A journey through design and history with the extremely rare MORETTI 1500SS and the MORETTI-FIAT 127 MIDIMAXI, symbols of Turin's excellent craftsmanship of the 60s and 70s.

The seventh edition of “Chantilly Arts & Élégance Richard Mille,” the renowned Concours d'Élégance that pairs the automotive world with that of art and elegance, has now drawn to a close. 

Founded in 2014 and always hosted at the Domaine du Château de Chantilly in Hauts-de-France, the exclusive event has quickly become better known among the public and insiders, to the point of reaching the same level as the prestigious events held at Pebble Beach (USA) and Villa d’Este (Italy).

Alfa Romeo paid homage to the French event by putting on display three highly appealing models: the new Alfa Romeo 33 Stradale, an authentic ‘manifesto’ of the Italian brand’s capabilities – now and in the future – in terms of style and driving experience; the renowned 1971 33 Spider Cuneo style prototype, usually on show at the Alfa Romeo History Museum in Arese; and the brand-new Junior, the model marking the return of the global Italian brand to the largest segment in Europe, which made its debut at the same time as the eagerly awaited open days at French dealerships over the weekend.

The three cars drew excited visitors into the display area set up in the refined jardin à la française designed by André Le Nôtre, one of the major attractions at the Château de Chantilly, revealing the subtle common thread that binds Alfa Romeo's mechanical creations of the past and present. The style prototype of the new Alfa Romeo 33 Stradale was making its debut at a public event in France, giving visitors the opportunity to admire the common thread that is propelling the founding values of Alfa Romeo’s heritage into the future.

Finally, it is worth noting that “Chantilly Arts & Élégance Richard Mille” is the relaunch of the concours d’élégance format created in France in the 1920s, when the cars on display were accompanied by a mannequin dressed up by a fashion house. In recent years, Alfa Romeo has always been represented at the Chantilly concours by cars belonging to private collectors, winning the title of “Best of Show” in 2016 with a magnificent 1938 Alfa Romeo 8C 2900B Lungo Berlinetta Touring.
 

Alfa Romeo 33 Stradale: daring to dream

To make a dream come true, the essential ingredient is a good dose of courage and a pinch of healthy madness. This was the same recipe as for the car considered by many to be among the most beautiful ever: the 33 Stradale, launched in 1967. Today, with the same boldness and vision, the Alfa Romeo team has designed and developed the new 33 Stradale, an authentic work of art in motion, the upshot of the perfect combination of beauty and technology. Its goal is to provide the most exciting driving experience and the immortal charm of an icon to a very small circle of enthusiasts, who have believed in the project ever since the outset. The new 33 Stradale was created at the newly founded Alfa Romeo “Bottega,” where the brand’s designers, engineers and historians first met the 33 buyers to make a joint decision on their ideal configuration, exactly the same way as in Renaissance artisan boutiques, in the workshops of renowned Italian coachbuilders in the 20th century, when Alfa Romeo modeled its creations with the collaboration of these entities, all unique in the world. One of these was the renowned Carrozzeria Touring Superleggera, which went on to leave its mark on some of the most beautiful Alfa Romeos of all time and now plays a leading role in the production of the new 33 Stradale. In short, the 33 project skillfully combines artisan processes, technological innovation and customer's wishes, to create something unique and unrepeatable.
 

Alfa Romeo 33 Spider Cuneo – 1971

Taking it directly from the racing Sport car, in 1968 Alfa Romeo marketed the 33 Stradale, with magnificent bodywork designed by Franco Scaglione. However, the prestige of the mechanics would soon also attract other designers, at a time when ‘dream cars’ with futuristic lines were featuring at international motor shows. After Bertone’s Carabo, Pininfarina’s P33 Roadster and 33/2 Coupé Speciale, and the Italdesign Iguana, Pininfarina interpreted the Alfa chassis for the last time at Brussels in 1971, with the 33 Spider that would later be named “Cuneo.” This prototype used the chassis that had already given rise to the P33 Roadster, the bodywork of which was dismantled and replaced by a perfect wedge shape with taut and angular lines. The few round edges left on the mudguard hinted at the width of the tires, while the only truly curved part was the windshield which – like a low and streamlined shell but wrapping around like the visor of a helmet – rose slightly from the taut lines of the sides.
 

