1941: Harley Earl's Very Good Year

I am not alone when I claim that the 1941 model year was the best for General Motors' styling chief Harley Earl, though I think 1949 comes close.  Several designs were outstanding and the others were very good -- all this in the context of their times.

The 1930s were a time when designs evolved from largely angular bodies and assemblages of many discrete parts (fenders, headlights, running boards, spare tires, etc.) to smoothed styles where most of the formerly discrete parts were largely blended into aerodynamically-influenced ("streamlined") compositions.  Between those points, a good many awkward designs were marketed by GM and the rest of the industry.  For General Motors, 1941 models were safely beyond that, as stylists and body engineers were now comfortable with with the new concepts.

GM had three basic bodies for 1941, but they were fairly similar.  Most attention was paid to using ornamentation as brand identification.  Each brand had its own theme (with one exception), and those themes were distinctive.  The exception was entry-level Chevrolet, which was given a grille similar to that of the upper-middle brand Buick.

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Buick Sedanette - Hyman Auctions photo

Cadillac - for sale photo
My favorite year for Cadillac, and a design that established brand identification indicators for decades to come.

Chevrolet Special DeLuxe Club Coupe - RM Sotheby's photo

Oldsmobile 98 Club Coupe - Auctions America Photo

Pontiac - for sale photo
I am partial to '41 Pontiacs because my father owned one (a model not nearly as sleek as the one pictured here).

Here is the 1941 LaSalle that never entered production. The image is part of page 46 from Automobile Quarterly, Vol. 41, No. 1, 2001.  This would have made for a very fine production design.  Sadly, a Cadillac model was substituted.  (LaSalle was a "companion car" to Cadillac -- companion brands being a late 1920s GM experiment.)

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Early 1970s U.S. Bumper Standards and Car Styling

The 1970s were especially difficult times for the American automobile industry.  As the decade began, engineers were dealing with regulations concerning emissions.  Following the petroleum crunch in the aftermath of the 1973 Yom Kippur War, fuel economy became an important concern.  All this while and into the far future, state and federal governments piled regulation upon regulation on the industry.  But the worst of it was in the 70s when major changes had to be made quickly.

Regulations that affected car styling the most in the first half of the decade had to do with bumpers.  This link mentions a 1971 regulation taking effect for 1973 models that dealt with collision damage, and bumper designs had to be adjusted to protect more parts of cars.   The next year, regulations dealt with placement of bumpers and the impacts they had to be designed to deal with, requiring even larger protection systems.

These regulations could have been more easily dealt with if designers were allowed to implement them when a new design was launched.  Unfortunately for stylists and engineers, designs already in production had to be modified.  The result often was heavy, awkward-looking bumpers placed on designs originally featuring far less protection.  As time went on, bumper impact criteria became more easy to accommodate, and protection systems on today's cars are hardly noticeable.

Below are some examples of Detroit cars and how they coped with the new rules.

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1973 Chevrolet Camaro Z28.  The bumper guards in front of the grille were in reaction to the first regulation.

The 1974 Camaros received a much more massive bumper whose styling wasn't quite a design theme destroyer.  Other parts of the front end were restyled to accommodate this change.

This is the newly designed 1972 Ford Torino produced before the regulations took effect.

This Ford press release pictures the 1973 Torino with a massive front bumper that anticipates the regulations to be in effect for the 1974 model year.  Again, other parts of frontal styling were modified.

A pre-regulations 1972 Mercury Cougar.

Like its Ford stablemate, Mercury went straight to the heavy bumper required for the following year.

Mecum auction photo of a 1972 Dodge Dart with its pre-regulation bumper.

Like Ford, some Chrysler Corporation models such as this Dart got large bumpers that didn't easily fit the existing styling theme.  Barrett-Jackson photo.

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Market Hierarchy-Based Trim Variations: 1950s USA

I touched on the matter here, and am now expanding on it.  Many automobile models have variations in price and prestige.  For example, my own model comes in three trim varieties, mostly having to do with the interior.  From the outside, these varieties are distinguished by the type of wheels and a few letters attached to the trunk lid.

At the other extreme, back in 1950s America during the fashion of elaborate two and even three color paint schemes and variations in chrome trim, the top and bottom of a brand's line were often easy to distinguish.  Despite my academic degree field, I'll do my best to avoid committing an act of sociology (being an apostate) to explain this.  From a strict automobile styling standpoint, the 50s was a time shortly after a strong, evolutionary trend had ended and styling staffs were groping (and failing to find) another evolutionary path.  See my book "Automobile Styling" for more detail.

