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The Prince Skyline Sport: The first Japanese-Italian Automotive Collaboration

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.

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In this exclusive interview, Andreas Scheidl sits down with Michael Robinson, former Design Director at Bertone, to discuss the fascinating story behind the creation of the Alfa Romeo Pandion. This concept car, unveiled in 2010 to celebrate Alfa Romeo’s centenary, became an iconic blend of cutting-edge technology, bold design, and artistic innovation. Robinson shares the challenges of designing a groundbreaking prototype in just four months, the inspirations behind its unique features, and how the Pandion marked a pivotal moment in his career and for Bertone. This is the untold story of how one of the most daring concept cars of the 21st century came to life.

The Alfa Romeo Centenary

In 2009, Bertone was in a very challenging position: there were no projects, no active design team, nothing. The priority was to find an opportunity to restart creativity and the company itself. So, I decided to call a friend, Sergio Cravero, who was then the CEO of Alfa Romeo. It was early October 2009.

I said, “Hey Sergio, how’s it going?” Without hesitation, he replied, “Mike, we’d love for Bertone to design a car to celebrate Alfa Romeo’s centenary.” I was thrilled and immediately responded, “Fantastic! When would you like it?” His answer, however, left me stunned: “For the Geneva Motor Show.”

Geneva was in March, just four months away. I thought it was impossible. When I was director of the Lancia design center, it took us 24 months to develop the Dialogos concept car. I replied, “We can’t do it; four months is far too short for a prototype of this significance.” But the head of the workshop calmly reassured me: “Don’t worry, we’ll make it happen.”

I accepted the challenge and returned to the office to announce the news to the team: “We have an incredible project ahead of us! But there’s one rule: no drawing cars right away. First, we must research.”

The Importance of Research

I wanted my 30 designers to understand the essence of Alfa Romeo: what made its cars iconic, what defined a sports car, and how to envision the future of the brand. Only after this in-depth study could we start designing. This approach allowed us to create something truly original, untainted by preconceived ideas.

One of the tools that inspired us was the use of algorithms. Architects use them to simulate natural growth patterns, such as how plants grow or how trees form. We applied the same concept: we would run the algorithm, analyze the results, and select the most interesting solutions. This method, which today we might call artificial intelligence, was something we were already experimenting with over 15 years ago.

The Pandion’s Aesthetic: A Design Inspired by Nature

For the Pandion’s exterior, we drew inspiration from quartz, creating sharp, razor-like growths and a futuristic, edgy design. For the interior, we turned to the roots of trees, generating organic, almost random shapes that were not dictated by human designers.

The rear of the car, with its intricate lattice of elements, was so complex that it would have been impossible to produce using traditional molding techniques. It was pure sculpture, an unrestrained expression of design.

A Visionary Illuminated Interior

Another unique innovation of the Pandion was its illuminated interior. The seats were made of three layers: a sheet of carbon fiber, an illuminable fabric layer, and a gel layer, with a total thickness of just three centimeters. When the lights were turned on, the cabin glowed in a brilliant, hypnotic pool-blue hue. Amazingly, the film Avatar; which shared a similar aesthetic; came out a year later, but the color felt like a perfect anticipation of its world.

“Transformer” Doors

One of the most spectacular features of the Pandion was its doors. To draw attention at the Geneva Motor Show, we designed a full side-opening system, with doors that extended 3.6 meters high. This meant that, even from a distance, anyone could spot Bertone’s stand simply by seeing those towering open doors.

To make this happen, a complex mechanism was needed: the rear panel had to slide backward to allow the doors to open, which then moved downward in a smooth, robotic motion, reminiscent of Transformers. The workshop engineers, who had worked on the legendary Countach doors, made this extraordinary innovation a reality.

A Special Project

The Pandion was a one-of-a-kind project, full of challenges and innovations. For me, it remains the most exciting car of my career; not only for its design but because it was my first prototype for Bertone and marked the company’s return to the Geneva Motor Show after a two-year absence.

It will always hold a special place in my professional journey and will remain an unforgettable example of the creativity and teamwork that defined that experience.