Alfa Romeo Junior, sportiness goes compact

Also featuring at the French event, the new Alfa Romeo Junior, an authentically cool and unique object that combines a captivating style with the most advanced technology in terms of comfort, connectivity, and driving dynamics. The new Junior is also available in hybrid and electric configurations, without distinctions in terms of aesthetics or equipment, because the only thing that matters is the fact it is 100% Alfa Romeo. Recently, the Junior Hybrid and Junior Electric made their debut; the two new entry versions equipped respectively with a 136-hp hybrid engine and a 156-hp electric motor join the Junior Speciale, the launch version that comes with a selection of the best specifications on offer in the line-up. Anticipation is also rising for the debut of the brand-new 100% electric Junior VELOCE 280CV, the line-up's epitome of sportiness. In July, the same version featured in adrenaline-fueled pre-type-approval testing at the iconic Balocco Proving Ground. And the first reviews from the experts who tested it are extremely positive.

Spanish actor Pedro González Alonso stars in the launch campaign of the new Alfa Romeo Junior, the compact sports car that brings the Italian global brand back into a segment of strategic importance. 

The choice of the international star was the result of clearly shared values – passion, audacity, charisma, and undeniable elegance – through which Alfa Romeo presents the exceptional driving experience offered by the new Junior, in the name of a complete balance between heart, brain and soul.

A global icon for his magnetic role as Berlíno in the TV series Money Heist, his performance helped transform the character into a cultural phenomenon, making Alonso an internationally recognizable figure and a symbol of contemporary serial drama, with Netflix even producing a spin-off for his character. A character of great charm, who embodies sophistication, charisma and a mysterious energy, traits that make him not only a recognized talent but also a symbol of style and audacity.
His passion manifests itself not only in acting but also in other artistic activities, such as painting and writing, reflecting the same intensity as Alfa Romeo in its creation of cars that combine sportiness, timeless design, and cutting-edge technology. Of course, one of these is the new Junior, which rewrites the rules of sportiness in its category.

Alfa Romeo Junior, on the other hand, is a cool and unique object to own that expresses a completely new sportiness, which goes beyond mere performance and looks towards an ideal of a positioning of sportiness, to win over a new generation of Alfisti fans.  Junior has the ability to create an immediate emotional connection with the driver based on a symbiotic human-machine relationship; for Alfa Romeo, the car is and remains an exciting product to be experienced with passion and engagement.

As such, the new advertising campaign for the new Junior had to express a different way of ‘feeling’ a car and fully experiencing its sporty attitude. That's why the new commercial speaks directly to people's hearts, those who are guided by their emotions to learn to love again, following the greatest passions each person has within themselves. This was the genesis of the commercial "Learn to love again", where a charismatic character – played by Pedro Alonso – throws logic to the wind and is overcome by the visceral, mysterious emotions of falling in love. It isn't about selling a car; it's about letting yourself be won over by an Alfa Romeo. After all, there are feelings in life that are simply intangible and that cannot be explained by logic alone. Sometimes, it’s enough to ‘think’ with your heart. And exactly that is what Alfa Romeo is asking of its fans and everyone else: to learn to love again! Who better than Pedro Alonso – with his bold attitude and indisputable charm – to convey such a strong and intimate message to change our minds?

Born in Vigo, Spain in 1971, Pedro González Alonso trained at the Real Escuela Superior de Arte Dramático (RESAD) in Madrid. Before the rise of his international fame, he starred in a wide range of Spanish films and TV series, such as Padre Casares (2008-2015) and Gran Hotel (2011), masterfully playing complex and charismatic characters. A fan of Italian culture, specifically its music, cinema and art, the Spanish actor recently stated that he would have liked to act together with the legendary Marcello Mastroianni and that his dream is one day to work with directors Paolo Sorrentino and Nanni Moretti.

Engaging and intense, the short film with its language inspired by the web series was made by the Migrante creative agency, directed by Sébastien Grousset for the Akita Film production house.
In addition, the first part of the video features the music of Flavio Ibba and Marco Gualdi (Red Rose Productions) while in the second part, the images are accompanied by the track “I Feel Love” (P. Bellotte / G. Moroder / D. Summer), published by Warner Chappell Music Publishing and mastered by Flavio Ibba and Carlo Palmas, with the voice of Loredana Fadda (Red Rose Productions).
For a preview of the compelling commercial, Alfa Romeo invites all its fans to log on to the brand's official channels: the full 60-second version is available on the brand’s official YouTube channel. 

