Cadillac 1954 El Camino and La Espada Show Cars

There were three Cadillac dream cars in General Motors' 1954 Motorama show.  One was a conservatively styled four-door sedan that previewed some features of Cadillac's 1957 redesign.  The other two were minor variations on a two-passenger theme.

They were the El Camino (The Road), a coupé, and the La Espada (The Sword), a convertible, their only significant difference being a top or lack thereof.

One feature they anticipated was quad headlights, something that began appearing on American cars for the 1957 model year and was nearly universal for 1958.  Another was Cadillac's 1958 rear fender design.  Otherwise, these cars were the sort of dream car jazz that was expected at Motoramas.

This is the El Camino.  It has a racy top somewhat suggestive of a jet fighter plane cockpit, the jet theme being reinforced by the tail fins.

I think that the weakest feature is those quad headlights.  But then, I hate most quad headlights.  Regardless, their housings create an awkward shape at the front of the fenders, this being at odds with the rest of the design.

Show cars are supposed to be flashy.  Even so, I would reduce the size of the tail fins and perhaps make them less pointed.  Also, I am never very fond of character features such as we see here that curve around the front of wheel openings and then extend to the rear.

I would have used single headlights in "frenched" housings linked to a character line aligned with the center or lower edge of the headlamp.  The result would be higher on the fender than the one seen here.  A consequence would be that the extruded decorative side panels would have to go -- not a bad thing either.

La Espada with Ronald Reagan at the wheel.

A glimpse of the interior.

1954 Cadillac Park Avenue Concept

The 1954 General Motors Motorama traveling cars-plus-entertainment show was particularly rich in terms of show cars / dream cars / concept cars (take your pick).

Cadillac exhibited three such cars, two of which (El Camino, La Espada) were variations on a two-passenger theme.  The other was a comparatively conservative four-door sedan, the Park Avenue.  It is the subject of this post.

The 1954 model year was when General Motors startled the buying public with completely restyled Oldsmobiles, Buicks and Cadillacs.  These cars featured low hood and trunk lines (compared to previous designs) and panoramic (or wraparound) windshields.  The effect was quite futuristic at the time.

The next Cadillac redesign would be for 1957, so when the Park Avenue was conceived, 1957 styling was still somewhat in flux while the market reaction to the new '54s was being evaluated.  Even so, the Park Avenue anticipated several features found on the 1957s.

The Park Avenue was more rounded than 1954 Caddies, a feature of the '57 redesign.  1957s also saw the low hood and matching front and rear wraparound shapes.  The Park Avenue was fairly compact, something definitely not the case in 1957.

Here is a 1957 Cadillac -- a coupe, not a sedan, however.  Another Park Avenue carryover is the rear fender design.

A not-so crisp image of the Park Avenue's front.

And this is the front of a 1954 Cadillac, photo by Owls Head.  Headlight housings, upper grille shape, grille grid pattern and bumper styling are in the same spirit.  Front styling for the '57s had most of the main theme features, though details were different.

Rear three-quarter view of the Park Avenue. No rear bumper, but show cars often featured sketchy protection.  All things considered, the Park Avenue was a nice design for its time, and was nicer looking than the too-large 1957 line it anticipated.

Pinin Farina's Lancia Florida 4-Door Hardtop

For better or worse (for sentimental reasons, I'll side with "worse"), automobile styling is now pretty much internationalized.  That is, nowadays design students can cross borders for training by faculty members from several countries.  Styling studios usually employ designers from other countries along with native-born stylists.  Even design directors might be from elsewhere.  In addition, some car companies maintain styling studios in more than one country.

The internationalization process began in the 1930s when General Motors and Ford sent Americans to work at or manage design studios in some of their European subsidiaries.  But the phenomenon I'm thinking about actually started seriously at some indefinite time around, say, 1970.

Now consider the years around 1950.  Aside from Ford and GM subsidiaries and a few Detroit-influenced designs such as the Volvo PV 444 and Peugeot 203, cars tended to have a national look.  That is, French cars usually seemed French, English cars English, German cars German and Italian cars Italian.

But even in those days there were hints of internationalized designs to come.  This post's example is the Lancia Aurelia B56 "Florida" prototype cars of 1955 (short reference here).  It was designed by the Pininfarina carozzeria, but I'm not sure if Battista "Pinin" Farina himself was the designer or if the work was done under other hands.

Although the Florida is very much Italian-looking, it has some important features that are distinctly mid-1950s American.  These are (1) a wraparound windshield, and (2) having a four-door hardtop convertible body type.  The term "hardtop convertible" was used in the USA for cars with conventional steel tops, but lacking a passenger greenhouse B-pillar and thus having the breezy appearance of a convertible coupe with the canvas top raised and side windows rolled down.  For the 1955 model year, General Motors introduced four-door cars with the same feature, and other brands joined in as soon as they could.  B-pillarless cars left the market when strong rollover-related safety regulations appeared.

