Iconic Origins - When thinking of sports cars, it's easy to picture sleek, futuristic designs with impressive power under the hood. However, innovation in the automotive world didn't just happen overnight. In fact, Toyota, a brand now recognized globally for its advancements, was already paving the way for modern sports cars as far back as the 1950s. One particular gem that rarely gets the spotlight is the Toyota Protofrom 1957, a prototype that symbolized a turning point in Toyota's approach to car design.
The 1957 Toyota Proto Concept car inspired by the wave of American Dream Cars, it shared the bold vision of the future that was common in concept cars from the time, powered by a 697 cc drivetrain. (Picture from: Carstyling.ru)
At a glance, the 1957 Toyota Proto might seem like a typical product of its era, but a closer look reveals its unique appeal. Inspired by the wave of American Dream Cars, it shared the bold vision of the future that was common in concept cars from the time. However, unlike its American counterparts, this Japanese creation had a smaller, more compact design. Its body was made from fiberglass, a material that was quite revolutionary at the time, signaling Toyota's interest in experimenting with both form and function.
The exterior design of the Toyota Proto captured the essence of 1950s styling with its fluid, rounded lines and circular headlights. (Picture from: Carstyling.ru)
One of the most striking features of the Toyota Proto was its canopy design. Rather than having a conventional door system, the Proto’s roof opened in a fascinating way, moving towards the rear like a cover being lifted. This "double-bubble" roof was not only an aesthetic choice but also a functional innovation, providing a futuristic flair that would later influence the design of the Toyota Publica Sports.
Rather than having a conventional door system, the Toyota Proto’s roof opened in a fascinating way, moving towards the rear like a cover being lifted. (Picture from: Carstyling.ru)
The exterior design of the Toyota Proto captured the essence of 1950s styling with its fluid, rounded lines and circular headlights. These design elements, combined with the dual-tone paintwork—featuring a white body with red accents on the wheels, grille, and roof—gave the car a futuristic, yet classic feel. It was a car that looked ahead to the future while still grounding itself in the design trends of its time.
A clay model of the 1957 Toyota Proto concept car clearly showcases its futuristic curves, highlighted by a distinctive fin design at the rear. (Picture from: Carstyling.ru)
Inside, the Proto’s compact two-seater cabin was simple yet stylish, designed to complement the car's sleek outer appearance. Although not much is known about the interior's finer details, it’s clear that the design was minimalistic, a trend that would continue in Toyota’s future models. Comfort was not sacrificed, though the Proto’s focus remained firmly on showcasing innovative design and engineering.
The Toyota Proto concept car features dual-tone paintwork, showcasing a white body with red accents on the wheels, grille, and roof, giving it a futuristic yet classic feel. (Picture from: Carstyling.ru)
Powering the Toyota Proto was a 697 cc engine, which, by modern standards, might seem small. However, for the 1950s, this engine provided enough power to showcase the car’s potential without compromising on its lightweight design. Though not built for speed or performance like the supercars of later decades, the Proto’s engine was a testament to Toyota’s engineering prowess at the time, proving that they could create efficient and forward-thinking vehicles.
The double-curved bubbletop of the Toyota Proto concept car evokes a design reminiscent of the signature style seen in Italian coachbuilder Zagato. (Picture from: Carstyling.ru)
Unfortunately, the Toyota Proto was never mass-produced, and the world never saw this unique vehicle on the roads. Yet, despite its brief appearance as a concept, it left a lasting impact on Toyota's design philosophy. The ideas and features seen in the Proto would go on to influence future models, such as the legendary Toyota 2000GT, the Celica and the Supra, all of which embraced the blend of innovation and style that the Proto first introduced. Since there isn’t a video specifically about this car, here’s a video featuring a collection of classic models made by Toyota.