Alfa Romeo begins 2024 by celebrating two very important anniversaries. This year is the 70 of the Giulietta Sprint, unveiled in 1954, as well as the 50 of the 1974 Alfetta GT; two much-loved and commercially successful models that – each in their own way – tell the story of two memorable eras, extraordinary times in Italian automotive history.

To mark the occasion, the mastery of the Alfa Romeo Centro Stile has produced two new logos, deliberately presented at the beginning of the year. Their aim is to support club and brand events throughout 2024, making them emblems of the tribute the Alfisti fandom will pay to two cars that have taken their rightful place in the collective unconscious, as icons of functional beauty and noble Italian sportiness.
The wide range of club events and all the brand's communications will therefore bear the official “made at the Alfa Romeo Centro Stile” emblems.

Distinguished by minimalistic and elegant lines, the two logos retrace the features of the two cars, adorned for the occasion with their signature, in the same font as on their bodywork. The dates of the celebrations complete the tribute.

The Alfa Romeo Centro Stile offers both emblems in a range of color solutions, to make them extremely functional for different applications.
 

Celebrations at the Alfa Romeo Museum
The Alfa Romeo Museum in Arese has already scheduled two events to celebrate these major anniversaries. The context is Backstage, a series of lectures begun in 2018 to explore Alfa Romeo history using unpublished materials from the Documentation Center and testimonials from the historians, designers, test drivers, and mechanics who played an active role in or had in-depth knowledge of that car or project.

On Sunday, May 5, the spotlight will be on the Alfetta GT, with the Giulietta’s turn coming on June 2. The lectures will take place in the Museum’s Giulia Hall, preceded by a parade to which owners of that specific Alfa Romeo model are invited.
The full schedule of Backstage lectures will be posted on museoalfaromeo.com soon.

The third Tribe Days will definitely be the pinnacle of the celebrations. A unique event aimed at all four-wheel enthusiasts: Alfisti fans and others, clubs, collectors, enthusiasts, the merely curious, all united by their passion for the brand.
 

History of the two cars:

Giulietta Sprint (1954): The car that marked Alfa Romeo's transformation into a major automotive industry was undoubtedly the Giulietta, “Italy's girlfriend”. In 1952, Alfa Romeo production was focusing solely on the 1900, so the idea of a more modern car with a more limited displacement made headway.
Having discarded the initial plans for a 350-cc small car, and for another 750-cc front-wheel drive model (although the code 750 would also be used in later projects), by August 1952 it was clear that the car’s layout would be conventional, with a front engine and rear-wheel drive. Within a year, the first prototype took to the road, a compact coupé created by Ivo Colucci's bodywork department, equipped with a 1100-cc four-cylinder twin-cam light alloy engine. Its displacement was then increased to 1300 (1290 cc). With a single-barrel carburetor, it delivered 65 hp, for a top speed of 165 km/h, but at the end of its career, with the latest evolution in 1958 and a twin-body carburetor, its power rose to 79 hp, running at up to 170 km/h. The gearbox and differential housing were also made of aluminum. The drum brakes, with their helical fins, were based on the 1900’s.

In early 1954, the mechanics were on the home stretch, but only sketches and a few rudimentary prototypes of the body survived. However, Finmeccanica announced the delivery of a certain number of units to selected shareholders. The impasse was resolved by Rudolf Hruska, recently called on by Giuseppe Luraghi to reorganize the plant with the aim of producing 50 Giulietta cars per day: an external coachbuilder would assemble a small series of coupé versions to be delivered to shareholders while they waited for the sedan. After initial mistrust, the Alfa Romeo-led IRI accepted the proposal: the sketches were presented by Boneschi, Boano and Bertone. The latter, assisted by designer Franco Scaglione, then came up with a compact and well-proportioned car, with minimalistic, refined and sporty lines: the Giulietta Sprint.
The car was unveiled at the Turin Motor Show on April 21, 1954, but two weeks earlier, a preview was held in the courtyard at Portello for insiders and authorities: two actors jumped out of a helicopter dressed as Shakespeare’s Romeo and… Juliet.
The Giulietta made its mark on sales as soon as it was introduced. A few days later, orders had to be suspended; the plant was already overrun. As well as the sporty and successful lines, its success was down to performance, putting the car at a level that had not been seen before in its category and undermining competitors in a much higher class.
This would become the turning point for Alfa Romeo, the dawn of a great automotive industry. Production of the Giulietta in its various versions continued for 11 years: a total of 177,513 units were made, 24,084 of which were the Sprint.
 

