Resilient Velocity - The history of British sports cars is often told through icons that conquered racetracks and cinema screens, yet some of the most fascinating stories belong to machines that almost made it. Among those near-mythical creations stands The Ecosse Signature, a car born from ambition, reinvention, and the enduring belief that a compact British manufacturer could still challenge the established order. Emerging from the remnants of AC Cars’ turbulent 1980s chapter, the Ecosse Signature was not merely a facelift or a rebadge—it was a final, determined attempt to give a promising concept the future it once seemed destined for.
The Ecosse Signature prototype built in 1988 based on the AC 3000ME Mark 2 prototype. (Picture from: AROnline)
The car’s roots stretch back to the mid-engined sports car formula that had captivated Europe since the 1970s. By the time the Ecosse Signature appeared, it carried forward a distinctive wedge-shaped silhouette—sharp, low, and unmistakably period-inspired—yet refined for a more modern audience. Its glassfibre bodywork preserved the lightweight ethos of its predecessor while subtle restyling softened some of the harsher lines, giving it a cleaner and more contemporary stance. The proportions remained compact and purposeful: a short nose, a cabin pushed forward, and muscular rear haunches that hinted at the engine mounted just behind the seats. Inside, the cabin followed a driver-focused philosophy typical of British sports cars of the era—intimate, functional, and built around engagement rather than luxury excess. The low seating position, straightforward instrumentation, and snug two-seat layout reinforced its identity as a pure driver’s machine.
What truly distinguished the Ecosse Signature, however, was the engineering evolution beneath its sculpted body. After earlier iterations had experimented with various powerplants, the team behind the reborn project opted for a turbocharged Fiat twin-cam engine sourced fromthe Croma Turbo, replacing the previously considered Alfa Romeo V6. This decision signaled a clear intention: deliver sharper performance while maintaining manageable weight and balance. With its mid-engine configuration and carefully developed chassis—featuring independent suspension and a rigid structural core—the car promised agile handling and lively acceleration. It was a combination that, on paper, aligned perfectly with the spirited driving culture of the late 1980s, when enthusiasts were rediscovering compact performance machines after the fuel-conscious years earlier in the decade.
The Ecosse Signature prototype debuted at the 1988 Birmingham Motor Show, several potential customers came in.(Picture from: AllCarIndex)
The Ecosse Signaturewas developed under the banner of the Ecosse Car Company Ltd, formed after the closure of AC’s Scottish venture. John Parsons and former BRM technical director Aubrey Woods acquired the remaining assets and relocated operations to Hertfordshire, determined to transform an unfinished prototype into a viable production sports car. Their reworked prototype made its public appearance at the 1988 Birmingham Motor Show, drawing genuine curiosity from potential buyers intrigued by its blend of British character and continental engineering influence. The car symbolized resilience—proof that even after financial struggles, failed crash tests in earlier phases, and missed production targets, the core idea still inspired belief.
The Ecosse Signature prototype debuted at the 1988 Birmingham Motor Show, several potential customers came in. (Picture from: AllCarIndex)
Yet ambition alone could not secure its survival. Despite the renewed interest and thoughtful mechanical updates, the Ecosse Signature required significant investment to move beyond prototype status. Funding proved elusive, and without the financial backing necessary to enter full production, the project quietly faded. Today, The Ecosse Signatureholds a unique place in automotive history: not as a mass-produced success, but as a reminder of how creativity, persistence, and engineering passion often outpace commercial reality. In an era when boutique manufacturers and restomod culture are thriving once again, its story feels surprisingly relevant—an echo of what can happen when bold ideas meet harsh economics, and a compelling chapter in Britain’s enduring love affair with the mid-engined sports car. *** [EKA | FROM VARIOUS SOURCES | ARONLINE | AC3000ME | WIKIPEDIA | SILODROME | ADRIANFLUX | ALLCARINDEX | CARSTYLING.RU | CLASSIC AND RECREATION SPORTSCARS IN FACEBOOK ]
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Digital Prophecy - Progress in the automotive world has never been driven by engines alone. Sometimes, the boldest leaps forward come from the technology hidden behind the dashboard rather than under the hood. During the vibrant, experimental spirit of the 1980s, when digital displays and electronic gadgets began reshaping daily life, one Japanese company dared to imagine how deeply technology could transform the driving experience. That vision materialized in 1985 as the Clarion C-AVCC, a one-off concept car that blurred the line between automobile and mobile electronics hub.