The 1957 Toyota Proto may be a forgotten chapter in automotive history, but it was a significant one. This car symbolized Toyota's ambition to push the boundaries of design and technology long before it became a dominant force in the automotive world. Today, as we look back at concept cars like the Proto, it’s clear that Toyota's journey to innovation started long before it reached the pinnacle of success. The Proto remains a fascinating glimpse into what could have been, a reflection of an era that dreamt big and laid the foundation for future automotive milestones. *** [EKA | FROM VARIOUS SOURCES | QUIRKYRIDES | CARSTYLING.RU | HABJAPANLTD | TECHEBLOG | STORY-CARS | NOTICIAS.COCHES | WEIRDWHEEL | PINTEREST ]
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Unique ONES - In the world of automobiles, there are hidden gems that often go unnoticed, and some of these gems are the brainchildren of unlikely creators. Take, for instance, the Enterra Vipre, a car developed in the mid-1980s not by seasoned automotive engineers but by a group of waiters at the Keg Restaurant on Vancouver’s Granville Island. Yes, you read that right – waiters turned car designers.
The Enterra Vipre was a sports car developed in the mid-1980s not by seasoned automotive engineers but by a group of waiters at the Keg Restaurant on Vancouver’s Granville Island, Canada. (Picture from: Silodrome)
Maestro WORKS - Luigi 'Lutz' Colani, a legendary figure in automotive design, brought his visionary touch to numerous projects, but one that stands out for its mystery and intrigue is his concept for the Dodge Stealth. This unique design, often referred to as the Luigi Colani Blue Car, reimagined the controversial Dodge Stealth, a car that found itself at the center of national debates about American identity in the early 1990s. Colani’s interpretation breathed new life into the Stealth, taking it beyond the limits of its original concept and influencing future designs in the process.
The Dodge Stealth Concept by Luigi Colani, also known as the Colani Blue Car, was displayed at the Colani Design Museum. (Picture from: CultObjects in Flickr)
The Dodge Stealth itself was part of a collaboration between Chrysler and Mitsubishi, built on the Japanese Z16A platform shared with the Mitsubishi GTO/3000GT. While it carried Dodge branding, the car’s Japanese origins became a point of contention. In 1991, the Stealth was selected as the pace car for the 75th Indianapolis 500, but this decision faced harsh criticism from union leaders and patriotic fans who felt the car didn’t represent true American craftsmanship. The tension surrounding the Stealth was heightened by the Gulf War, leading Chrysler executives to reconsider their choice. In February 1991, just months before the race, they replaced the Stealth with a pre-production Dodge Viper, a car that symbolized American muscle and ingenuity.
The Colani Blue Car is said to be a design built for the Dodge Stealth, based on Mitsubishi's Z16A platform, which is shared with the Mitsubishi GTO/3000GT.(Picture from: CultObjects in Flickr)
Amid this controversy, Luigi Colani’s design for the Dodge Stealth emerged. While it’s unclear whether Colani was officially commissioned by Chrysler or whether this was an independent project, his design transformed the Stealth in a way that was uniquely his. Colani’s take on the car featured his signature bio-design language, with fluid, organic shapes that made the vehicle look like it was in motion even when standing still. The front fascia, with its elongated nose and double headlights, gave the car an almost otherworldly appearance, blending aerodynamic efficiency with Colani’s artistic vision. The rear, reminiscent of American muscle cars like the Camaro, added a sense of raw power and speed to the design.
Luigi Colani posed alongside his car creations, such as the Mamba Concept, Ferrari Testa D'Oro, and many others. (Picture from: RawViper)
Although the Luigi Colani Dodge Stealth concept didn’t reach mass production, it showcased Colani’s ability to reinterpret a vehicle at the center of a national debate and turn it into something bold and futuristic. His design pushed the boundaries of what the Dodge Stealth could be, moving it away from the controversy surrounding its Japanese roots and into the realm of art and innovation.
The Colani Mamba Concept, when viewed as a whole from the front, reveals a unified design where the flowing lines and curves come together to resemble the shape of a Mamba snake's head.(Picture from: Sumally)
Interestingly, Colani’s work on the Dodge Stealth seemed to have a lasting influence on his later designs. In the late 1990s, Colani revisited the Dodge brand, creating several remodels of the Dodge Viper in collaboration with Autohaus Getra, a German automotive company. His work on the Viper, including the Mamba Concept, featured striking elements that echoed his earlier Stealth design. The distinctive double headlights and flowing lines that characterized the Colani Blue Car reappeared in these remodels, suggesting that Colani’s experience with the Stealth left a lasting impact on his design philosophy.