The first link above mentions that four Floridas were built.  Three had four doors and one was a two-door hardtop.

Gallery

Four-door hardtops were previewed at General Motors' 1953 Motorama by this Cadillac Orleans show car.  Like the later Lancia Florida, it features a wraparound windshield, four doors and no exposed B-pillar.

A poor-quality image of the Orleans seen from the side.  The rear doors are hinged by the C-pillar, but there seems to be a stub B-pillar to anchor the door latches.

As mentioned, production 4-door hardtops began to appear in 1955.  The example shown here (click on image to enlarge) is a Buick Special.  Unlike the Orleans, the rear doors are hinged on the stub B-pillar.

This is a four-door Lancia Aurelia B56 Florida from 1955.  It seems considerably larger than production Aurelia B10s and B12s, though the stretched B15 might have been about this size (though with a longer greenhouse and shorter hood).  An odd feature is the collection of lights at the front, especially those smallish ones on the fenders.

Side view.  The wheel openings are not classically rounded and remind me of those found on the 1954 Motorama Oldsmobile Cutlass and F-88 show cars, not to mention the production '54 Buick Skylark convertible coupe.

Interior view.  Note the complete lack of a B-Pillar.  Also the right-hand drive steering wheel position, a feature shared with production Aurelias.  As in France for many years, even though cars drove on the right sides of streets and roads, many luxury cars featured English-style right-hand drive.  A prestige or snob feature, I presume.

Rear three-quarter view.  The modest sail panels at the rear of the greenhouse blend into rear fender top-ridges.  This is emphasized by the two-tone paint scheme, yet another Detroit-influenced characteristic.  Those large tail lights suggest 1950s America and not Italy.  The recessed backlight is serviced by two wiper blades.

This is the sole two-door Florida.  Despite those major and lesser American touches, the overall design retains an Italian feeling.  Contributing factors include the basic proportions and the simplified major surfaces.

Cadillac XLR: A Flat, Short-Lived Sports Car

General Motors' Cadillac Division marketed (1987-1993) a Pininfarina-designed sports car called the Allanté.  I wrote about it here.  The Allanté was not a sales success.   Undaunted, and seeking to reposition the brand's failing image, Cadillac management decided to launch another sports car for the 2004 model year, this time embodying the brand's new Art and Science faceted styling theme.

The new sports car was called the XLR (Wikipedia entry here).  It was marketed over the 2004-2009 models years with modest success.  GM's bankruptcy might have been a factor in its demise, but slow sales and the fact that it was based on an old (1997-2004 Corvette C5) platform were equally likely factors.

Given the constraints of the C5 layout and the angular, faceted Art & Science styling theme, Cadillac stylists did about as well as might be expected.  That is, the XLR in my opinion was not a styling success.  Seen on streets and highways, XLRs have the appearance of a flattened, almost Roman style brick.  I don't think sports cars should look like bricks.

Gallery

1997 Corvette C5 group
A collection of C5 Corvettes to illustrate what Cadillac stylists had to work with.

2004 Cadillac XLR - front 3/4 view
Most publicity photos of XLRs are shot from an unnaturally low point of view (see images below).  I include this photo because it is taken from something close to normal eye-level.  Compare to the Corvettes in the previous image.

2005 Cadillac XLR - front 3/4 sales photo
The grille / front ensemble is nicely done, combining Cadillac themes and the low body.  But see how flat the hood is.

2004 Cadillac XLR - rear 3/4 view
A somewhat flattering photo due to the camera position.  It makes the car seem taller and less flattened than it actually is.

2005 Cadillac XLR - side view
In profile, the XLR shows off its slightly wedged appearance.  Room is needed at the rear for luggage and the retractable top.  The hood line is so low that the front wheel openings create a pinched fender area above them despite being slightly offset by the thick lips of the openings.

2005 Cadillac XLR Euro - rear view
The trunk top, like the hood, is nearly flat.  With the top raised and given the shallow Vs of the bumper, license plate ensemble, and especially the central brake light, the trunk comes very close to having a dished-in appearance.  I would have been tempted to either slightly raise or lower the rear fenders and tail lights to offset the effect of the broad, nearly-flat plane.  Other small deviations from a brick-shape also might have helped the design.

Early 1980s High-End Style Pilfering

Stylists steal designs and design details.  My relationship to the American auto industry was as a consultant and data supplier -- not, alas, as a stylist.  For that reason, I have no first-hand knowledge whether it's the stylists themselves who pilfer from other firms or if management directed them to make use of this or that theme or detail.  Either way, management signs off on the results, so my inclination is to place praise or blame there.

The present post deals with a minor instance of this, small details creating a theme found on upscale American cars during the early 1980s.  Those cars were models of the Cadillac Seville, the Continental and Chrysler Imperial.  Some background can be found here.  According the the first link above, the somewhat retro theme expressed by the designs did not hold up well in terms of sales.