This business of creating distinctions of price/prestige is a tricky one for manufacturers.  On the one hand, many buyers of top-of-the-line models enjoy being able to show off that they bought the best of the lot.  On the other, buyers of lesser models might feel a little unhappy that that other people can notice that their car isn't top-drawer for the brand.  So a certain amount of care needs to be taken to avoid loss of sales at either end of the continuum.  Of course, many buyers are not snobbish in this way; some are utilitarian in outlook and buy the model that best fits their budget and practical needs.

In today's automobile world, models of differing design within brands are what serve as price/prestige indicators.  Examples are letter-series Mercedes and number-series BMWs.

Returning to 1950s America, here are some examples of strong differences between models (though I must note that many brands' trim differences were more modest than what is shown below).

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1950 Chevrolet Styline Special Sport Coupe (for-sale photo).  Bottom of the line.  Exposed rubber windshield moldings and rubber rock guards on the rear fenders.  The chrome strip running along the top of the rear fender hid a cut-line, the fender panel being detachable on 1949 and 1950 Chevys.

The top of Chevrolet's 1950 line, the Bel Air hardtop (Barrett-Jackson photo).  Much more chrome trim can be seen here, though it isn't very gaudy.

1952 Ford Mainline Tudor.  Bits of rubber here and there like the Chevy shown above.  The only chrome trim on the sides is along the belt line.

The Customline Fordor.  Not much chrome, but enough to distinguish it from the almost totally-plain Mainline series.

1951 Hudson Pacemaker (for sale photo).  A thin chrome strip low on the body is the main bright side decoration.

The '51 Hudson Hornet in this for-sale photo features a chrome strip echoing the pressed character line along with a wide swath of chrome along the lower edge of the body.

1955 Chrysler Windsor DeLuxe Nassau hardtop, Mecum Auctions photo.  We are now well into the era of elaborate paint jobs set off by chrome trim.  But this entry-level hardtop lacks all of that.

Top of the line '55 Chrysler New Yorker DeLuxe St. Regis hardtop.  Aesthetically a few notches down from the Windsor, though it follows the function of proclaiming what it is.  Interestingly, the first Chrysler 300, introduced partway into the model year, had a clean side like that of the Windsor in the previous photo.

1955 Chevrolet One-Fifty Utility Sedan (for sale).  During the era of 1950s excess, we find this almost totally plain automobile.

1955 Chevrolet Bel Air hardtop at the other end of the line (Auctions America photo).

1956 Nash Rambler Super.  It isn't nearly as plain as the Chevy One-Fifty, having a swoopy two-tone paint scheme.  But it isn't nearly as elaborate as...

... the three-tone paint job on the line-leading Rambler Custom 4-door hardtop.

Finally, a 1958 Chevrolet Delray coupe.  Two-tone paint schemes were possible due to the chrome strip running along much of the side, though this car has only one color.  The color break at the front was via a small chrome piece linking the side strip with the top of the wheel opening.  This car lacks it, being monochrome.

This Bel Air sedan shares the side body stampings with the Delray, but uses a different trim design to proclaim its higher status.  It has the forward color divider above the wheel opening.

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Plymouth's 1949 Fastback

During the late 1930s and early 1940s American car stylists tended to assume that future automobile designs would emphasize streamlining.  One aspect of streamlining as it was then understood was that it required the "fastback" style, where the roofline curved downward to the level of the rear bumper.

Chrysler Corporation and Ford Motor Company 1940 models featured fastback designs on sedans.  General Motors introduced especially sleek fastback bodies for 1941, but hedged its bet by retaining some mild bustle-back designs as well.

But by the time new post-World War 2 designs were planned, fastback styling was falling out of favor.  One likely reason was because bustle-back designs offered more trunk space, making them more practical.

Nearly all redesigned 1949 Chrysler Corporation cars had rectangular, bustle-back styling.  But there were two exceptions: entry-level Plymouth and Dodge 2-door sedans were fastbacks.

The Plymouth fastback is featured below.  All the photos are of cars listed for sale.

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This is a 1949 Plymouth Special DeLuxe 4-Door Sedan.  Most Plymouth sedans and coupes looked something like this.

Her is a 1949 Plymouth DeLuxe P-17 fastback.

1950 Plymouths were given a simplified grille, but otherwise little-changed.

One small change at the rear was different tail lights.

P-17 Plymouths had a 111-inch wheelbase, whereas other Plymouth sedans had wheelbases of 117 and 118.5 inches: this resulted in a stubbier look.  For what it's worth, this Plymouth did look sleeker than their 1940-48 fastbacks did.

Here is a 1949 Chevrolet Fleetline 2-door sedan.  It is far more stylish than the Plymouths shown above.  However, General Motors phased out fastback designs such as this after the 1952 model year due to slow sales.

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How "Pregnant" was the 1929 Buick?

