My favorite is the Miura.
His rise to prominence began when he was hired by Nuccio Bertone in 1965, but only after his predecessor there, Giorgetto Giugiaro, had departed. A prodigiously talented duo, they’d been born within two weeks of each other in 1938, and would spark off one another thereafter in one of the great creative rivalries of our time.
He then diversified into motorbikes, helicopters, nightclubs, and factories. He was, he said, frustrated by the car industry’s lack of vision. And he became irascible if the conversation dwelt too long on his back catalogue. Old and frail he may have been, but it was the promise of the future that sustained him, not past glories.
“When you’re young the important thing is to work because it’s important to eat,” he told me. “I got to eat every day by designing cars, so in that sense I had some success. With regards to styling it’s a fact that you have to create emotion. Without it a car is useless.”
“When you’re young the important thing is to work because it’s important to eat,” he told me. “I got to eat every day by designing cars, so in that sense I had some success. With regards to styling it’s a fact that you have to create emotion. Without it a car is useless.”
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