I dealt with Seville styling in this post, so won't go into detail here.

Gallery

1980 Cadillac Seville
What concerns us is the sweep of the sharp fold at the aft end of the C-pillar.  On the Seville it continues down to the rear bumper, with the trunk lid being inset slightly, creating a distinct tacked-on collection of surface facets.

1982 Continental
There were several Continental models at this time.  The one shown here has a C-pillar trailing edge that also continues down the side of the car, but only a short way.

1982 Chrysler Imperial
The same can be said for this Imperial, though the edge continues down a bit more than half way to the bumper.  Like the Seville (but to a much lesser extent), it helps set the trunk off as a distinct element.

1983 Continental
Because it's a Continental, a false spare tire shape was placed it the rear of the trunk.  This view shows the Seville influence in the area of the C-pillar, rear window and upper part of the trunk.

1982 Chrysler Imperial - sales photo
No faux spare tire here, but the shaping of the rear has a similar feel to the Continental and Seville.

1940s Small-Backlight Convertible Tops

I've never liked the styling jargon term "backlight."  It refers to the rear window of an automobile, but taken more literally one would think of a light placed somewhere on a car's aft end.  Alas, I'll go along with the jargon, so be advised that this post deals with small rear windows (oops, backlights) found on American convertibles in the 1940s or thereabouts.

I am by no means knowledgeable regarding this detail, so what follows is speculation.

In the images below, you will notice that the convertible tops have rectangular, removable panels that house the small backlights.  Sometimes, convertibles would been driven with their tops up and the panels gone, perhaps to provide better ventilation on non-rainy days.  The reason for the small windows (and here I speculate) is that they were made of glass or a stiff piece of clear plastic for good vision to the rear.  Glass is heavy, and the canvas tops were not strong enough to support large windows.  So convertible backlights had to be small if they were glass or a heavy plasitc.  The downside to this is that small windows greatly restricted the driver's rear view.

Later convertibles tended to feature larger backlights made of thinner transparent plastics.

The following images are of cars offered for sale, usually at auctions.  Presumably, their convertible tops are of authentic design, even though they might be replacements for worn out originals.  I cannot  guarantee authenticity in all cases, however.  That said, what is striking is how similar the backlights are for so many brands over so many years.

Gallery

1940 LaSalle Series 50 Convertible - Auctions America

1940 Packard Super 8 Convertible - Barrett-Jackson

1941 Cadillac 62 Convertible - Barrett-Jackson

1948 Chrysler Town & Country - auction photo

1948 Lincoln Continental Cabriolet - Barrett-Jackson

1948 Cadillac 62 Convertible - Barrett-Jackson

1948 Packard Custom Eight Victoria Convertible - sales photo

1950 Hudson Commodore Six Convertible - Bonhams

1951 Mercury Convertible - Barrett-Jackson

Cadillac's Slowly-Changing 75 Limousine Line

Believe it or not, the market for limousines is not large.  Never was, actually.  So even General Motors chose to economize on limousine bodies back in the days when it was huge and prosperous.

In the years leading up to the U.S. entry into World War 2, General Motors marketed limousines by Buick (the Limited, model 90) and Cadillac.  Thereafter into the 1950s, only Cadillac had production limousines in its Series 75 line.

From the 1940 through the 1956 model years, Cadillac offered only two different limousine bodies, whereas there were four generations of its basic car lines.  As a result, Cadillac limousines were often stylistically out of phase with the regular line even though many ornamentation cues were incorporated where possible.  For model years 1957 and 1958 it appears that the greenhouse of the 1950-vintage limousine was grafted onto regular Cadillac bodies.

Gallery

1940 Cadillac Fleetwood 75 Limousine
This advertisement shows the limousine body introduced for the 1940 model year.

1941 Cadillac Fleetwood 75 Limousine
It was given the same '41 facelift as the rest of the Cadillac line.

1948 Cadillac 62
Regular Cadillacs were completely restyled for 1948.

1949 Cadillac 75 Limousine - Barrett-Jackson photo
But the 1940-vintage limousine body was used through the 1949 model year.  No attempt was made to facelift it to mimic 1948 styling cues.

1950 Cadillac 62
The Cadillac line was restyled for 1950.

1952 Cadillac 75 Limousine - sales photo
So was the limousine, as can be seen here in its 1952 guise.

1954 Cadillac 75 Limousine - Auctions America photo
The Cadillac line was restyled for the 1954 model year.  The limousine body in the passenger compartment zone appears to have been carried over from previous years.

1958 Cadillac DeVille
Cadillac was restyled for 1957 and facelifted in 1958.

1958 Cadillac 75 Limousine - via Wikipedia
The 1950-based limousine upper body continued through 1958.  Compare the passenger compartment roof and windows to the 1952 limousine shown two images above.