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Of course Earl s currency was Trumpets of

The Aesthete here are all the great car designers ? Gone the way of the campanatura, the running-board, swages, pontons, strakes, suicide doors and the bold vulgarian flourish, is my guess. Yes, I know about the diligent students on vehicle design courses at The Royal College of Art, Coventry University and Art Center garage door opener 500 tv of Design in Pasadena. But what exactly is this future that Mr Huang and Mr Lee and Ms Moon are so fretfully working on in their seminar rooms? Designing slick GPS poduleswhere an interestinghot engine has been replaced by ayard of code, whiskingyou to a destination almost indistinguishable from the place you have just left. And you will not need a bulky HVAC unit in your chaste podule: the cabin environment will be dominated by an odour of sanctity, as bracingly unmanning as the smell of carbolic in a nunnery’s latrines.

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Will any designer, in any genre, ever equal the gargantuan adjustments to popular taste achieved by Harley Earl? I don’t think so because none, except Jonathan Ive at Apple and he only very briefly has ever better realised the amazing pop cultural potential of the industryhe inhabited. Of course, Earl’s currency was Trumpets-of-Jericho kitsch, but what a glorious moment he represented. I love the story that designers working on the 1953 Pontiacs prepared drawings to show Earl and that these drawings were presented with two overlays, each suggesting an already extravagant amount of chrome. Not realising a choice was to be made, Earl put both garage door opener 500 tv on top ofthe drawings, approved the result and the ’53 Pontiacs ended up with more brightwork than the Southern Delta Aquarid meteor shower. Earl’s contemporaries were able to design with a confident, if naif, vision of the future.

The ads for Virgil Exner’s 1957 Chryslers crowed ‘Suddenly, it’s 1960!’We have not only lost Exner’s garage door opener 500 tv tail fins, we have lost his innocence too. And 1957 was the year Battista ‘Pinin’ Farina showed the Lancia Florida II, perhaps the most aesthetically decisive car ever. There are a few more Americans I want to mention. George Walker’s 1949 Ford is an all-time classic of design, not just ‘car design’. Here was a proposition that radicallyimprovedthe consumer’s concepts of efficiency, comfort and convenience.

 

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