Packard's Model 180 became the company's top-of-the-line model in 1939 with the demise of the Twelve. The 'junior' cars had helped the company weather the difficult economical conditions of the great depression and essentially saved the company from extinction, while the senior cars (including the 180) continued to set the standard for luxury, refinement, and exclusivity. Although the 160 and 180 had similar specifications, the 180 was reserved for Packard's top-of-the-line semi-customs and customs.
Both the 160 and the 180 were powered by an L-head, 356 cubic-inch eight-cylinder unit with nine main bearings, hydraulic valve lifters, aluminum pistons, and a cast-iron block. It produced 160 horsepower at 3200 RPM and was backed by a three-speed selective synchromesh transmission with column-mounted gearshift controls, and a single plate clutch. They had four-wheel hydraulic brakes, a coil spring independent front-wheel suspension, and a live rear axle with longitudinal semi-elliptic leaf springs. Both the One-Sixty and the Custom Super-8 One-Eight (1806, 1807, and 1808) shared the same wheelbase lengths of 127-, 138-, and 148 inches.
The differences between the 160 and 180 models were in the level of luxury, trim, refinement, and appointments. The 180 also carried the custom cars including the Rollson offerings which were updated versions of the bodies previously applied to the Twelve. The Darrin bodies were all new and were heavily promoted under the company's 'Glamour Car of the Year!' advertisement.
Howard 'Dutch' Darrin was born to modest means and blessed with a talent for design, balance, and style. Early in his career, he worked at the family company, Automatic Switch Company in New Jersey, designing electrical switching systems, including the first pushbutton elevator switch used by Otis Elevator. This experience would later prove helpful with the mechanical complexities of coachwork, including folding top mechanisms, relocating the steering column and wheel for lower cowl and hood lines, and his sliding door systems.
LeBaron sent 'Dutch' Darrin to Paris in 1922 as their representative where his charm, naturally ebullient personality, and talents blended well with the 'Jazz Age' climate. Within a short period of time, he had joined with LeBaron colleague Tom Hibbard to form Hibbard & Darrin. Together, they created designs and stylish bodies for many of Europe's most prominent and prestigious carmakers. In 1927, General Motors licensed a Hibbard & Darrin hood and fender treatment for Cadillac, paying $25,000 plus $1,000/month for the privilege. The partnership ended in 1931 when Hibbard accepted a position in General Motors' design department and returned to the United States. Darrin remained in France and formed a new company with a French banker named Fernandez - the company was called Fernandez and Darrin.
In 1937, Darrin returned to the United States and established Darrin of Paris on Sunset Boulevard, Hollywood. Although he was born in New Jersey, his designs were influenced by his time spent in Paris, and he was able to convince prospective customers he was a Frenchman. His reputation, vivant personality, and his coachwork designs brought the operation success. The designs were an innovative compromise between sporting and formal coachwork, coupled with complicated and unique mechanical components.
Actor Dick Powell commissioned a disappearing top Victoria on a Packard One Twenty chassis in 1937. It has a disappearing top, cut-down doors, and an open body with seating for four. This was soon followed by three 1938 Packard One Eighty Victorias. Earle C. Anthony brought the designs to Packard President Alvan Macauley's attention, earning the Packard Darrins a place in the Packard catalog in 1940, in both 2- and 4-door form. The design proved so popular that Packard agreed to market the cars, later setting up production in the former Auburn-Cord body facilities at Connersville, Indiana, and later at the Sayers & Scovill's facility near Cincinnati, Ohio. Packard's construction of the 'Hollywood Darrins' brought an improvement in quality and construction, and they continued to be offered in small, exclusive numbers through the end of pre-war Packard production in 1942.
The 'Hollywood Darrins' were often owned by such A-list musicians and actors as Clark Gable, Gene Krupa, and Preston Foster.
by Dan Vaughan