Alfetta GT (1974) The launch of the Alfetta was followed two years later by a coupé version, assigned with the unenviable task of replacing the legendary, best-selling Bertone coupé, designed by Giorgetto Giugiaro in 1963 as a sports version of the Giulia. However, the wheelbase of the Alfetta GT 1.8 was shortened by 110 mm and the suspension was sportier. The bodywork was still designed by Giugiaro – who by then had set up his own business, Italdesign – according to very modern standards, already partly anticipated with a prototype from a few years earlier, based on the 1750 GTV: hatchbacks with a fastback tail that ended very high up with a hint of a spoiler. The lines were taut and angular; the front, with four recessed headlights, was low and assertive. Actually, the Alfa Romeo Centro Stile had already clearly left its mark in the design. The driver’s seat also reflected the sporty tone, with its low, relaxed position and single instrument – a large speedometer – in front of the driver. The tachometer and secondary instruments were in the middle of the dashboard.

The Alfetta GT, however, was intended as more of a grand tourer than an extreme sports car, with great attention paid to practicality: there was enough space inside for four people, the rear windows could be wound down, and the large trunk was easily accessible via the tailgate.

As soon as 1975, the mechanics of the Alfetta GT would already be modified slightly, from 122 hp at 5500 rpm to 118 hp at 5300 rpm. One year later came the debuts of an entry-level version, with a 109-hp 1.6 engine (only produced until 1980) and simplified specifications, and of the GTV (GTS in the UK market) with a two-liter engine.

Production ended in 1986, after 136,275 units of the various versions had rolled out of the factory.

Kilometarske gužve na graničnim prijelazima u sezoni trebale bi biti prošlost, piše njemački portal ruhr24.de.

Foto:Gettyimages

 Automotive designer and executive Harley J. Earl was born on this day in 1893 in Hollywood, California. Earl began his automotive career when he dropped out of Stanford to join his father’s coachbuilding business, Harley Automotive Works.

 There he learned the art of crafting custom car bodies, many of which were going to Hollywood’s biggest stars at the time, including Tom Mix. After Cadillac dealer Don Lee purchased the business, he named Earl director of the custom body shop. Cadillac General Manager Lawrence P. Fisher would pass through the shop and witness Earl’s talent.

While on a national tour of dealerships, Fisher observed Earl at work. He noticed how he used innovative design methods for sculpting his bodies, such as using clay to define lines. Fisher, impressed with what he saw, commissioned Earl to design a body for the 1927 LaSalle, Cadillac’s brand new companion brand. Earl accepted the task. When it finally rolled onto showrooms it sold in great numbers. Its success landed Earl as the director of GM’s new Art and Color Section. 

Harley Earl’s Car Contributions

In 1937 the Art and Color Section was renamed the Styling Section. GM President Alfred Stone soon promoted Harley Earl to VP, making him the first styling person to ever make VP at a large automotive corporation. In his career, Earl would introduce many iconic vehicles, including the Buick Y-Job in 1939, recognized as the first concept car. He would also assist with Allied camouflage research during WWII and authorized Frank Hershey’s 1948 Cadillac design, which would usher the tailfin era. Perhaps his most lasting contribution was starting Project Opel, which would become the Chevrolet Corvette. 

Earl retired as a VP in 1958 at 65 years old, then a mandated retirement age. His influence on the automotive industry lasted well beyond that. His own motto of making American cars long and low remained in practice among most major automakers through the 1970s. Earl passed away in 1969 following a stroke. In 1986 the Automotive Hall of Fame inducted him and the Detroit Free Press named him the third most influential Michigan artist of the 20th century, behind Aretha Franklin and Stevie Wonder.

 After finding massive success as a partsmaker in Detroit’s blossoming auto industry in the early 1900s, the Dodge Brothers, John and Horace, signed a deal to build parts exclusively for Ford. 

