In the 50's automotive stylists learned how to do creative things with paint, metal and glass that had never been done before.   The designs matched the more powerful engines inside.  Earlier, it was difficult to tell a Chevy from a Ford or a Plymouth or one year’s model from the next’s, but by 1959, competing makes and annual model changes became so distinctive, the task was simple. But design freedom can lead to excess, and the 1950's were hardly free from these indiscretions.  With bloated bodies, towering tail fins, masses of chrome trim, two- and even three-tone paint schemes and windshields that wrapped in every direction, stylists gave us new excitement in our daily transportation, but occasionally pushed the design envelope to the breaking point.  The 1958 models in particular.   With Chevy, the 1959 and 1960 models marked the end of Harley Earl's design rein at General Motors.  We all know that Harley though if a little chrome is good a lot is better.  The sixties would bring us some of the best automotive design of any decade.

Side Bar:  Lawrence P. Fisher, general manager of the Cadillac division, commissioned Harley Earl to design the 1927 LaSallefor Cadillac's companion marque.  The success of the LaSalle convinced General Motors presidentAlfred P. Sloanto create the Art and Color Section of General Motors, and to name Earl as its first director.

The executives at General Motors at the time, including engineers, division heads, and sales executives, viewed Earl's conceptual ideas as flamboyant and unfounded.   Earl struggled to legitimize his design approach against the tradition- and production-oriented executives.  As head of the newly formed Art and Color Section in 1927, he was initially referred to as one of the "pretty picture boys", and his design studio as being the "Beauty Parlor".

Harley Earl retired from General Motors in 1959 after overseeing the design of 1960–1962 models.   It is widely reported that while he was still in charge, the original 59 & 60 designs were scraped and replaced by Bill Mitchell, while Earl was visiting Europe. Earl was succeeded as vice-president with responsibility for the Design and Styling Department by Bill Mitchell, under whose leadership GM design became less ornamental.

The 1960 Chevrolet Impala

The Impala was Chevrolet's top-of-the-line series. For 1960, the Impala was offered in four body styles; four-door sedan, Sport Sedan (four-door hardtop), Sport Coupe (two-door hardtop), and Convertible.

Interior

Impala interiors featured a Corvette-inspired instrument panel and sports-type steering wheel, and featured waffle pattern embossed bright aluminum trim along the lower half of the dash. Standard equipment on Impalas was an electric clock, cigarette lighter, bright aluminum capped control knobs and a parking brake alarm. Bright aluminum window garnish mouldings were also standard equipment on all Impala models except the Convertible. The front seats were also capped with bright aluminum trim on both sides. The seating fabric was a cloth houndstooth pattern (this was vinyl on Convertibles) accented with color coordinated leather-grain vinyl. The door panels were accented with the vinyl houndstooth pattern, the same used on the Convertible seats. Sport Coupe and Convertibles both featured a built-in rear speaker that was located in the center of the rear backrest. It was decorated with an Impala crossed flags logo. The arm rests featured an ashtray and chromed plastic safety reflectors in their ends. Impala's all featured "wall to wall" carpeting.

Exterior

Impalas also were equipped with deluxe exterior trim treatment, features bright aluminum spears on the leading edge of the front fenders, bordered on the top and bottom by chromed corporal stripes. The quarter panel of the Impala featured dual chrome strips, lead by a large jet airplane ornament. The rear end of Impalas featured three tail lights for each side, the center light being a backup light. They were inset in a bright aluminum panel.

Weight: 3,625 lbs. Base Price: $2,769 Production: 169,016