Metallic automotive paint finishes, around since the 1920s, became extremely popular in the U.S. during the 1960s. The then-new thermoplastic acrylic lacquers made an ideal showcase for metallic finishes as their low application viscosity allowed time for a majority of the aluminum flakes to align themselves relatively parallel to the surface before the paint began drying. This provided increased reflectivity compared to earlier efforts. The result was metallic paints with nearly the same visual appeal as todays, lacking only the extra sheen and depth of a clear top coat.

Some people wanted more however; and that included Bill Mitchell, GMs Styling Section Vice-President. Mitchell had been fascinated by the concept of an iridescent finish at least since 1961, when he oversaw development of the Corvette-based Mako Shark concept car.

He wanted something more subtle than metallic, and with a more pearl-like spectral iridescence. His fantasy would become reality just over a year later when GM’s 1963 models began appearing in showrooms.

Chevrolet’s new Sting Ray, in addition to its dramatic space-age design and independent rear suspension, was available in Sebring Silver Fire-Frost at an $81 upcharge, the same price one would pay for the optional leather-trimmed seating.

Instead of simple reflective aluminium flakes, the new Fire-Frost finish used transparent polyester flakes covered in a thin translucent layer of aluminium. Acting like tiny half-silvered mirrors, the flakes could both reflect and refract light, lending a soft iridescent glow and wider reflective chroma range than was possible with traditional opaque aluminium flakes.

Simultaneously the Cadillac division debuted not one, but five Fire-Frost Colors for ’63 Eldorados (optional on other models): Silver, Red, Green, Gold and Aquamarine.

Manufacturing the electro-deposition plated aluminized polyester flakes was quite expensive, and for 1964, GM switched from Fire-Frost to Firemist.

Firemist paints used titanium dioxide flashed translucent borosilicate glass flakes. Like the aluminized polyester flakes, these were both refractive and reflective. Unlike Fire-Frost paints however, Firemist finishes contained no aluminium (or any other metal) and thus were not “metallic” paints, as they were erroneously described by copywriters in some period brochures.

Cadillac offered customers five Firemist finishes for 1964: Saddle, Blue, Aquamarine, Green and Red.

Throughout the sixties, Firemist Colors were restricted exclusively to the Cadillac division as a $125 to $130 option. 

Offering buyers the velvety radiance of premium Firemist paints became a Cadillac tradition that would continue for three decades.

In 1971 and 1972 only, Chevrolet offered three unique Firemist paints on Corvette Stingrays; Ontario Orange, Steel Cities Grey and War Bonnet Yellow. Later in the decade a few Firemist colours became available on Buick Electras and Rivieras, and Oldsmobile Ninety-Eights and Toronados.

Almost inevitably, Firemist finishes also appeared on guitars. Fender Electric Instruments had been offering popular automotive paint colours since the 1950s. For 1965 they added four new metallic shades and two GM Firemist Colors: ’64-‘65 Cadillac Firemist Saddle (dubbed Firemist Gold) and ’64 Cadillac Firemist Blue (renamed Firemist Silver.) These two colours would remain as staples in the Fender guitar lineup into the next decade.

The radiant opalescence of Fire-Frost and Firemist paints lives on in today’s pearlescent colours which refract and reflect incident light in the same manner as their GM predecessors, now via microscopic translucent ceramic crystals.