Testadoro was founded in Turin in 1946, in the middle of the city's postwar industrial reconstruction: a small marque built around lightness, mechanical experimentation and racing. Seventy years later it has been brought back by Dario Pasqualini, building road-homologated cars with the same philosophy.
A revived heritage brand has a narrow path to walk. Lean too hard on the archive and the brand becomes a museum — respected, admired, and not something anyone buys a car from today. Ignore the archive and the revival has no reason to exist; it is just another small-volume manufacturer with a borrowed name.
The commercial reality made it harder. This is not a funnel that converts in a session. A buyer for a hand-built homologated car is a collector, and that decision takes months and usually starts with a conversation, not a form. Press is as important as sales, and journalists arrive wanting the history, in depth, verifiable.
So the site had to carry seventy years of archive as living material, serve two very different visitors — collector and journalist — and do it in Italian and English.
We made the archive the core content, not a sub-page. The history is structured as a navigable timeline — 1946, 1949, and the years that follow — with the technical decisions of each period treated as substance rather than nostalgia. The heritage is the argument for the cars being built now.
We used an editorial, gallery-led layout. Large imagery, long-form passages, generous pacing. The reading experience matches the object being sold: nothing about a hand-built car should feel like a product grid.
We oriented it to collectors and press. No aggressive conversion furniture, no pop-ups, no countdown timers. The contact route is present and unhurried, which is the correct pressure for a purchase measured in months.
We built it bilingual. Italian and English, because the collector market for this kind of car is not confined to Italy.
Featured at MAUTO Turin, with 10 press pickups.
The archive-led approach is what earned the coverage. Journalists writing about the revival had verifiable history to work from, structured and in two languages, without having to request a press pack — and collectors arriving from that coverage landed on the same depth rather than on a brochure.
