In no field more than in the design of automobiles is the italian genius for sensual pleasure better manifested.
Moretti EGS is the reinterpretation of 1954 Morretti 750 Grand Sport. It is the result of a deep research into the human-machine relationship on a visceral level. In the era of transition between petrol and electric age, we need to look for the factors which could ease this process. A human factor, probably. Imperfectness? Nostalgia? Sexuality?
What is that secret ingredient that gives Italian cars their typical charm and temperament? What makes people to create such an emotional bond with these brands? What defines the relationship between Italians and car industry?
Aim of the project was to conduct a deep analysis of design language of a broad variety of italian car manufacturers (Alfa Romeo, Ferarri, Bandini, Ghia, Moretti, Ermini, Nardi, etc.) and Italian design houses (Pininfarina, Bertone, Zagato, etc. ) over the years 1940–1980. To explore how their forms evolved and what were the drives behind these changes, from 30’ Art Deco to 70’s functionalism. To understand the triggers of various design movents it was fundamental to study the development in manufacturing processes over the years. To be able to comprehend the overall essence of the italian automotive design of that period, it was essential to dedicate a large portion of the research to political, cultural, and artistic heritage of the region.
The second part of the research focused on consumer emotions and how they influence consumer behavior during and after a decisive process. Some argue that an emotional side of a new product may be more critical to a product’s success, than its rational or practical elements. Emotions are an important component of consumer response. Spontaneously evoked affective reactions rather than cognitions in some cases tend to have a greater impact on choice. It seems, that the role of emotions is particularly eminent in the context of new products that represent radical innovations.
This visceral relationship may be even more present between bodies of people and bodies of cars. A „love affair“ with the car, its sexualization as a „wife“ or a lover suggest a kind of libidinal economy around the car, in which particular models can become objects of desire, to be collected and cosseted, washed and worshipped. Whether phallic or feminized, a car materializes personality and takes part in the ego-formation of the owner or driver as competent, powerful, able and sexually desirable. Cars are a symbol of control and control – and so related ego, are strongly connected to sexuality.
The last part of the research was to try to understand the psychological basis of nostalgia phenomenon. At the end of this extensive study, I had a slightly clearer understanding about why we perceive these cars of past as beautiful. To know where we are going, we must know where we have been. There is unbelievable amount of incredibly designed vehicles, which are slowly falling into oblivion. Wonderful sculptures and stories, poetry on wheels. Defunct car manufacturers like Moretti, Bandini, Stanguellini or Ermini once ruled the circuits. Now they are being forgotten. But their message, and more importantly their emotion, can be still captured in new forms and translated into a new design language. In perfect balance, where old meets new.