Bold Transition - In the late 1970s, the sports car world was quietly shifting its visual language. Curves were giving way to sharper ideas, and manufacturers were experimenting with bolder identities to stay relevant. Out of this transition emerged the TVR Tasmin, a car that did not merely follow trends but openly challenged expectations. It arrived at a moment when TVR needed a fresh statement, and the Tasmin became that statement—angular, unconventional, and unapologetically different.
The Tasmin’smost striking trait was its wedge-shaped design, penned by Oliver Winterbottom after his move from Lotus, where he had worked on the Elite and Eclat. Designed in 1977 and entering production in 1980, the car looked dramatically futuristic for its time, with sharp edges, a low nose, and a profile that seemed to cut through the air even when standing still. Beneath the bold exterior, the Tasminused TVR Taimar mechanical foundations, while its interior reflected the pragmatic realities of a small British manufacturer, borrowing switches and fittings from British Leyland. This blend of daring design and familiar components gave the car a character that felt both ambitious and grounded.
The name “Tasmin” itself hinted at that mix of emotion and inspiration. Chosen by then-TV R boss Martin Lilley, it was inspired by a woman named Tamsin and influenced byMaserati’s Khamsin, subtly aligning the car with European exoticism. Initially, the Tasminwas offered with Ford engines, most notably the 2.8-liter fuel-injected Cologne V6 inthe Tasmin 280i, producing around 150–160 bhp. It was capable of reaching roughly 125 mph and accelerating from 0 to 60 mph in about eight seconds—respectable numbers, though not enough to overcome market hesitation.
Commercially, the Tasminstruggled in its early years. Its modern styling divided opinions, and its price point clashed with expectations for Ford-powered sports cars. Everything changed in 1981 when Peter Wheeler took over TVR. Wheeler repositionedthe Tasminentirely, steering it away from modestly powered models and toward a more aggressive performance identity. The introduction of the Rover V8-powered 350i in 1982 marked a turning point, delivering around 190 bhp and forcing meaningful chassis upgrades. The coupe was dropped in favor of the convertible, signaling a clearer focus on emotional appeal and performance.
From there, the Tasminevolved rapidly. Power outputs climbed as Wheeler continued to push boundaries, leading to models likethe 390SEwith 275 bhp, followed by even more extreme versions such asthe 420SEAC and 450SEAC, some featuring Kevlar bodywork and engines exceeding 300 bhp. Along the way, bodywork revisions and chassis improvements refined the driving experience, while less competitive variants likethe V6-powered 280iwere eventually phased out. Additional versions, includingthe 400SE and 450SE, ensuredthe Tasminstayed relevant until production ended in 1991. | Zl1UtgHnvYI |
Today, the TVR Tasmin occupies a fascinating place in automotive history. It represents a bold stylistic gamble, a survival story for TVR, and the foundation of the brand’s later, more powerful identity. With total production numbers remaining relatively low and values still accessible compared to many classics, the Tasmin is increasingly appreciated not for perfection, but for its honesty and ambition. It stands as a reminder that progress often begins with risk—and that sometimes, being different is exactly what keeps a legacy alive. *** [EKA | FROM VARIOUS SOURCES | TVR-CAR-CLUB.CO.UK | ARONLINE.CO.UK | SIMONCARS.CO.UK | HEMMINGS | WIKIPEDIA ]
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Endurance Icon - Motorsport has always been more than speed; it is a dialogue between regulation, ingenuity, and endurance. Few cars embody this relationship as clearly as the Ferrari 250 Testa Rossa, a machine unveiled in 1957 at a moment when Ferrari was redefining its identity in international racing. Created not for show but for survival over long distances, the 250 Testa Rossareflected the uncompromising philosophy of Enzo Ferrari during an era when endurance racing demanded both mechanical resilience and strategic brilliance.
The Ferrari 250 Testa Rossa, unveiled in 1957, embodied Enzo Ferrari’s uncompromising vision as the brand redefined itself through endurance racing built on resilience and strategy. (Picture from: Oto)
Ferrari’s journey toward this milestone began much earlier. Founded in 1939, the company produced its first car in 1940, but it was after 1947 that the Ferrari name began to resonate globally. By the 1950s, Ferrari had established itself as a dominant racing force, locked in fierce competition with Maserati and Jaguar. That rivalry reached a peak during the 1957 World Sportscar Championship, which Ferrari ultimately won, securing its fourth title in five years. Shortly afterward, new FIA regulations limiting engine displacement to 3.0 liters reshaped the competitive landscape and set the stage forthe Testa Rossa’sdevelopment.
