Peter Monteverdi simply could not believe what he was seeing.
“It is totally inexplicable to me how to design such a stylistic mess,” the Basel-based dream-car manufacturer said at the 1977 Geneva motor show.
At the time, Monteverdi probably did not know that the new two-door Volvo 262 C had been originally styled by the Swedish marque’s chief designer, Jan Wilsgaard, who is said to have been shocked by the first prototype.
The final car featured Bertone’s script on its flanks but, rather than claiming credit for the shape, this only meant that the Volvo was produced by the Turin carrozzeria, the Gothenburg factory having no capacity for such a low-volume car.
It wouldn’t have made any difference: the silver coupé with black vinyl roof evades the classic ideals of beauty, regardless of the stylistic authorship.
From the outside, the strangely proportioned two-door looks like a chopped diesel locomotive, and from the inside like a prop from a Quentin Tarantino film.
The flat roof presses down from above, cramping space, and the rear side window sare hardly larger than portholes.