Brand heritage has been the rage with new car makers for some time now. “Bentley Returns to Le Mans” trumpets one ad agency, as the now-VW-owned, once-English company attempts to regain some of the glory it covered itself with sixty years ago. The PT Cruiser is a gangster car for the 21st Century while the new Beetle provides an opportunity for today’s youngsters to experience the style of the original Bug, without having to fight a “let’s have a flip” swing-axle suspension, an anemic powerplant and interior accommodations for which Spartan would be too kind a word.By and large, European car […]
Brand heritage has been the rage with new car makers for some time now. “Bentley Returns to Le Mans” trumpets one ad agency, as the now-VW-owned, once-English company attempts to regain some of the glory it covered itself with sixty years ago. The PT Cruiser is a gangster car for the 21st Century while the new Beetle provides an opportunity for today’s youngsters to experience the style of the original Bug, without having to fight a “let’s have a flip” swing-axle suspension, an anemic powerplant and interior accommodations for which Spartan would be too kind a word.
By and large, European car makers have been more attentive to their histories than American ones, perhaps because American products tend to be driven more by the perceived market opportunities of the moment. For instance, there is certainly a more direct connection between a Mercedes 220 sedan from the 1950s and a current C-class car than there is between a 1958 Impala and Chevrolet’s contemporary offering with the same nameplate.
But that doesn’t mean General Motors is insensitive to brand heritage. While in Manhattan last week, viewing the New York Auto Show, I had the opportunity to attend a private dinner with Ron Zarrella, President of General Motors, to informally discuss GM’s thoughts on reintroducing Alfa Romeo to the US.
Also in attendance were Tom Price (Alfa 8C aficionado and Bay Area dealer), Murray Smith (founder of the Rockefeller Concours), David E. Davis (publisher emeritus of Automobile magazine), Steve Earle (founder of the Monterey Historics) and (WHO WAS THE LAST GUY? NEED TO FIND OUT?).
During the course of the evening, with conversation helped along by Tom Kowaleski, Executive Director of Product Communications, the depth of GM’s concern about “doing this right” became apparent.
Mr. Zarrella inquired about Alfa’s rather dismal sales history in the US. Why had it failed? What were its strengths? How involved should GM be with the current group of owners? What kind of dealers should be selected to represent Alfa in the US? Which Alfa models should come in? What was the proper way to promote Alfa?
All were substantive questions, and each elicited thoughtful responses from the gathered aficionados of the snake and cross.
While the details of the discussion must be kept under wraps for now, I can say that as a long-time Alfa fanatic and long-time sufferer under Alfa’s various ill-conceived and poorly executed schemes for sales and service, I felt there was hope for the relationship with GM.
GM understands that in today’s competitive market, they only have one shot at reintroducing Alfa properly, and that they must have a world-class product, with world-class reliability, supported by a well-trained dealer base that is knowledgeable about the product.
Further, and quite encouraging, GM seems to understand the importance of connecting with the current group of Alfa enthusiasts in the US. This is in stark contrast with previous Alfa importer strategy. When I was selling Alfas (and Ferraris, Maseratis and Lotuses) as a sales manager at Ron Tonkin Gran Turismo in Portland, Oregon, we were told explicitly by Alfa’s national marketing arm that “the owners of old cars don’t buy new Alfas; don’t waste your time on them.” Contravening this directive, Tonkin cultivated a relationship with the local group, the Alfa Romeo Owners of Oregon, and Oregon consequently has one of the largest installed bases of Alfa Romeos in the country.
For a brand heritage marketer, Alfa Romeo is a dream proposition. The marque has a glorious history that stretches back to the Mille Miglia-winning cars driven by Nuvolari, through the great achievements of the T33s in the ’70s to contemporary successes in the Touring Car competitions in Europe. While not all Alfas have been 8C 2900s or 1900 Zagatos (sorry, Berlina and Milano owners), neither have they been Fiat-sourced econoboxes with an Alfa badge on the nose.
One dinner does not an importation success make. And there is always the danger that tiny Alfa will fall through the cracks as the world’s largest car company struggles with other critical problems. But based on my conversations, I can say there is a commitment at the highest level of General Motors to respect the Alfa Romeo brand, and to make its return to the US a triumphant one.
ON THE COVER
The purpose of automotive art is to cause the viewer to look at familiar lines from different perspectives. And that is exactly what Tom Hale has done with “Jaguar XKE,” shown for the first time at the AFAS show at Pebble Beach last August.
“This painting is more impressionistic than what I usually do,” Hale explained. “Normally I define things more closely. The E-type is one of the most sensuous cars out there,” he said. “The surfaces are so fluid and sensuous that they are wonderful to depict.”
Hale primarily paints American classics such as 1930s Duesenbergs and Packards, and has been commissioned to create posters for Barrett-Jackson and the Meadow Brook concours.
He attended Michigan State University and the Art Center College of Design in Los Angeles, receiving a degree in 1966. For the next two decades, he was a styling designer for General Motors, Chrysler and American Motors, before pursuing painting as a full-time career. He has completed more than 3,000 paintings for corporate and private clients. Hale is a member of the American Watercolor Society (AWS) and the winner of their Gold Medal of Honor for his painting, “Chrome.”
There are no prints of “Jaguar XKE,” but the original painting, 36″ x 8″ acrylic on canvas, is available, as well as prints of some of Hale’s other works. Print prices range from $50 to $200. Contact the artist in Northville, Michigan, at 248/476-9529.