Ferrari 166 MM Competition Berlinetta (1953)

Turin is to car design what Florence was to the Renaissance: crucible, arbiter, and patron. This situation may, however, have been very different had this 166 not existed. It represents year zero in the relationship between styling house Pininfarina – or Pinin Farina in period parlance – and Ferrari. It was the first Berlinetta clothed by the world’s most celebrated automotive couturier and, as such, it matters. In many ways, the construction of this car marked the jumping off point in an association that has lasted more than 60 years and which has benefited both parties immeasurably.

Ferrari 166, chassis 0146(0346), was built at the behest of a wealthy gentleman driver. 1 of just 13 examples built to upgraded MM/53 specification it helped forge a legendary partnership and is still among the most striking Ferraris ever bodied by this legendary Carrozzeria in its pomp. The 166 established Ferrari’s footing on the international stage.

Having maintained Alfa Romeo’s frontline involvement in motor sport via his eponymous Scuderia, only to see it effectively snatched from under him in 1939, Enzo Ferrari had bigger fish to fry - he would manufacture his own car. There was, however, one obstacle to him doing this: under the terms of his severance deal, Enzo was barred from building cars under his own name for a period of several years.

Undeterred, but embittered, he established Auto Avio Costruzioni to create a new sports car. But, as Europe descended into hell, the goal of taking on the world from Maranello suddenly seemed a long way off. Just two Touring-bodied Tipo 815s were made using Fiat 508C chassis as a basis. Both led the 1500cc class of the 1940 Mille Miglia only to retire. Ferrari’s dream would have to wait a while longer. With a small but capable team behind him, Enzo began work on a new car as soon as Milan was liberated and this time around it bore his moniker.

A new 1.5-litre V12 was designed by Giacchino Colombo (whose earlier credits included Alfa’s Tipo 159 unit) and tested in September 1946. In March of the following year, the initial prototype was running under its own steam. Two months later, Ferrari the marque scored its maiden race win in only its second start as Franco Cortese triumphed in the Rome Grand Prix aboard a 125 Spider. By early 1948, and following an intense period of troubleshooting, the 125 gained an engine capacity hike to 1995cc (from 1497cc) and morphed into the 166. This model – or rather models as there were umpteen variations on the theme – would help anchor Ferrari’s standing as a major player in topflight motor sport, claiming that year’s Targa Florio and Mille Miglia for starters. In November 1948, the marque was first represented at a motor show: on display at the Turin Salon was a 166 Inter coupé and an open 166MM (for Mille Miglia), the latter being better known by the Barchetta (little boat) moniker. Its glorious outline by Touring would in time become enormously famous, covering all manner of Ferraris – and not just 166s.

For most of the 1950s, Ferrari production consisted of small-series runs, production of which often didn’t reach into double figures. The Maranello firm was a boutique manufacturer, one patronised by royalty, playboys, movie stars and your common or garden beautiful people. If you wanted a one-off, then no problem: Ferrari typically sold cars as rolling chassis to be clothed by an outside coachbuilder. In the firm’s embryonic years, this tended to be Alfredo Vignale’s eponymous concern.

Born in Turin in 1911, and apprenticed as a panel beater when just eleven years-old, he worked for Carrozzeria Farina during the 1930s before going it alone at the end of World War II. A talented designer in his own right, he often worked closely with prolific pen for hire, Giovanni Michelotti. And while the likes of Ghia, Bertone and others bodied early Ferraris, more often than not, it was Michelotti-styled, Vignale crafted cars that found greater favour.

This symbiotic relationship would, however, last only a few years. Enzo Ferrari was shrewd enough to realise that having cars completed with an endless array of body styles resulted in a degree of uncertainty as to how they would turn out. He wanted a partner, a carrozzeria of choice. And it was Vignale’s former employer, Battista ‘Pinin’ Farina, who would assume the mantle of favoured couturier. As astute in business as he was artistically gifted, ‘Pinin’ had left his brother Giovanni’s Stablimenti Farina concern in 1930 and set up shop in Turin under his own name. By the early 1950s, as the Italian economy entered a boom period, Farina’s elegant outlines found a ready and affluent clientele. Having known Enzo Ferrari since the 1920s, and having long since recognised his likely assumption to prominence among sports car manufacturers, it was natural that the two would join forces.

There was a snag, however: both parties didn’t want to make the first move and go to visit each other. After a certain amount of pride had been swallowed, they met halfway in Tortona and hammered out a deal over lunch. After a hesitant start, Farina bodied a trio of 212 Inters in 1952 (one for movie producer Roberto Rossellini), followed by a batch of 340s, 375 Americas and 250 Europas along with several competition chassis cars: it marked the birth of an enduring relationship that would flourish for the next half century.