The Ferrari 250 Testa Rossa achieved ten major championship victories, including three wins at the 24 Hours of Le Mans, three at the 12 Hours of Sebring, victories at the Targa Florio, the 100 km of Buenos Aires, and the 4 Hours of Pescara. (Picture from: Oto)
In response to the new rules, Enzo Ferrari summoned his most trusted engineers and issued a clear mandate: adapt the Ferrari 500 TRC into a car capable of winning under the new regulations, without sacrificing durability. This task fell to Carlo Chiti, Ferrari’s chief designer and the mind behindthe Formula One Ferrari 246. Known for his inventive approach, Chiti adopted a rare conservative strategy and enlisted Andrea Fraschetti, one of Ferrari’s most talented engineers, to help develop the prototype. Tragically, Fraschetti lost his life during testing that same year, underscoring the risks inherent in racing development during the period.
The Ferrari 250 Testa Rossa evolved from the Ferrari 500 Testa Rossa, retaining its tubular steel frame while extending the wheelbase by 10 centimeters to 2,350 mm for greater stability. (Picture from: Autoevolution)
The new car evolved fromthe Ferrari 500 Testa Rossa, retaining its tubular steel frame while extending the wheelbase by 10 centimeters to 2,350 mm for greater stability. Its overall dimensions measured 3,959 mm in length and 1,523 mm in width. The suspension combined coil springs with a solid rear axle, and early prototypes featured Scaglietti-built bodywork mounted on 290 mm wheels originally used in the Nürburgring 1,000 km race. The exterior design emphasized functional aerodynamics, while the interior remained stripped and purposeful, designed solely around the needs of endurance competition.
The Ferrari 250 Testa Rossa featured a stripped, purposeful interior designed exclusively to meet the demands of endurance racing. (Picture from: Oto)
Poweringthe Ferrari 250 Testa Rossawas a heavily modified 3.0-liter Colombo V12 derived fromthe Ferrari 250 GT race car. The engine was comprehensively rebuilt for strength, with six Weber 38 DCN carburetors replacing the previous setup and reinforced internal components ensuring longevity. Red-painted camshaft covers gave the car its name, “Testa Rossa,” meaning “red head.” Known internally as the Tipo 128, the engine produced around 300 horsepower at 7,000 rpm. Installed in a car weighing just 800 kilograms, it delivered an exceptional power-to-weight ratio and earned a reputation as the most durable Ferrari engine of its era.
The Ferrari 250 Testa Rossa was powered by a heavily modified 3.0-liter Colombo V12 from the Ferrari 250 GT, rebuilt for durability and fed by six Weber 38 DCN carburetors. (Picture from: Oto)
That durability translated directly into success on the world’s toughest circuits. The Ferrari 250 Testa Rossaachieved ten major championship victories, including three wins at the 24 Hours of Le Mans, three at the 12 Hours of Sebring, victories at the Targa Florio, the 100 km of Buenos Aires, and the 4 Hours of Pescara. It played a decisive role in Ferrari’s constructors’ championships in 1958, 1960, and 1961, with drivers such as Phil Hill, Olivier Gendebien, Luigi Musso, Peter Collins, Paul Frère, Jean Behra, and Cliff Allison contributing to its legacy. Even against formidable rivals like Aston Martin’s DBR1/300 and Porsche’s emerging 718 RS, the Testa Rossa remained fiercely competitive.
The Ferrari 250 Testa Rossa measured 3,959 mm in length and 1,523 mm in width, with an exterior shaped around functional aerodynamics. (Picture from: Oto)
Continuous refinement ensured the car stayed relevant. Pininfarina revised the bodywork, disc brakes replaced drum brakes for the first time on a Ferrari sports racer, and a five-speed gearbox improved flexibility. Later developments included a dry-sump lubrication system that lowered the engine’s center of gravity, improved aerodynamics, and the adoption of independent rear suspension. These changes culminated in dramatic championship victories, including Ferrari’s decisive Le Mans win that secured the 1960 World Sportscar Championship and near-total domination the following season. | u184vVKMw | og_IKVNK_6M |
Only 33 examples ofthe Ferrari 250 Testa Rossa were ever built, and its legacy paved the way for icons like the 250 GTO, 250 P, and 250 LM. Today, its historical weight is matched by its rarity, with one example formerly owned by Ralph Lauren selling for nearly forty million dollars, underscoring how a car born from regulation and resolve became one of the most revered machines in automotive history. *** [EKA | FROM VARIOUS SOURCES | AUTOEVOLUTION | WIKIPEDIA ]
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First Statement - In the years immediately after World War II, Italy’s automotive scene became a quiet laboratory for reinvention, where designers explored new ideas with limited resources but unlimited imagination. It was in this fragile yet hopeful atmosphere that a small Fiat-based sports car emerged, carrying ambitions far greater than its modest mechanical roots. Known today as the Fiat 1100C Frua Sport Barchetta, the car reflects a moment when creativity mattered more than scale, and when a single design could announce the arrival of a future master.
