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The Italian Studebakers

The Studebaker Lark Italia models

In 1960 the entrepreneur and importer Renato Bornigia commissioned Pietro Frua and Francis Lombardi to carry out a project to mass-produce (1000 cars) a variant of the Studebaker Lark in 2-door coupe and 4-door sedan versions. Since Studebaker was the only American car manufacturer which producted vehicles based on rollin chassis rather than unitized construction to manufacture the Lark, simplifying the project. So four Studebaker Lark chassis, complete with engines and running gear, were shipped from the factory in South Bend, Indiana to Italy in care of Frua in Turin and Carrozzeria Francis Lombardi. For the realization of the 2 models, Pietro Frua first contacted Carrozzeria Viotti and then fell back on the newborn Italsuisse of Geneva, swiss coachbuilder founded by Adriano Guglielmetti, a former Frua employee. Both Coupes made by Frua and Francis Lombardi were presented at the 1960 Turin Motor Show with the name of Studebaker Italia. A few months later, in 1961, the four-door version was presented by Frua at the Geneva Motor Show. It is presumed that Bornigia opted for the design of Frua discarding that of Francis Lombardi, so that no four-door version it is believed to exist by the latter. For reasons unknown to us, the project did not go beyond the four prototypes Bornigia was working on an ambitious plan that included a production run of 1000 vehicles.

Studebaker Lark Italia Sedan by Frua

Two built, chassis #5 & #7, both exhibited at the 1961 Turin and Geneva Auto Shows, the fate of the Studebaker Italia Sedans remained a mystery until 2003 when a sales announcement in German appears (despite the cars being in Rome) of two Studebakers Sedan at the price of € 10,000. Number #5 was in rather bad shape, crashed in the front, without engine and accessories while chassis #7 was almost complete in its entirety, despite the evident years spent outdoors. The #5 appears to be based on Lark VI so it was originally fitted with the 170 Studebaker 2.8 liters Skybolt 6 while the #7 was based on Lark VIII and mounts the more powerful 4.2 liter 259 V8. The news of these two cars spread quickly among lovers of the brand and in 2004 the Californian Patrick Drnec, who had to make a trip to the United Kingdom, got in touch with the sellers to see the cars.  “If at least one is salvable and not ridiculously expensive, I want them” and apparently he did. He bought both for € 6,500 and sent them on a container to the United States. Both cars are currently in restoration.

Studebaker Lark Italia Coupé by Frua

The Lark Italia Coupé made by Frua was unveiled at the 42nd Salone Internazionale dell’Automobile di Torino in 1960. At the same exhibition, competitor Francis Lombardi unveiled its own version. In 1961, it was showcased among its sedan sisters at the Italsuisse-Stand of the Geneva Autoshow. Its got probably lost and destroyed.

Studebaker Lark Italia Coupé by Francis Lombardi

The fourth rebodied Studebaker Lark was this white fastback Coupè made by Francis Lombardi. It was presented at the 1960 Turin Auto Salon. Its faith is unknown.

The Sibona-Basano bargain

In 1960 Studebaker, with a new management and designer tried to relaunch the brand with a handfull of new concept cars. Studebaker was then so short of cash that all it could afford was $50,000 for the creation of concept cars. The new design chef Stevens decided his only hope was Italy, but not some high-priced outfit like Pininfarina. Happily, he discovered a small coachbuilder in Turin called Sibona-Bassano. “I walked in,” he remembered, “and there was laundry on the line and chickens running around. I took these two little guys out and fixed them up with Camparis. We got good prices out of them — $16,500 per car, an incredibly low figure.” Better yet, the finished models were worthy of a Pininfarina. Stevens termed them “jewel-like,” and recalled the CEO Egbert being very excited about them.

Studebaker Sceptre

The Studebaker Sceptre prototype built by Sibona-Basano was a 2-door, 5 seater coupe and destined to be the pattern for a 4 door family sedan and a 8-passenger station wagon. It pioneered body lines and introduced innovations in grill and headlight treatments, bumpers, siderub rails, warning lights, hood openings, rear deck openings, and “C” pillar design. It also represented a total departure in instrument panel function and esthetics. The first approach to the astronaut couch bucket seat and/or bench was pioneered here, as well as upholstery treatments using mylar and vinyl combinations and new system of cushion breathing. The car was designed with the total concept in mind and every detail carried out in keeping with the over-all theme. this was not to be a committee design or a mishmash of ideas borrowed from other concepts. It was the ultimate in Studebakers vain attempt to raise the money to tool all new cars, the basis of which could last for five years. 

Studebaker Lark Wagonaire

The 2nd concept car built by Sibona Basano for Studebaker was this Wagon. Suicide doors and a openable canopy at the back were its special features.

Studebaker Lark Cruiser

Studebaker Lark Cruiser

The last Studebaker prototype built by Sibona-Basano was the “Cruiser” a elegant four door sedan (with suicide doors) and hard top.

The Fiat 1100 TV by Carrozzeria Canta: the wannabe

In 1954 Carrozzeria Canta asked designer Giovanni Michelotti to create a models which clearly recalls the lines of the ’54 Studebaker Champion. This model built on the Fiat 1100 TV chassis got a great public approval but also the attentions of Studebaker Lawyers, forcing Canta to change the design the year after. Therefore, in 1955, a new series with different lines debuted, just enough to avoid the rip-off accusations.

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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.