Perhaps in response to misapplied government pressures, Mideast “oil crises” and rampant Naderism, a sort of pall had settled over the design studios in that period. A majority of American production automobiles in the ’70 were characterized by boxy forms, plywood surfaces, often with massive “rolling office-building” fronts, not to mention absurd “pseudo-classic” gimmicks such as padded tops, pinstripes, “opera lamps”, and phony wire wheels.

Russinoff’s uninhibited organic style, based on a love of form, human and animal, was in striking contrast to all that. His command of organic forms was awesome. Russ could out-Colani Colani.

When called upon to do production type cars, he could, but it was like trying to make something graceful out of a cigar box–it didn’t always come off. But when his talents were turned to sports cars, or his beloved small cars, the results were truly wonderful. Russ’es genius lay in shrouding these juvenile proportions in a rich variety of toned muscle forms. A little rounder here, a little tighter there; stretched here, inflected there–he played them all off against strong, simplified window graphics that made them shell-like and spoke to their internal spaces. For example, see his “Mullet” or his “Egg Car” in the second series above. Russ’es best designs were, to quote MOMA’s Arthur Drexler, truly “hollow rolling sculpture.”

(Wondering if Paul remembers THAT bit of silliness…. )

I only wish I’d known what questions to ask about his amazing career back then.

Thanks for the memories.