The Colani Shark Speedster was designed and built by Luigi Colani in collaboration with the German auto design house Reinhard Stahl.(Picture from: Autoweek.nl)
Colani’s work in the early 2000s further demonstrated the influence of his Dodge Stealth concept. One notable example is the Colani Shark Speedster, a design that emerged in collaboration with Reinhard Stahl, a German auto design house. The Shark Speedster, with its sleek lines and futuristic aesthetic, bore a resemblance to the Colani Blue Car, particularly in its front fascia. It’s as though Colani took the DNA of the Stealth design and refined it for the next generation of his work. | zF4wJglSr_8 |
The Luigi Colani Dodge Stealth concept stands as a testament to the designer’s ability to turn controversy into creativity. Where others saw a car mired in debates about national identity, Colani saw an opportunity to push boundaries and redefine what the Stealth could be. His Blue Car design, with its organic shapes and radical ideas, not only reimagined the Stealth but also laid the groundwork for future projects, leaving an indelible mark on automotive design well into the 2000s. *** [EKA | FROM VARIOUS SOURCES | COLANI | COLANI.ORG | CULTOBJECTS IN X | BUBBLEMANIA.FR | STORY-CARS| RAWVIPER | DODGEGARAGE | MOPARINSIDERS | REDDIT WEIRDWHEEL ]
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Forgotten ONES - In the world of luxury cars, certain names resonate with history and passion. Just as Facel Vega once stood as a symbol of French automotive prestige, another name briefly flickered in that same realm—Monica. Named after the wife of its creator, industrialist Jean Tastevin, this car was poised to carry on the legacy of luxury French cars. But unlike many long-standing names in the industry, Monica’s time was tragically short, marking an interesting yet brief chapter in French automotive history.
The Monica sports GT, shown here as the 1973 Monica 560 V8 model, was created by Jean Tastevin's French company, Compagnie Française de Produits Métallurgiques (CFPM), in the early 1970s.(Picture from: GordonMercedes9 on X)
Jean Tastevin, known for his company that manufactured rolling stock for French railways, had a deep admiration for the luxurious creations of Facel Vega, a French luxury car maker that ceased production in 1964. Tastevin saw an opportunity to revive the spirit of French luxury motoring, and within two years, his thoughts were centered on building a new car that would fill the gap left behind by Facel Vega. This decision would eventually lead to the creation of the Monica, but the road to production was filled with challenges.
Monique Tastevin posed along with the GT car that bore her name. (Picture from: RareComponentCars)
Unlike the Facel Vega models that were powered by large Chrysler V8 engines, Tastevin’s new car needed to comply with French tax regulations, which meant a smaller engine. The answer came in the form of a 2.6-liter Triumph TR4 engine, developed by Chris Lawrence, a skilled engineer and racing driver.
The LawrenceTune/Standard-Triumph 2.6-liter engine, as seen here in a Morgan +4. (Picture from: RareComponentCars)
Lawrence was initially contracted to supply these engines, but soon, he found himself at the heart of the project, offering his expertise not just in engineering but in car design as well. By 1966, work had begun on the new luxury saloon that would carry the Monica name.
The original Monica prototype, styled by Maurice Gomm. (Picture from: RareComponentCars)
As the development progressed, the Monica featured innovative engineering for its time. Its suspension system was sophisticated, with a double-wishbone setup at the front and a Panhard rod at the rear. The car was equipped with disc brakes all around, ensuring it could stop as gracefully as it accelerated.
The second Monica prototype, styled by Williams & Pritchard. (Picture from: RareComponentCars)
Although the prototypes used an unassisted steering system, the production models were planned to include power-assisted steering for a smoother driving experience. The exterior design drew inspiration from iconic cars like the Maserati Indy and Lotus Elan, with a sleek and elegant front end that gave it a striking presence on the road.
A sketch of the Monica prototype made by Carrozzeria Vignale. (Picture from: Hagerty)
Inside, the Monica was no less impressive. Its interior was a blend of craftsmanship and luxury, with finely finished wood accents that gave the cabin a classic GT feel. The green scripted Veglia gauges added a touch of sophistication, while the dark blue leather upholstery paired with parchment-colored carpets created a comfortable and inviting environment. Rear seating was particularly plush, with thick padding and ample legroom, making it a true luxury saloon.