The Clarion C-AVCC, a one-off concept car that blurred the line between automobile and mobile electronics hub.. (Picture from: WorldCarsFromThe1930sTo1980s in Facebook)
First unveiled at the 1985 Tokyo Motor Show, the Clarion C-AVCCwas designed by Japanese automotive designer Takuya Yura and developed by Clarion, a company globally recognized for its car audio systems. Unlike traditional concept cars created by automakers, this project came from a car audio manufacturer determined to showcase its technological ambition. The name itself—Car Audio, Visual, Computer, and Communication—clearly expressed its mission. The C-AVCC was not built to race, nor even to properly drive; it was a full-scale mockup intended to demonstrate how integrated electronics could define the future of mobility.
The Clarion C-AVCC debuted at the 1985 Tokyo Motor Show, designed by Takuya Yura and developed by Clarion, the renowned Japanese car audio manufacturer. (Picture from: WorldCarsFromThe1930sTo1980s in Facebook)
Visually, the C-AVCC captured the unmistakable optimism of 1980s futurism. Its low, wedge-shaped silhouette hinted at a mid-engine, rear-wheel-drive layout, even though performance was never the priority. Inside, the cabin felt more like a command center than a cockpit. A distinctly digital instrument cluster reflected the era’s fascination with electronic displays, while a multifunction steering wheel packed with switches allowed the driver to control the audio system without taking their hands off the wheel—an idea that has since become industry standard. Instead of a conventional ignition key, Clarion introduced a credit-card-sized entry card to activate the vehicle’s systems, anticipating keyless technologies that would only become mainstream decades later.
The Clarion C-AVCC embodied 1980s futurism with its low, wedge-shaped silhouette suggesting a mid-engine, rear-wheel-drive layout despite performance not being its focus. (Picture from: JDM.Tarmac.Icons in Instagram)
What truly setthe C-AVCCapart, however, was its remarkable suite of electronics—astonishingly advanced for the mid-1980s. The dashboard featured a flat screen (not a bulky CRT) capable of displaying graphic information from any of the car’s 14 onboard systems, including feeds from a rear-view camera. Passengers could even watch 8mm video tapes on the screen, a level of in-car entertainment that many modern vehicles only recently matched.
The Clarion C-AVCC featured a cabin that resembled a command center, complete with a digital instrument cluster and a multifunction steering wheel that allowed audio control without removing hands from the wheel. (Picture from: WorldCarsFromThe1930sTo1980s in Facebook)
The concept also foresaw satellite navigation long before GPS became common. To use its navigation system, drivers had to place a call using the built-in phone; directions were then transmitted to the onboard computer and physically printed out. The same integrated system managed phone functions, connected to a number database, and even displayed real-time phone billing information—an early glimpse into connected car ecosystems.
The Clarion C-AVCC was not built to race, nor even to properly drive; it was a full-scale mockup intended to demonstrate how integrated electronics could define the future of mobility. . (Picture from: JDM.Tarmac.Icons in Instagram)
Althoughthe Clarion C-AVCC never ran and was never intended for production, its influence resonates today. Multifunction steering wheels, key cards, navigation systems, onboard computers, rear cameras, and in-car entertainment are now everyday features. In 1985, they were bold predictions. The C-AVCC demonstrated that the future of driving would be defined as much by information and connectivity as by horsepower. Decades later, even if its current whereabouts remain unclear, this singular concept stands as a vivid reminder that sometimes the most important revolutions in automotive history begin not with speed, but with imagination. *** [EKA | FROM VARIOUS SOURCES | RARECARSONLY | JDM.TARMAC.ICONS IN INSTAGRAM | CLASSIC AND RECREATION SPORTSCARS IN FACEBOOK | WORLD CARS FROM THE 1930S TO 1980S IN FACEBOOK ]
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Jetborne Tomorrow - Progress has always been fueled by bold imagination. From jetliners slicing through the sky to rockets piercing the atmosphere, the mid-20th century was a time when humanity believed the future would arrive faster than expected. Automakers, inspired by that same optimism, translated aerospace dreams into rolling sculptures. Among the most daring of these visions was the 1961 Chrysler TurboFlite, a concept that captured the spirit of the Space Age and dared to suggest that piston engines might soon become relics of the past.
