The 1950’s were a decade of joyous excess in automotive design. After the austerity of the Great Depression and the deprivations caused by World War II, Americans were excited and optimistic about the future and America’s position in the world, and our cars showed it with increasingly powerful engines, multi-tone paint jobs, acres of gleaming chrome, and space-age tailfins. The pinnacle of this expression came in 1959, when General Motors unleashed its latest automobile designs. Every model, from the lowliest Chevrolet to the poshest Cadillac, sported tailfins the likes of which would never be seen again. Of these, the Cadillac fins, reaching nearly as high as the roof of the car, have come to symbolize the best (or, to some, the worst) of what that era offered.

History

From 1953 to 1957, Chevrolet had three full-sized automobiles it was selling to the public – the bottom of the line 150, the mid-range 210, and the top of the line Bel Air. The 210 model was Chevrolet's bestseller up until 1955. It offered the widest choice of body styles in 1953, including a convertible, Sport Coupe hardtop, two- and four-door sedans, and a station wagon.

However, in 1954, the 210 convertible and hardtop were dropped and a deluxe model called the Del Ray Club Coupe was introduced. This model came factory-equipped with interior furnishings found on higher-end models like the Bel Air. Drivers could enjoy upgrades such as padded vinyl seats, a lighted glove compartment, two door armrests, and carpeted floorboards. The cost of the Del Ray was now within $100 of the Bel Air with its luxury and premium trim and it never achieved the sales Chevrolet had hoped for.

1955 was a milestone year for Chevrolet, with the introduction of an OHV V-8 and all-new styling, and a new wagon in the line – the Nomad 2-door hardtop. The follow-on 1956 Nomad had styling and trim more closely allied with the other cars in the Chevy line and had more pizzazz than the ’55, too.

Revell has re-issued the 1997 Monogram kit in its 2’n1 series, featuring additional customizing parts – wheels, chrome valve covers, alternator, low-profile tires, larger disc brakes, and chassis/suspension parts for the custom build, along with a nice decal sheet with lots of trim and flames.

Introduction

If this subject looks familiar to you, it should. This is the smaller brother of Revell’s 1/12 scale monster I reviewed a few months ago. If you want to know my history with the Mustang, please see that review. In short, I’ve been a Mustang fan since I was a kid, especially Shelby Mustangs. Yes, this is the car that, when it was introduced as a 1964½, started the “pony car” craze that’s been carried on since by the Mustang, Camaro, and Firebird. The Shelby name needs no introduction to car fans and most anyone else. Shelby Mustangs have established a race-proven record of performance. Combine that with basic good looks and the now traditional double racing stripes and you’ve got an unmistakable classic.

The final creation of the legendary designer Harley Earl, the ’59 Chevrolet caused a big “Wow!” reaction when it was introduced – the total redesign sported a long, low hood, and tail fins about as appropriate for an aircraft as a car. Automobile enthusiasts were impressed with this total metamorphosis, particularly since the predecessor ’58 Chevy had all softly-rounded corners and a jellybean look.

Revell’s kit is a re-issue of the 1993 Monogram offering, but the “2 ‘n 1” boxing means it now includes customizing parts such as lake pipes, a tubular grille, spinner hubcaps, fender spotlights, and decals. The continental kit and fender skirts are still included and can be used on either the custom or the stock version.