The third Monica prototype, styled by Carrozzeria Vignale. (Picture from: RareComponentCars)
However, as the prototypes were built and tested, it became clear that the Triumph engine lacked the refinement necessary for a car of this stature. This led to a significant change in the powertrain. Lawrence, recognizing the need for a more refined engine, convinced Tastevin to switch to a 3.0-liter V8 designed by Ted Martin. Although the new V8 was smoother, it lacked low-end torque, prompting the decision to increase its displacement to 3.5 liters, which boosted power to 240 bhp when fitted with Weber carburettors.
A preproduction Monica 350 prototype powered by a Ted Martin's 3.0-liter V8 engine. (Picture from: RareComponentCars)
Despite these improvements, the Monica’s journey was far from smooth. A series of prototypes were built over the following years, with various engineers and companies lending their expertise to the project. Renowned coachbuilders such as Chapron and Vignale, along with body builders Williams & Pritchard, contributed to different aspects of the car's development. This collaborative effort resulted in multiple body designs, engine configurations, and transmission setups, all while costs continued to rise.
A Monica prototype on public display for the first time in Paris. (Picture from: RareComponentCars)
The Monica finally made its public debut at the Paris Salon in October 1971, under the name Monica 350. However, the car still lacked the performance to truly compete with its rivals, leading to another significant change. The decision was made to replace the 3.5-liter V8 with a more powerful 5.6-liter Chrysler V8, producing 285 bhp and 333 lb-ft of torque.
The Monica 350, powered by a Ted Martin's 3.5-liter V8 engine, made its public debut at the Paris Salon in October 1971.(Picture from: DrivenToWrite)
This revised version, now called the Monica 560, was unveiled at the Geneva Salon in 1973. It was billed as the world’s fastest four-door saloon, boasting a top speed of 150 mph and a host of luxury features including air conditioning, electric windows, and high-end leather trim.
Interior view of the 1973 Monica 560 V8 GT. (Picture from: GordonMercedes9 on X)
Yet, despite its impressive specifications, the timing of the Monica’s release could not have been worse. The global oil crisis of the early 1970s made large, thirsty V8 engines far less appealing, and the Monica struggled to find buyers. By 1975, just as production was starting to gain momentum, Tastevin made the difficult decision to shut down the project.
Rear three-quarter view of the 1973 Monica 560 V8 GT. (Picture from: GordonMercedes9 on X)
Although Panther Westwinds briefly considered continuing production in the UK, the plan ultimately fell through, leaving the Monica as a rare footnote in automotive history. As Jean Tastevin had envisioned a production run of 400 Monicas per year, but in the end, only 35 cars were ever built, most of which were pre-production prototypes.
Today, the Monica stands as the last independent French luxury car, joining the ranks of forgotten brands like Facel Vega and Delahaye. Though its time was brief, the Monica’s story remains a fascinating chapter in the history of luxury motoring—a testament to ambition, craftsmanship, and the ever-changing fortunes of the automotive world. *** [EKA | FROM VARIOUS SOURCES | CURBSIDECLASSIC | HAGERTY | BRINGATRAILER | GORDONMERCEDES9 | WIKIPEDIA | DRIVENTOWRITE | RARECOMPONENTCARS ]
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Forgotten ONES - The tale of the Hispano Alemán Vizcaya is a captivating chapter in automotive history, marked by ambition, cross-cultural collaboration, and ultimately, unfortunate legal setbacks. Conceived by Werner Bernhard Heiderich—known as Ben Heiderich—a former U.S. Air Force serviceman who had relocated to Spain, the Vizcaya was his ambitious attempt to create a refined alternative to the Porsche 914-6.
The Hispano Alemán Vizcaya was born from Ben Heiderich's vision to fill Spain's gap in luxury cars by creating an elegant, high-performance vehicle. (Picture from: CarsThatNeverMadeItEtc)
At a time when luxury cars were scarce in Spain, Heiderich saw potential in designing an elegant, high-performance vehicle that would appeal to both foreign and local audiences. Driven by his passion for cars and his strong connections within the automotive industry, Heiderich launched the Hispano Alemán brand in 1969. His vision for the Vizcaya took shape when he decided to enhance the Porsche 914/6, a model that was often criticized for its somewhat boxy appearance.