The Chrysler TurboFlite Concept, a concept that captured the spirit of the Space Age and dared to suggest that piston engines might soon become relics of the past. (Picture from: Story-Cars)
Created through a collaboration between Chrysler and the Italian design house Ghia, the TurboFlite looked less like a family car and more like a personal spacecraft. Its low, aerodynamic nose reduced frontal drag, while the outer headlamps discreetly retracted beneath the fender edges when not in use. Instead of a traditional roof, the car featured a dramatic canopy that automatically tilted upward when the recessed door handle was pressed, transforming entry into a theatrical experience. Conventional side windows were abandoned in favor of large panels hinged from the roof that swung outward for ventilation. Inside, four passengers were surrounded by brushed aluminum seating and electroluminescent lighting that gave the cabin an otherworldly glow, reinforcing the feeling that this machine belonged to tomorrow.
The Chrysler TurboFlite Concept was born from a collaboration between Chrysler and the Italian design house Ghia, and it looked less like a family car than a personal spacecraft poised for launch. (Picture from: Story-Cars)
The rear design was even more audacious. Twin vertical stabilizers rose from the fenders to form a sweeping basket-handle wing, a shape that would later echo in high-performance Chrysler products built for NASCAR. Unlike those later race cars, however, the TurboFlite’s wing was not intended to generate downforce. It functioned as an air brake, automatically deploying increased drag when the driver pressed the brake pedal. The system could be disabled for urban driving, but at highway speeds it served a critical purpose. Turbine engines, unlike conventional piston engines, provided virtually no engine braking when the throttle was lifted, meaning the car relied almost entirely on hydraulic brakes to slow down. The air brake was Chrysler’s solution to reduce brake fade during repeated high-speed stops.
The Chrysler TurboFlite Concept featured a more audacious rear design, with twin vertical stabilizers rising from the fenders to form a sweeping basket-handle wing that would later echo in high-performance Chrysler models built for NASCAR. (Picture from: Story-Cars)
At the heart ofthe TurboFlitewas Chrysler’s third-generation CR2A gas turbine engine. Thanks to a variable turbine nozzle design, spool-up time dropped dramatically—from seven seconds in earlier versions to roughly one and a half seconds—bringing acceleration closer to what drivers expected from piston-powered cars. Chrysler even claimed impressive fuel economy during cross-country testing in a turbine-powered prototype based onthe Dodge Dart, though later independent tests were less flattering, sometimes reporting figures barely above 10 miles per gallon. High exhaust temperatures also posed engineering challenges. Still, the CR2A demonstrated that turbine technology had matured significantly compared to earlier experiments, offering smoother operation and fewer moving parts than traditional engines.
The Chrysler TurboFlite Concept extended its aircraft-inspired theme inside with a pyrometer gauge, oversized pedals for left-foot braking, and a horn activated by squeezing the steering wheel rim. (Picture from: Story-Cars)
Safety and driver awareness were central themes inthe TurboFlite’sdesign. The vertical fins integrated eye-level brake lights that used bright illumination for daytime visibility and dimmer output for nighttime driving—an idea that predated federally mandated high-mounted stop lamps by decades. Another forward-thinking feature was an amber warning light across the full-width taillamp panel, which illuminated when the driver lifted off the accelerator to signal a change in momentum to following traffic. Inside the cockpit, aircraft inspiration continued with a pyrometer measuring exhaust gas temperature, oversized accelerator and brake pedals encouraging left-foot braking, and even a horn activated by squeezing the inner rim of the steering wheel. Not every innovation proved practical, but each reflected a willingness to rethink convention. | f-xJi5zfTtA |
Althoughthe TurboFlite dazzled audiences on the auto show circuit, it never advanced beyond concept form. Chrysler continued refining turbine-powered passenger cars for years, yet technical limitations and real-world drawbacks ultimately outweighed the advantages. Even so, the TurboFlite’s influence stretched far beyond its brief spotlight. Full-width taillights later appeared on production models such asthe 1966 Dodge Charger, and the idea of a high-speed air brake would resurface decades later on hypercars likethe Bugatti Veyron. The future imagined in 1961 did not unfold exactly as predicted, but the TurboFlite remains a vivid reminder that progress is often shaped by ideas that arrive too early—concepts that time may forget, yet never entirely leave behind. *** [EKA | FROM VARIOUS SOURCES | HEMMINGS | TOPGEAR | STORY-CARS ]
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Elegant Finale - In the early 1950s, Europe’s automotive scene stood at a crossroads, caught between pre-war craftsmanship and the pressure to modernize fast. Many luxury marques struggled to stay relevant as mass production and new technologies reshaped expectations. It was within this fragile transition that Delahaye introduced one of its most intriguing final creations: the Delahaye 235M Pillarless Saloon by Ghia, a car that quietly embodied both the ambition and the vulnerability of a fading grand marque.
