The Bauhaus-trained Naum Slutzky fled to Birmingham from Nazi Germany in 1933, working with local lighting design firms and teaching product design at the Birmingham School of Art from 1957 to 1964. During the post-war era Birmingham was particularly influential within automotive design, the field associated with the city's dominant post-war industry. Dick Burzi, who had fled to Birmingham from Mussolini's Italy in the 1920s, transformed the conservative design culture of the Longbridge-based Austin Motor Company in the 1940s and 1950s, designing the "astonishingly extravagant" Austin Atlantic in 1948 and the "delightfully minimal" Austin A30 in 1951. David Bache served an apprenticeship under Burzi at Longbridge before studying at the University of Birmingham and the Birmingham School of Art, and moving in 1954 to the Rover Company in Solihull, where he designed the 1963 Rover P6, in design terms "perhaps the most sophisticated British production car ever". Patrick Le Quement, who was brought up in the city and trained at the Birmingham School of Art in the 1960s, was the stylist for the revolutionary and controversial design of the Ford Sierra of 1982, before leading the resurgence of design at Renault in the 1990s as Head of Design, where his work on models such as the Avantime and the Vel Satis was acclaimed for its "extraordinary aesthetics, a combination of explicit geometry, deliberate asymmetry and imbalance, and a refusal to conform". By far the most notable piece of automotive design to emerge from the city however was the Mini, which was the best-selling car in Europe during the 1960s and remained in production for over 40 years. Designed by Alec Issigonis in 1957, the Mini became "the design icon of a generation". Attracting celebrity owners including all four Beatles, Steve McQueen and Brigitte Bardot, its influence extended far beyond automotive design as it came to symbolise Britain in the Swinging Sixties. There are a variety of other small and private galleries in the city.