The Fiat 1100C Frua Sport Barchetta was completed in 1946 and holds a special place in Italian design history as the very first automobile created under the Carrozzeria Frua name by Pietro Frua himself. (Picture from: AutoVercity.ru)
The barchetta was completed in 1946 and holds a special place in Italian design history as the very first automobile created under the Carrozzeria Frua name by Pietro Frua himself. Built on a 1946 Fiat 1100C chassis—identified as chassis number 279906—the project transformed a conservative family saloon into a low, flowing sports car. While Frua would later gain international recognition for designs such as the Maserati A6G in the 1950s, this one-off Fiat marked the true beginning of his independent career and revealed his instinctive sense of proportion and surface.
The Fiat 1100C Frua Sport Barchetta built on a 1946 Fiat 1100C chassis—identified as chassis number 279906—the project transformed a conservative family saloon into a low, flowing sports car. (Picture from: WorldCarsFromThe1930sTo1980s in Facebook)
Visually, the 1100C Frua Sport Barchetta stood apart from nearly everything on the road at the time. The body followed a sleek “envelope” philosophy, eliminating separate fenders in favor of a smooth, unified silhouette that felt forward-looking in the late 1940s. Its distinctive front end featured a slim five-bar grille, with headlights positioned low for a purposeful, almost nautical character. The open-top barchetta layout emphasized lightness and motion, while the interior remained minimal and driver-focused, consistent with post-war sports cars that prioritized experience over luxury.
The Fiat 1100C Frua Sport Barchetta reveals a minimalist, driver-focused cockpit with delicate analog gauges, a thin-rimmed steering wheel, and post-war Italian elegance distilled into pure function. (Picture from: WorldCarsFromThe1930sTo1980s in Facebook)
Underneath the elegant coachwork sat Fiat’s familiar 1,089 cc four-cylinder engine, a reliable and well-understood unit rather than an exotic powerplant. This choice underscored the car’s philosophy: innovation through design rather than brute performance. Despite its mechanical modesty, the Frua Barchetta carried enough presence and balance to compete on a cultural level, which became evident when it appeared at the 1947 Coppa Villa d’Este, also known as the Concorso di Como, where it earned a Second Prize of Merit in its class.
The Fiat 1100C Frua Sport Barchetta embraced a sleek envelope-style body, discarding separate fenders for a smooth, unified silhouette that felt boldly modern in the late 1940s. (Picture from: DrivenCarGuide.co.nz)
The car’s ownership history adds further depth to its story. Initially sold to Luigi Critterio in early September 1946, it changed hands again just 25 days later when acquired by Gino Bubbolini. Over the following decades, it passed through several owners, including one who kept it for an impressive 33 years after purchasing it in 1950. By the time it was acquired by its current custodian in 2015, the car was painted red, before undergoing a careful restoration at Carrozzeria Gatti Luciano to return it to its original specification and color scheme, preserving Frua’s original intent with remarkable fidelity. | 28R1gUpQcYw |
Today, the Fiat 1100C Frua Sport Barchetta is valued less as a collector’s trophy and more as a historical reference point—a tangible reminder of how post-war Italian design began to redefine elegance, lightness, and individuality. Its later appearance at a major auction in 2019, where it achieved a notable result, merely reinforced what historians and enthusiasts already understood. This singular car represents the moment when Pietro Frua stepped onto the world stage, proving that even a small Fiat could become a lasting symbol of design courage and timeless style. *** [EKA | FROM VARIOUS SOURCES | DRIVENCARGUIDE.CO.NZ | AUTO.VERCITY.RU | MOTOR1 | WORLD CARS FROM THE 1930S TO 1980S IN FACEBOOK ]
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Quietly Revolutionary - In the early 2000s, when diesel engines were still widely associated with practicality rather than passion, a small group of designers quietly challenged that assumption on one of the world’s biggest automotive stages. Amid the spectacle of the Geneva Motor Show, a compact two-seat coupe appeared with an idea that felt slightly ahead of its time. That car was the Sbarro GT-HDI, a concept that connected mainstream engineering with bold experimentation and hinted at how performance cars could evolve beyond established formulas.