The Hispano Alemán Vizcaya took shape from Ben Heiderich’s vision to transform the often-criticized, boxy Porsche 914-6 into a more refined and elegant model.(Picture from: CarsThatNeverMadeItEtc)
Heiderich’s goal was to transform the car into a more sophisticated design, one that could compete visually with other European sports cars. For this ambitious reimagining, Heiderich initially approached Italian designer Giorgetto Giugiaro, but the project eventually fell into the hands of his friend, Pietro Frua, a respected name in Italian automotive design.
The Hispano Alemán Vizcaya unveiled at the 1971 Geneva Motor Show, showcased a sleeker, more Italian-inspired elegance to the car, giving it smooth lines and a refined profile that set it apart from its Porsche counterpart. (Picture from: HeartBoomCars)
The resulting design, unveiled at the 1971 Geneva Motor Show, was a stunning transformation of the 914/6. Frua’s expertise brought a sleeker, more Italian-inspired elegance to the car, giving it smooth lines and a refined profile that set it apart from its Porsche counterpart. Named the Hispano Alemán Vizcaya, the vehicle quickly attracted attention at the show, standing out as a beautiful fusion of German engineering and Italian artistry.
The Hispano Alemán Vizcaya was designed by Pietro Frua who succeeded in making this car have a beautiful fusion of German engineering and Italian artistry.(Picture from: CarsThatNeverMadeItEtc)
Interest in the Vizcaya grew significantly when even Porsche showed enthusiasm, placing a considerable order with the intention of introducing the Vizcaya to a broader market. However, as the project gained momentum, it encountered legal obstacles. A dispute arose between Heiderich and Frua, which led to the car being seized by Swiss authorities shortly after its Geneva debut. While Heiderich fought to recover the Vizcaya in court, the legal proceedings dragged on for years.
Beneath its sleek exterior, the Hispano Alemán Vizcaya boasted a tuned engine, producing an impressive 225 horsepower, ensuring exhilarating acceleration and dynamic handling characteristic of a true sports car.(Picture from: Carrozzieri-Italiani)
By the time Heiderich finally won the court case in 1976, the window of opportunity had closed. The Porsche 914 was discontinued that same year, making the prospect of resuming the Vizcaya project unfeasible. Despite the legal victory, the timing was unfortunate, and Heiderich had to abandon his dream of bringing the Vizcaya into full-scale production, and left only one unit ever made.
The Hispano Alemán Vizcaya was built on the chassis and drivetrain of the Porsche 914-6 which was produced from 1969 to 1976.(Picture from: CarsThatNeverMadeItEtc)
The Hispano Alemán Vizcaya remains a symbol of Heiderich’s bold vision and his willingness to take risks. Though it ultimately faced a premature end, the Vizcaya still stands as a testament to the unique blend of Spanish and German automotive passion, driven by an individual who sought to create something truly special. Today, the Vizcaya is remembered as a rare gem that showcases what might have been, embodying a story of creativity and ambition halted by fate but cherished by car enthusiasts who value its legacy. *** [EKA | FROM VARIOUS SOURCES | HEARTBOOMCARS | BURRITODETODO | BLOG.TARANEA.ES | CARROZZIERI-ITALIANI | UNDISCOVEREDCLASSIC | CARSTHATNEVERMADEITETC | AUTOPASION18 ]
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Forgotten GEMS - In the world of car design, the 1960s and 1970s were a period of bold experimentation and creative freedom. During this time, automakers explored unique collaborations, leading to vehicles that pushed the boundaries of what was considered conventional. One such collaboration was between Fiat and the renowned design house Zagato, resulting in the Fiat 132 Aster. This car, although not widely produced, remains a fascinating example of design and engineering, merging the practicality of Fiat with the artistic flair of Zagato.
These two Fiat 132 Aster prototypes crafted by the talent and craftsmanship of Carrozzeria Zagato, a Milan-based coachbuilder famous for its custom designs. (Picture from: Story-Cars)
The roots of the Fiat 132 Aster lie in the talent and craftsmanship of Carrozzeria Zagato, a Milan-based coachbuilder famous for its custom designs. In an era when sleekness and individuality were highly sought after, Zagato’s approach to car design was nothing short of revolutionary. They had already made their mark on models for Lancia and Alfa Romeo, and the Fiat 132 Aster was another attempt to reshape automotive style.