Once Harley Earl had been hired as General Motors' styling director, an early major project was to produce a design for the forthcoming 1929 Buick's new body.  When the cars reached dealers for the first time, there was a strong negative reaction to a slight bulge along the belt line, below the side windows.  That was because other brands featured body sides whose belt lines initiated curves that slightly tucked inwards as they fell away downwards.

Larry Edsall in Automotive News goes into more detail here.  According to most stories, including Edsall's, Earl reacted by claiming that body engineers altered his staff's design.  He used this (along with his friendship with Alfred P. Sloan) to gain final sign-off on future designs from his Art & Colour section.

I am a bit skeptical.  So far as I know, there is no visual evidence of the designs Art & Colour prepared for various Buick body types.  If this is so, then the matter cannot be resolved.  My guess is that Earl's design did have that bulge.  Checking with the styling history bible, "A Century of Automotive Style" by Michael Lamm and David Holls, I notice on page 91 that former Chrysler Corporation stylist Jeff Godshall is of the same opinion.  I base my case on the reasoning that body engineers, a conservative lot, would never think of making such a major departure from strong conventions of the time unless they were under instructions to do so.

We begin with four images of 1929 Buicks.  The notorious bulge is along the belt line.

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Now compare these Buicks to some other cars of its vintage ...

A 1929 Chevrolet.  Its body was designed around 1926-27 for the 1928 model year, so it has no real Harley Earl influence so far as I can tell.

A 1929 LaSalle.   Earl's first styling project with General Motors was the 1927 LaSalle line.  Its sides are typical of the times.

A 1928 Chrysler.  Chryslers competed with Buicks, and potential buyers of '29 Buicks would have been familiar with cars such as this.

1929 Dodge.  Its design probably pre-dates Chrysler's 1928 acquisition of Dodge.  I include this image to provide some more non-GM design context.

So yes, that Buick bulge was definitely out of the American car body design mainstream during the 1929 model year.

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Chevrolet's Uncluttered 2003 SS Concept Car

Nowadays concept and production cars seem to be collections of planes and angles intended to somehow make wind tunnel tested body shapes distinctive for the target marque.  I think that is simply a fad -- well, I hope it is a fad.

Back around the year 2000 there was generally a lot less ornamentation and shapes were cleaner.  There also was a minor fad for so-called Retro designs, where features of cars from decades earlier were hinted at.

A somewhat obscure concept car from that era is the Chevrolet SS, first shown at the Detroit auto show early in 2003.  It displays some of the characteristics just noted.  However, its design features didn't appear on future Chevrolet sedans.

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The wheels on the SS are huge, so reducing their diameter slightly would have improved the design.  The front fenders are nicely shaped Retro element recalling sports car fenders from around 1950.

The rear is uncluttered, in part because concept cars don't require bumpers.  I can glimpse a trunk lid cut line that suggests an inconveniently small opening.  These details would have been altered for a production version.

An almost-side view showing the simple, nicely done shaping.  The problem of the too-large wheels is clearly shown here.

Here is a 2003 vintage Chevrolet SSR, an odd production pickup truck.  Beginning in the early 2000s, Chevrolet stylists began playing with a frontal theme based on a single, thick bar that was sometimes chromed, sometimes not.  Chromed versions are seen on the both the SSR and the SS concept.  The shallow V grille opening shape also is seen on both vehicles.

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The Cleanly-Styled Yet Flawed Chevrolet Vega

Chevrolet's first fling at producing a compact car for the American market was the ill-fated Corvair, marketed 1960-69.  The second attempt was the Vega in model years 1971-77.  It sold well, more than two million being produced.  This comparative success came despite Vegas having earned a reputation for many defects.  Wikipedia has a detailed entry on the Vega that mentions its problems.

Here we focus on styling.  In that regard, the Vega comes off somewhat better.  Its design was uncluttered, its basic shape being a carefully scaled-down version of what a standard size American car could have looked like in those pre- aerodynamic efficiency days.

That virtue might also be considered a defect, because it might have looked even better -- or more appropriate -- had it not followed the general appearance of larger cars.

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A 1971 Vega hatchback, the most popular model.  Its "face" (especially the grille, bumper and headlight housings) strongly resembles that of the 1970 Chevrolet Camaro pictured below.

1970 Chevrolet Camaro Z/28 - Barrett-Jackson auction photo.

Near-side view of a 1971 Vega hatchback.  A pleasant design.

1971 Vega hatchback seen from behind.  Again, an uncluttered appearance.

Rear 3/4 view of a 1971 Vega Sedan.  There never were four-door Vegas.  This model featured a notch-back and conventional trunk.

Front 3/4 view of a 1971 Vega sedan.  Its profile is less attractive than the hatchback's.

The third Vega body type was the "Kammback" station wagon.  A low-production variation of this was a panel truck where the rear side windows were replaced by sheet metal panels.

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