The Sbarro GT-HDI was developed by the 2002–2003 Espera Sbarro graduating class under Franco Sbarro’s guidance, blending mainstream engineering with bold experimentation. (Picture from: Story-Cars)
The GT-HDIwas developed by students from the 2002–2003 graduating class of Espera Sbarro, under the guidance of renowned automotive designer Franco Sbarro. Rather than starting from scratch with unfamiliar technology, the team intelligently drew from Peugeot’s existing lineup, blending proven components with an original vision. This approach allowed the car to feel realistic and credible, not just an abstract showpiece, while still expressing the creative freedom expected from a design school project presented on an international stage.
The Sbarro GT-HDI visually echoed several Peugeot models without feeling pieced together, built on a bespoke tubular chassis that ensured rigidity while keeping its weight to 950 kilograms. (Picture from: Story-Cars)
Visually, the GT-HDIcarried echoes of several Peugeot models without becoming a collage. The front and rear lights were sourced fromthe Peugeot 307, while the windshield came fromthe 206 CC, yet the polyester body panels were entirely original. Its proportions emphasized sportiness, helped by a short rear overhang and large 18-inch wheels that filled the arches confidently. The tubular chassis beneath the body was designed specifically for this car, giving it the rigidity required for a mid-engined sports coupe while keeping overall weight down to just 950 kilograms.
The Sbarro GT-HDI reveals a minimalist, driver-focused interior with exposed mechanical elements, a compact cockpit layout, and a purposeful, prototype-like character. (Picture from: Story-Cars)
The layout was as thoughtful as the styling. Power came from a 2.2-liter HDI diesel engine producing 146 horsepower, paired with a five-speed manual gearbox taken fromthe Peugeot 607. Placing the engine in a rear-mid position improved weight distribution and contributed to balanced handling, a choice more commonly associated with exotic sports cars than diesel-powered concepts of the era. The rear suspension was also adapted fromthe 607, while the front used short springs and Koni shock absorbers, reinforcing the car’s agile and responsive character.
The Sbarro GT-HDI used a 2.2-liter HDI diesel producing 146 horsepower with a five-speed manual from the Peugeot 607, mounted in a rear-mid layout for balanced weight distribution. (Picture from: Story-Cars)
What made the GT-HDI particularly relevant was its underlying idea rather than raw performance figures. At a time when the notion of a diesel sports coupe still felt unconventional, the car quietly anticipated a shift in perception. Years later, high-performance diesel machines, including endurance racers like the Audi R8 TDI, would prove that efficiency and excitement were not mutually exclusive. In that sense, the GT-HDI reads today as an early experiment that aligned closely with trends that only became widely accepted afterward.
The Sbarro GT-HDI mattered more for its concept than its numbers, quietly anticipating a future where diesel performance would be taken seriously. (Picture from: Sbarro.Phcalvet.fr)
The story did not end with this single prototype. Encouraged by the clarity of the concept, the Espera Sbarro students expanded the idea further by developing the GTR, a competition-focused evolution revealed a few months later. Together, these projects captured a moment when education, industry influence, and creative risk intersected. The Sbarro GT-HDI remains a reminder that meaningful innovation does not always come from large manufacturers alone, but sometimes from small teams willing to rethink what a sports car can be. *** [EKA | FROM VARIOUS SOURCES | SBARRO.PHCALVET.FR | GTPLANET | CARSTYLING.RU | STORY-CARS ]
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Transformative Elegance - In the early 1990s, when automotive design was quietly shifting toward flexibility and lifestyle-driven ideas, concept cars became a playground for bold thinking rather than production constraints. It was within this creative climate that the Heuliez Raffica Concept emerged, not as a promise of mass manufacturing, but as a rolling idea meant to connect past ingenuity with future expectations. More than a showpiece, Raffica was conceived as a narrative object—one that spoke about movement, transformation, and the evolving relationship between drivers and their cars.