The Fiat 132 Aster designed by Giuseppe Mittino, and made debut in 1972, showcased at the Turin Auto Salon. (Picture from: Story-Cars)
Designed by Giuseppe Mittino, the Fiat 132 Aster first made its appearance in 1972, showcased at the Turin Auto Salon. This green model quickly caught the attention of car enthusiasts for its unconventional looks. A year later, an orange version of the Aster was unveiled at the Geneva Motor Show, further cementing its reputation as an eye-catching, avant-garde creation. Although both cars were built on the same platform, each came with its own unique details, reflecting Zagato’s dedication to bespoke craftsmanship.
The sleek, lightweight aluminum body gave the Fiat 132 Aster (in pictured the 1st prototype) a more futuristic look, aligning with the forward-thinking design principles that Zagato was known for. (Picture from: Carrozzieri-Italiani)
What truly set the Fiat 132 Aster apart was its exterior. Unlike many cars of the time, which relied heavily on steel, the Aster’s body was crafted from aluminum. This choice of material was not only innovative but also aimed at improving both the car’s performance and aesthetics. The sleek, lightweight aluminum body gave the Aster a more futuristic look, aligning with the forward-thinking design principles that Zagato was known for.
This choice of material was not only innovative but also aimed at improving both the Fiat 132 Aster’s performance and aesthetics. (Picture from: Carrozzieri-Italiani)
However, the use of aluminum also made production more expensive, which contributed to the car’s limited numbers. Underneath its distinctive bodywork, the Fiat 132 Asterwas built with the same mechanical components asthe regular Fiat 132. It came equipped with a 2.0-liter four-cylinder engine, a reliable choice that provided solid performance.
The Fiat 132 Aster Zagati (in pictured the 1st prototype) provided enough room for two and made out of various fabrics, dominating is the dark green Alcantara. (Picture from: Zwischengas)
While the mechanical aspects were not groundbreaking, they allowed the Aster to deliver a driving experience that was dependable, if not entirely thrilling. The focus of this car was always more on its design than its power. Despite its eye-catching looks, the Fiat 132 Aster did not receive universal praise at the time.
The Fiat 132 Aster Zagato (in pictured the 2nd prototype) came equipped with a 2.0-liter four-cylinder engine, a reliable choice that provided solid performance. (Picture from: Carrozzieri-Italiani)
Some critics felt that its design resembled the popular styling of Japanese cars from that period, which detracted from its intended originality. The high cost of production, due to the use of aluminum, further prevented the Aster from entering mass production. As a result, only two prototypes were ever built, making it a rare piece of automotive history.
The high cost of production, due to the use of aluminum, further prevented the Fiat 132 Aster Zagato (in pictured the 2nd prototype) from entering mass production. (Picture from: ArchivioPrototipi.it)
Today, the Fiat 132 Aster stands as a reminder of a time when automakers were willing to take risks in design and materials. Though it never reached the production line, its bold design choices and the collaboration between Fiat and Zagato make it an interesting chapter in the evolution of automotive design. | NVOIXOfyT0Q |
Each detail of the car, from its aluminum body to its unique appearance, reflects the spirit of experimentation that defined the 1970s. The Fiat 132 Aster may not have changed the car industry, but it remains a symbol of the creative potential that existed when art and engineering came together. *** [EKA | FROM VARIOUS SOURCES | CARROZZIERI-ITALIANI | STORY-CARS | ARCHIVIOPROTOTIPI.IT | ZWISCHENGAS ]
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The 1957 Toyota Proto may be a forgotten chapter in automotive history, but it was a significant one. This car symbolized Toyota's ambition to push the boundaries of design and technology long before it became a dominant force in the automotive world. Today, as we look back at concept cars like the Proto, it’s clear that Toyota's journey to innovation started long before it reached the pinnacle of success. The Proto remains a fascinating glimpse into what could have been, a reflection of an era that dreamt big and laid the foundation for future automotive milestones. *** [EKA | FROM VARIOUS SOURCES | QUIRKYRIDES | CARSTYLING.RU | HABJAPANLTD | TECHEBLOG | STORY-CARS | NOTICIAS.COCHES | WEIRDWHEEL | PINTEREST ]