The Delahaye 235M Pillarless Saloon designed by Mario Felice Boano of Ghia, featured featured flowing, streamlined lines, dramatic proportions, and distinctive hinged wheelhouse fairings. (Picture from: RMW.lv)
The Delahaye 235 was born out of necessity. By 1951, sales of earlier models likethe Type 135 and 175had collapsed to just 77 units, forcing Delahaye to rethink its direction. Working under chief designer Philippe Charbonneaux, and with mechanical development led by Fernand Lacour, the company createdthe Type 235as a more modern evolution of its earlier luxury cars. The most visible change was its wide, full-width ponton-style front end, including a new grille that subtly referenced Delahaye’s distributor, Générale Française Automobile. Although it still relied on proven engineering, the car was meant to signal renewal rather than nostalgia.
The Delahaye 235M Pillarless Saloon by Ghia, a car that quietly embodied both the ambition and the vulnerability of a fading grand marque. (Picture from: RouteVehcchie.org)
Under the long hood sat a familiar but thoroughly refined 3.6-liter inline-six engine, derived from the 135MS. Equipped with three downdraught Solex carburetors, higher compression, and a revised camshaft, it produced around 152 horsepower and pushed the 235 to roughly 170 km/h, with some early prototypes exceeding that mark. Buyers could choose between a synchronized four-speed manual gearbox or the advanced Cotal pre-selector unit, reflecting Delahaye’s attempt to blend traditional craftsmanship with contemporary driving comfort. On paper, the performance matched its elite positioning, even if rivals offered similar speed at lower cost.
The Delahaye 235M Pillarless Saloon by Ghia features a cabin that reflects refined yet understated luxury, prioritizing craftsmanship over excess. (Picture from: RMW.lv)
What truly defined the Delahaye 235M Pillarless Saloon, however, was its bodywork. Delahaye sold the car primarily as a rolling chassis, leaving styling to Europe’s most respected coachbuilders. While many examples wore bodies by Chapron, Antem, or Letourneur et Marchand, the Ghia-built pillarless saloon stood apart. Designed by Mario Felice Boano, it featured flowing, streamlined lines, dramatic proportions, and distinctive hinged wheelhouse fairings. The absence of a central door pillar gave the car an open, elegant profile, emphasizing lightness and motion even at rest. Inside, the cabin echoed this philosophy with a refined yet understated luxury, favoring craftsmanship over excess.
The Delahaye 235M Pillarless Saloon by Ghia is powered by a refined 3.6-liter inline-six engine derived from the 135MS, equipped with triple Solex carburetors and delivering around 152 horsepower with a top speed of approximately 170 km/h. (Picture from: RMW.lv)
Despite technical competence and visual flair, the 235 arrived too late. Critics at the time noted its resemblance to earlier Delahayes and questioned its weight, price, and reliance on aging mechanical concepts. Even Delahaye’s bold promotional efforts—such as driving an aluminum-bodied prototype from Cape Town to Algiers in just over ten days—failed to revive demand. Between 1951 and 1954, only about 85 examples were built, including prototypes. By the summer of 1954, Delahaye was absorbed by Hotchkiss, and the brand quietly disappeared from the automotive world.
The Delahaye 235M Pillarless Saloon by Ghia was produced in limited numbers between 1951 and 1954, with only about 85 examples built, including prototypes. (Picture from: RMW.lv)
Today, the Delahaye 235M Pillarless Saloon by Ghia feels less like a commercial failure and more like a closing statement written in metal and glass. It captures a moment when elegance still mattered more than efficiency, and when individuality came from artisans rather than assembly lines. As modern collectors and enthusiasts revisit this car, it stands not as a relic, but as a reminder of how bold design and quiet confidence once defined luxury—even at the very end of an era. *** [EKA | FROM VARIOUS SOURCES | RMW.LV | SUPERCARS.NET | RUOTEVECCHIE.ORG | CLASSICDRIVER | RMSOTHEBYS | CRAIG'S CAR CORNER IN FACEBOOK ]
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Fiberglass Maverick - In the golden age of handcrafted sports cars, when ambition often outweighed budget and fiberglass promised freedom from steel’s limitations, a handful of daring builders created machines that blurred the line between dream and driveway. Among them was a striking American coupe that quietly defied convention: the Fiberfab Caribee. Rare, unconventional, and shaped by both creativity and circumstance, it remains one of the most intriguing footnotes in 1960s automotive history.