The Heuliez Raffica Concept was studied and built by Heuliez-Torino in less than two months, underscoring its role as a demonstrator rather than a conventional prototype. (Picture from: AllCarIndex)
The Raffica was developed by Heuliez-Torino, a design studio established in Italy in 1990 to keep French creativity close to the epicenter of European styling trends. Led by stylist Marc Deschamps, the team was tasked with expressing Heuliez’s technical and aesthetic capabilities beyond supplier work for major manufacturers. Remarkably, the Raffica concept was studied and built in less than two months, underscoring its role as a demonstrator rather than a conventional prototype. Its name, meaning “flurry” in Italian, subtly hinted at speed, lightness, and motion—qualities central to its design philosophy.
The
Heuliez Raffica Concept debuted in a striking orange finish at the 1992
Paris Motor Show, later followed by a four-seat iteration. (Picture from: Story-Cars)
At the heart of the Raffica was its electronically controlled retractable hardtop, allowing the car to transform from a sleek coupé into an open convertible in just seconds. This idea was not entirely new, but it was thoughtfully reinterpreted. The system echoed the interwar-era invention patented by Georges Paulin and later executed by Marcel Pourtout on French cars likethe Peugeot Eclipse models of the 1930s. By reviving this concept with modern engineering logic, Heuliez positioned the Raffica as a bridge between historical craftsmanship and contemporary design thinking.
The
Heuliez Raffica Concept later received a subtly shortened front end and
was repainted in Heuliez blue for further demonstrations.(Picture from: AllCarIndex)
Visually, the Raffica stood out through a combination of aerodynamic purity and distinctive styling cues rarely seen together. Designed with airflow efficiency in mind, it featured a long, smooth profile complemented by retractable headlights and ultra-thin taillights—elements that Heuliez typically kept separate in other designs. The original version debuted in a striking orange finish at the 1992 Paris Motor Show, while a later iteration explored a four-seat layout. After internal review, the front end was subtly reshaped to reduce its length, and the car was repainted in Heuliez blue for further demonstrations.
The
Heuliez Raffica Concept stood out visually through its aerodynamic
purity, combining a long, fluid profile with retractable headlights and
ultra-thin taillights.(Picture from: AllCarIndex)
Despite its complete exterior presence, the Raffica was never intended to be driven. It had no mechanical components or steering system, reinforcing its identity as a “living room model.” Inside, however, the car revealed a refined grey leather interior that emphasized comfort and visual harmony. This contrast between non-functional mechanics and a carefully finished cabin highlighted Heuliez’s focus on experience and atmosphere rather than performance metrics.
The Heuliez Raffica Concept revealed a refined grey leather interior that emphasized comfort and visual harmony. (Picture from: Story-Cars)
Seen from today’s perspective, the Heuliez Raffica Concept matters less as an object and more as an idea in motion. Its calm, aerodynamically driven surfaces and its focus on transformation over spectacle hinted at a different future for sporty cars—one where elegance and adaptability could coexist without noise. This mindset would later resurface in the 1998 Heuliez “20coeur” concept, which directly paved the way for the Peugeot 206 CC, quietly proving that Raffica’s logic was not experimental for its own sake, but a preview of things to come.
The Heuliez Raffica Concept matters less as an object than as an idea in motion, using calm aerodynamics and transformation over spectacle to suggest a quieter future for sporty cars. (Picture from: Story-Cars)
Beyond its immediate legacy, Raffica also reveals an interesting continuity in design thinking through Marc Deschamps’ later work. While visually worlds apart, the Lamborghini Pregunta carries the same underlying discipline: clean surfaces, restrained detailing, and aerodynamics shaping form rather than decoration. As there’s no video available for this car, here’s a look at the Fittipaldi EF7 instead. | ZRhzGQtZ2qc |
British Rarity - The early 1980s were a fertile period for automotive experimentation in Britain, when ambition often ran ahead of budgets and creativity filled the gaps left by scale. Small manufacturers were unafraid to reinterpret the idea of an exotic sports car using familiar mechanical foundations, aiming for style, usability, and character rather than outright performance. From this climate emerged a compact faux-exotic that carried its intent in its name. “Avante,”translating loosely from Spanish as “full steam ahead,” reflected both the optimism of its era and the forward momentum behind the project itself.
