Better yet, the 979 was ridiculously light and was a shining example of French industrial lines. Understated and sensuous, the 979 had curves the Italian lightweights lacked. Whereas Masi and De Rosa owed much to the houses of Ferrari and Maserati; one could easily imagine the desginers from Citroen busting out the 979. It was even French in its construction: almost unreasonably modern and refined, its space age aluminum tubes weren't even welded: they were bonded with "ultraperformance" resins. Surely the 979 owes more to Saarinen or Mouille than Colnago or even Herse/Singer.
That the 979 shimmied under riders heavier than 160 pounds was not really a concern for Vitus. Eat less cheese, one imagines its designers admonish. But for bantamweights, the frames rode (and ride) like a dream; they lack all of the negative attributes that aluminum frames would become notorious for under the Cannondale regime. A smooth, comfortable ride; seamless jointwork, and and effortlessly sophisticated line, this was a (smallish) gentleman's ride ahead of its time.
Is it any wonder vintage Vitus frames are sought after in Japan and virtually nowhere else? As for Chicago, there really weren't too many sold into the midwest markets in the first place, so most of the 979/992 frames around these parts have migrated from the coasts. And given our fair city's lack of vertical terrain and citizens' love for red meat and bread, the secondary market for these flexy fliers isn't too hot... And so when the rare 979 pops up, as an Evanston-based example (midnight blue, eggsellent!) did the other day, I simply couldn't allow Nordic weather conditions keep us apart.
And so Sunday morning I set out on an important quest: to rescue yet another French frame from the dustbin of history, or worse: an owner unappreciative of the frame's unique attributes. Forty miles and five hours later, I delivered the lovely Vitus to her new home: Hyde Park.