Since Henry Ford didn’t have the capital to pay them directly for their services, he awarded them $10,000 in Ford Motor Company stock. As the brothers produced engines and other parts for the new Ford Model T starting in 1908, Ford’s success amplified their own wealth beyond their wildest dreams. However, the two were not content building other peoples’ cars. In July of 1914, the pair produced their last Ford part and went all in on building a vehicle with their name stamped on it. Just a few months later, on this day in 1914, the first Dodge car built for production purposes rolled out of their Hamtramck factory. It proudly carried a Dodge Brothers badge on its radiator.

By the end of 1914 less than 250 all steel Dodge Brother touring cars, the first all metal production vehicles, had been build. The new car cost featured a highly engineered L-head 4 cylinder engine and rode on a 110-inch wheelbase. When new, it went for $785, about $22,000 in 2022. The meager production numbers at the end of 1914 hardly foreshadowed the success they would find. By the end of 1915, after introducing a roadster model, more than 45,000 Dodge Brothers car would be on the road. This set a new record for highest production for a car company’s first full year and made them the third biggest automaker in the country.

What happened to the Dodge Brothers?

In 1919 Henry Ford was able to purchase the Dodge Brothers’ remaining Ford stock shares for $25 million. Adding the $5.4 million from dividends and $1.7 million from contract profits, all in they earned $32.1 million off their original $10,000 investment in the company. Unfortunately, they would not live to enjoy the wealth for long.

In 1918 a flu pandemic was sweeping the nation. The disease did not care about wealth, as John Dodge found out. He contracted the disease and died in January 1920. Horace fell sick with the flu the following December and suffered a similar fate. With John and Horace dead, their widows were given control of Dodge Brothers Inc. In 1925 the women penned a deal to sell the company to Dillon, Read & Co, investment bankers, for $146 million, about $1.7 billion in 2020. Only three years later the company sold again, this time to Chrysler, where it remains today as part of Stellantis..

 Louis Renault, the founder of the French automobile company that bears his name, died in prison on this day in 1944 at age 67. 

The Frenchman found himself behind bars after being named as a suspected Nazi collaborator, a charge he denied. The circumstances leading up to his arrest and death remain mysterious, but he cemented his legacy in the auto industry long before the rise of the Nazi party.

The first Renault car

Louis Renault, born in 1877, build his first car in 1898 with the help of two hired workers. Dubbed the Voiturette, the car featured a De Dion-Bouton 1 cylinder engine, giving the car a top speed of about 20 miles per hour. After demonstrating the vehicle could maneuver hilly roads without issue on Christmas Eve of 1898, he received 13 orders. A friend of Louis father purchased that first car, paving the way for production for the rest. After officially founding the company that would become the Renault known today in 1899, he continued to build Voiturette cars until 1903. As each year passed, he added new features to the car, such as a roof and doors. This was the early days of the automobile after all.

The last iteration of the Voiturette was the Type G. It featured semi-elliptical springs that gave the car a rather comfortable ride for the era. It also had a highly engineered water cooling system that reduced the operating temperature of the 8 horsepower De Dion-Bouton engine. That same year, Renault would begin to manufacture its own engines. Orders for cars soon began to flow in, including a large purchase of taxis that would roam French streets. In 1908 Renault had its biggest year yet, producing 3,575 cars.

Renault in WWI

Following a trip to the US to visit Henry Ford in Detroit in 1911, Renault instituted a variety of manufacturing techniques that would bolster production. By 1913 he had mastered mass production at his plant, just in time for World War I. Like most industrial companies of the era and area, civilian production ceased so munitions and other military equipment could be manufactured. During the war Renault built airplane engines, trucks and tanks.

In peacetime, Renault began producing more commercial vehicles and agricultural agreement. It struggled to produce a successful affordable vehicle for the French people. This led to Citroen, Renault’s fiercest rival, overtaking it as the largest French automobile company by the late 1920s. All the while, Renault churned out Grand Renault automobiles. As the name suggests, they were quite grand. However, in the midst of the Great Depression, Citroen faced major financial hardship and went bankrupt, relieving the production title back to Renault as it became a part of Michelin.

As the global financial crisis grasped the French auto industry, so did labor disputes just prior to World War II. Renault eventually fired more than 2,000 workers. During this era, Renault remained in complete control of his company and continued to invent new automobile systems. Some, such as hydraulic shocks and certain drum brakes, remain in use to this day by modern automakers. Then war found its way to France once again.