The Avante Mk1 was built around Volkswagen Beetle mechanicals, retaining the standard floorpan while employing a specially designed tubular steel subframe to add rigidity and secure proper door mounting. (Picture from: TotalKitCar)
The Avantewas founded in 1982 by Melvyn Kay, who established Avante Cars in Stoke-on-Trent, County Staffordshire. Launched the same year, the car was met with a generally warm reception, praised for its practicality and notably high standard of fit and finish compared with many contemporary kits. Built around Volkswagen Beetle mechanicals, the Avanteavoided the need for shortened or radically altered floorpans, instead using the proven VW layout as a reliable backbone. A specially designed tubular steel subframe added stiffness and provided solid mounting points for the doors, helping the car feel more substantial than its low-volume origins might suggest.
The Avante Mk1 was often visually associated with the Richard Oakes–designed Nova, not through shared components but through similar inspirations drawn from dramatic shapes like the Ford GT40 and Lamborghini Miura. (Picture from: Classic-Kitcars)
Visually, the Avantewas often linked to the Richard Oakes–designed Nova, another icon of the era, though the connection was one of inspiration rather than shared components. Not a single inch of fiberglass was common between the two, yet both drew from the same well of influences, echoing the drama of cars such as the Ford GT40 and Lamborghini Miura. Where the Avante diverged was in its proportions and usability. It featured conventional opening doors, two bucket seats, a less aggressively raked windscreen, and concealed headlights, giving it a more grounded and approachable presence than some of its more theatrical rivals.
This Avante Mk1 special example was created as a one-off, featuring distinctive Martini-style striping that evokes the spirit of 1970s Le Mans racers.(Picture from: UnusualCars.co.uk)
That emphasis on usability continued inside. The cockpit was spacious by kit-car standards and thoughtfully laid out, with a wrap-around dashboard sill that flowed into the door cards, creating a cohesive interior environment. Wind-up windows, a modest center console, and a well-positioned gear shifter reinforced the sense that this was a car designed to be driven regularly, not merely admired. Builders were given flexibility, with space for additional gauges or accessories depending on personal taste and intended use.
This
Avante Mk1 special example was created as a one-off, featuring
distinctive Martini-style striping that evokes the spirit of 1970s Le
Mans racers.(Picture from: 1970sVWBasedKitCars in Facebook)
In 1983, the concept was expanded with the introduction ofthe Avante +2. This version featured a longer and slightly taller body, a more open greenhouse with additional rear-quarter windows, and provisional rear seating in a 2+2 configuration. While still compact, it offered increased versatility without abandoning the original design’s balance.
This Avante Mk1 special example features a carbon-fibre-dominated cabin with a floating dashboard, wireless steering controls, and a detachable Momo Prototipo steering wheel.(Picture from: UnusualCars.co.uk)
Around this time, Avante offered both kit and completed options. For £1,550, customers could buy a bodyshell kit that included the main GRP shell, windscreen, doors, and covers already fitted, while fully built cars started at approximately £5,500, using reconditioned components and professionally trimmed interiors. Engine choice was left to the buyer, with at least one VW Scirocco-powered example serving as the company’s demonstrator.
This Avante Mk1 special example is powered by a mid-mounted 2.0-litre Subaru turbo engine, paired with a five-speed Subaru gearbox and a custom cable-operated shifter. (Picture from: UnusualCars.co.uk)
Despite its strengths, the Avante never quite achieved the commercial success its quality suggested. Production of the original run ended in 1986, after which Melvyn Kay passed the project to Top Hat Coachworks of Blackpool, led by Paul de Roma, who continued limited production between 1987 and 1988. In total, only around 30 Avantes were built, with just a handful being +2 models, making it a rare sight even among British specialist cars.
The Avante +2 was introduced in 1983 as a Mk2 development, stretching the original design both physically and conceptually.. (Picture from: TotalKitCar)
Today, the TVR Tasmin occupies a fascinating place in automotive history. It represents a bold stylistic gamble, a survival story for TVR, and the foundation of the brand’s later, more powerful identity. With total production numbers remaining relatively low and values still accessible compared to many classics, the Tasmin is increasingly appreciated not for perfection, but for its honesty and ambition. It stands as a reminder that progress often begins with risk—and that sometimes, being different is exactly what keeps a legacy alive. *** [EKA | FROM VARIOUS SOURCES | TVR-CAR-CLUB.CO.UK | ARONLINE.CO.UK | SIMONCARS.CO.UK | HEMMINGS | WIKIPEDIA ]
