Nakajima, two of Japan’s leading aviation companies. Tasked with shifting to civilian production, Tachikawa (later known as Tokyo Electric Cars) began building electric cars in 1947. Their first model, the Tama, was followed by a slightly larger Junior, and eventually, the Senior.

In the early 1950s, Japan’s evolving automotive landscape saw a shift from electric-powered cars to gasoline engines. By the end of 1951, the Tama Senior was fitted with a 1.5-liter petrol engine, a shift that led to the creation of the Prince Sedan in 1952. This was the beginning of Prince Motor Company, which was named in honor of the official investiture of Crown Prince Akihito.

In 1954, Fuji Precision Machinery (formerly Nakajima) acquired Prince Motor Company and embarked on producing automobiles under the Prince brand. This marked the beginning of a new chapter in Japan’s automotive history.

The Birth of the Skyline and the Search for European Inspiration

By the late 1950s, Prince Motor Company had gained recognition in Japan for its innovative vehicles, such as the Prince Sedan and the Skyline (introduced in 1957). However, the company sought to take their vehicles to a new level—focusing on luxury, performance, and innovation. To do so, they looked westward, to Europe, for inspiration.

Europe was home to some of the most prestigious automotive brands, and Fuji Precision Machinery executives wanted a vehicle that could rival the best of Europe. This aspiration led them to Italy, where they arranged a pivotal meeting at the Salone dell’Automobile (Turin Motor Show) with Carrozzeria Allemano, a respected coachbuilder with ties to Italian designer Giovanni Michelotti.

The collaboration between Japan and Italy led to the creation of the Prince Skyline Sport, a car that would redefine the trajectory of Japan’s automotive design. This groundbreaking partnership merged Japanese engineering with Italian artistry, setting a new standard for style and innovation. The success of this collaboration inspired other Japanese manufacturers to partner with Italy’s legendary design houses, creating some of the most iconic vehicles of the 1960s.

Mazda, for example, worked with Bertone, enlisting the renowned Giorgetto Giugiaro to design the Familia, a compact car that skillfully blended European elegance with Japanese practicality. In 1963, Daihatsu teamed up with Vignale to produce the Compagno, along with its sporty variants: the Sport Spider and Coupé; which reflected a uniquely Italian flair. The following year, Pininfarina collaborated with Datsun to craft a sleek new look for the Bluebird, a move that helped the car gain global recognition. By 1965, Isuzu joined forces with Ghia to design the Bellett II, a concept car that showcased bold and forward-thinking design elements.

These partnerships went beyond aesthetics; they helped establish a global identity for Japanese automakers. By working with Italy’s most respected design houses, Japanese manufacturers gained fresh perspectives on styling while enhancing their reputation for innovation and quality. These collaborations not only transformed the appearance of Japanese cars but also elevated their appeal to international markets, leaving a lasting impact on the industry.

A Handcrafted Masterpiece

Under the direction of Giovanni Michelotti, one of Italy’s most respected automotive designers, the Skyline Sport would be an example of high-end craftsmanship. Initially, the first series of prototypes were built by Carrozzeria Allemano, known for its hand-built bodies. Later, a second series of production would be completed by Carrozzeria Michelotti, adding the final touch to this luxury vehicle.

The Skyline Sport was designed as a two-door coupe with sleek, flowing lines and a sporty yet elegant appearance. Michelotti’s design incorporated canted headlights, angled downward at the inside corners—a feature seen in other high-end vehicles like the Lincoln Continental and Buick during the late 1950s and early 1960s.

At the heart of the Skyline Sport was a 1.9-liter GB-4 engine that generated 94 horsepower, giving it a top speed of 150 km/h. Despite weighing in at 1,350 kg, the car’s handling was remarkably smooth, thanks to a double-wishbone front suspension and a De Dion rear axle, technologies that were innovative for its time.

The Prince Skyline Sport: A Bold Statement

The Skyline Sport debuted at the 1960 Turin Motor Show, where it garnered international attention for its bold design and luxury features. Available in both a coupe and a convertible version, it was a striking example of Italian design combined with Japanese engineering. Its clean lines, striking front grille, and eye-catching details made it a standout at the show.

But its beauty was more than skin deep. The Skyline Sport was a car that delivered in terms of both aesthetics and performance. With its meticulously crafted body, luxurious interior, and advanced suspension, the car offered an exceptional driving experience that rivaled the finest European vehicles of the era.

The Prince Skyline Sport made its official appearance in Japan at the 1962 Tokyo Motor Show, where it was met with great enthusiasm due to its elegant lines and striking design. With its sleek coupe and convertible versions, the car showcased a perfect blend of Italian craftsmanship and Japanese engineering, captivating the crowd with its sophisticated aesthetic. However, the Skyline Sport came with a hefty price tag of 1.85 million yen, more than twice the cost of a standard sedan. This steep price limited its appeal in Japan’s domestic market, making it a rare and exclusive collector’s item. Despite its high price, the car gained significant exposure through its prominent feature in Toho films, strategically marketed to heighten its status as a luxury icon.

A Historic Collaboration and Legacy

The Prince Skyline Sport is historically significant as the first collaboration between an Italian designer and a Japanese automaker, setting a precedent for future cross-cultural partnerships in the automotive world. It was a testament to the universal appeal of Italian design and the skill of Michelotti and Carrozzeria Allemano. The Skyline Sport bridged cultural and geographical boundaries, bringing together the best of both worlds to create a truly exceptional car.

Though the Skyline Sport never achieved high sales numbers, with only 60 to 200 units produced, its impact on the automotive industry cannot be overstated. It paved the way for later models like the Skyline GT-R and helped establish the Prince Laurel, another model that would become iconic in Japan.

The Skyline Sport also marked the beginning of Prince Motor Company’s shift toward luxury vehicles. This emphasis on quality and refinement would continue after Nissan’s acquisition of Prince Motors in 1966, with the Skyline Sport serving as a precursor to future generations of luxury cars from Japan.

The Prince Skyline Sport was more than just a car—it was a statement of innovation, craftsmanship, and the power of international collaboration. The partnership between Giovanni Michelotti, Carrozzeria Allemano, and Prince Motor Company created a vehicle that showcased the best of both Italian design and Japanese engineering.

Though limited in production and availability, the Skyline Sport remains an important part of automotive history. It stands as a symbol of the potential for global partnerships to create groundbreaking designs, and its legacy continues to inspire the automotive world today.