Louis Renault in WWII

in 1940, while Renault was in the USA to ask for tanks the Germans invaded. He returned to find the Franco-German armistice in place. Renault ultimately had to decide if he would have his factories dismantled and moved to Germany or if he would continue production for the Nazis in France. He chose the latter going to work for the French Vichy, the new independent government of France with strong ties to the Nazis. In Renault’s words, he kept his factories active he would prevent thousands of French from being transported to Nazi Germany. His company went on to produce more than 30,000 vehicles for the Nazis.

Just three weeks after the liberation of France in 1944 Renault was arrested on charges of industrial collaboration with the Nazis. By that time, Renault’s health had been greatly diminished. Despite his frail state he found himself in Paris’ Fresnes Prison. As his mental and physical state continued to decline he was moved to a hospital and then a nursing home. He died there after claiming to have been mistreated at Fresnes. No autopsy was completed at the time and uremia was listed as the cause of death. More than ten years later his wife would claim he died after being beaten by guards.

His body would later be exhumed and he’d be found to have a broken vertebrae. However, his family’s claims went unheard. For decades his heirs would fight to restore his name and claim that his company was illegally confiscated. Court battles continued as late as 2011 in which his family sought damages for the death of Louis Renault and the nationalization of Renault.(automotivehistory,motorssportplus)

 Ferrari 640 iz 1989, kojeg su vozili Mansel i Berger je bio prvi Ferrari od narednih u nizu do 1995 koji je koristio atmosferski V12 3.5 L motor.

Ali nije to jedino po čemu je ostao jedinstven taj bolid, nego to što ga je vozio Nigel Mansel, a koga je posljednjeg za života potpisao Enzo, plus što je to bio prvi F1 bolid u povjesti koji je umjesto klasičnog ručnog šestostupanjskog menjača imao sedmostupanjski sekvencijalni menjač koji se je uz nadogradnje tokom godina zadržao na bolidima sve do 2013, a koji su 2014 nasljedili osmostupanjski sekvencijalni menjači koji se koriste i do dan danas.

Medjutim taj Ferrari 640 najviše baš zbog tog sekvencijalnog mjenjača, koji u to vrijeme nije bio doveden na dovoljnom nivou pozudanosti, od 16 trka kolko je bilo te sezone i 30 moguća završetka trke (15 za svakog od vozača jer su po jednu trku propustili oboje). Gerhard Berger je odustao na 12 trka i to na 10 prvih uzastopno, došao do dva druga mjesta u Monzi i na Jerezu i jedno prvo u Estorilu, a u Monacu nije vozio zbog povrede koje je doživio na Imoli a u predhodnoj trci.A Mansel je odustao na 7 trka, u Španjolskoj nije vozio zbog odrađivanja kazne zbog diskvalifikacije na predhodnoj trci zbog sudara sa Sennom, diksvalificiran je bio i u Kanadi nekolko trka prije toga jer je napustio pit lane u krugu za zagrijavanje prije nego što je bilo pušteno zeleno svjetlo.

Pobjedio je u Interlagosu i na Hungaroringu, osvojio je dva druga mjesta u Paul Ricardu i Silverstonu i dva treća mjesta u Hocheinhaimu i na Spa. Čak do tih mjera u Ferrariju nisu vjerovali u taj mjenjač, pošto su još prije početka prve trke u sezoni Manselu iz Ferrarija nakon katastrofalnih predsezonskih testova ponajviše zbog kvarova na mjenjaču, rekli da nevjeruju da taj mjenjač moze trenutno izdrzati vise od 6-7 krugova, ali on je ipak pobjedio na toj trci u Interlagosu a upravo jer ga nije izdao menjač.

Ferrari 640, Monaco Top Cars Collection

A na kraju kolko je bio brz taj bolid ponajviše baš zbog tog novog revolucionarnog sekvencijalnog menjača, pokazuje to da bukvlano u svim trkama kad ih nije izadao Ferrari 640,sa oba vozača su bila na nekom od tri pobjednička postolja i da je taj Ferrari bio pouzdaniji sad bi Mansell vjerojatno imao 2 sp titule umjesto 1 iz 92( Williams) a Prost 3 umjesto 4 i Ferrari bi imao 17 konstruktorskih titula umjesto 16, a McLaren 7 umjesto 8.