Automotive design, once separated into two schools by the Atlantic Ocean, became a virtually universal language in the 1950s. There was much cross-pollination between continents, as American designers began to travel overseas and European designers turned to the American car companies to provide chassis for their creations. In the early post-war years, the United States was rich with prosperity and vigour, and, combined with continental brio, this resulted in many incredible creations that captured the aura of an age.
Gian Carlo Boano’s styling also captured the spirit of the man. In 1955, Boano was in his early 20s, but he had already been designing cars alongside his father, Felice Mario Boano, for several years, first at Ghia and then later at their own Carrozzeria Boano Turin. Young Boano lived like most 20-somethings all over the world: he enjoyed a good party and a bevy of beautiful women. As he later told pre-eminent American automotive historian Beverly Rae Kimes,
I always lived with enthusiasm. I was able to fulfill all of my desires.
That attitude displayed itself in Gian Carlo Boano’s designs, particularly in a certain spaceship presented at the 37th Salone dell’Automobile in Turin in 1955. It had curves in abundance; so many that the eye does not so much settle on the car as move swiftly over it, watching the lines form themselves. It looked like nothing else yet built in the world, which was probably the idea. It was dubbed the Indianapolis, and it would be the hottest of
hot rod Lincolns — via Art of the Automobile 2013