The Fiberfab Caribee is thought to have been produced in only approximately 12 examples, making it one of the company’s lowest-production models. (Picture from: Silodrome)
The Caribeefirst took shape in the mid-1960s under the direction of designers Russell and Chris Beebe. Originally, the car was meant to carry a more dramatic name—“Banshee.” That plan changed when General Motors stepped in and acquired the rights to the Banshee name for a concept project of its own, the stillborn Pontiac Banshee. Forced to rebrand, the Beebes’ creation emerged asthe Caribeeinstead. The name may have shifted, but the ambition behind the car did not. Only around twelve examples were reportedly built, instantly placing it among the rarest American sports cars of its era.
The Fiberfab Caribee was originally called the Banshee, but General Motors purchased the name for its own Banshee concept car; image courtesy of Fiberfab. (Picture from: Silodrome)
To understand the Caribee, it helps to look at the company behind it. Fiberfab was founded in 1964 in Palo Alto, California, by Warren “Bud” Goodwin and John Hebler. Goodwin had already been involved in a prior venture known as Sports Car Engineering, and Fiberfab grew out of that entrepreneurial spirit. The company specialized in fiberglass body kits and replacement panels, offering enthusiasts the chance to transform familiar models—Corvettes, Mustangs, and Jaguars among them—into something more exotic. The Caribeebecame one of Fiberfab’s most ambitious projects, conceived not as a complete factory-built car, but as a fiberglass grand touring body designed to sit atop an existing chassis.
The Fiberfab Caribee stands out primarily for its gullwing doors, a relatively uncommon feature in the 1960s. (Picture from: Silodrome)
At its core, the Caribeewas a front-engined GT coupe with proportions that invited comparison to icons such asthe Shelby Daytona and the Ferrari 250 GTO—though the resemblance required a bit of imagination. Its most dramatic feature was a pair of gullwing doors, a bold design choice that gave the compact coupe a theatrical presence. The front end tilted forward as a single clamshell section, granting unusually easy access to the engine, suspension, and brakes. This practical touch reflected the car’s kit-based philosophy: it was meant to be worked on, adjusted, and personalized by its owner.
The Fiberfab Caribee often exhibited wide variations in interior trim, panel alignment, and overall finish, making each surviving example a unique reflection of its builder’s craftsmanship. (Picture from: Silodrome)
Unlike traditional production cars, the Caribee could be built on a variety of donor platforms, provided the wheelbase matched. British sports cars were the usual foundation, including the Austin-Healey 3000, the MGA, and the Triumph TR3. Builders would remove the original steel body and replace it with Fiberfab’s lightweight fiberglass shell. The result could be transformative. Even without engine modifications, shedding weight often made these already lively roadsters quicker and more responsive.
The Fiberfab Caribee was designed for British sports car chassis like Austin-Healey, Triumph, or MG, and featured gullwing doors with a forward-tilting clamshell front for easy mechanical access. (Picture from: Silodrome)
Yet because eachCaribeedepended on the skill of its assembler, no two cars were exactly alike. Interior trim, panel alignment, and overall finish varied widely, making every surviving example a unique reflection of its builder’s craftsmanship. Today, the exact number of survivingCaribeesremains uncertain. At least half a dozen are believed to exist, and the resilience of fiberglass—immune to the rust that claims so many steel-bodied classics—suggests that more could resurface over time. | LXIGBcb1_vo |
In a modern automotive world dominated by digital design and mass production, the Fiberfab Caribee stands as a reminder of a more hands-on era. It represents a time when enthusiasts could quite literally reshape their cars, blending British mechanical bones with American fiberglass flair, and drive something that almost no one else on the road had ever seen. *** [EKA | FROM VARIOUS SOURCES | SILODROME ]
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Camberwell Contender - Motorsport in the 1960s was a fertile ground for bold ideas, where small manufacturers could still challenge established names through ingenuity rather than sheer scale. In that vibrant era, Britain became a hotspot for compact, clever racing machines that punched well above their weight. One of the most intriguing examples to emerge from this scene was the Diva GT, a car that quietly carved out its place in racing history while reflecting the experimental spirit of its time.
The Diva GT 1300 Type C Prototype with an aluminum body and has an extensive racing history with even an entry in the 1964 Le Mans 24 Hours race. (Picture from: RitzSite.nl)
The Diva GTwas conceived and developed by British designer Don Sim, whose background lay in single-seater construction and Formula Junior projects at Yimkin, a company he co-founded. Established in the early 1960s, Diva Cars began as part of Tunex Conversions in South London before becoming Diva Cars Ltd in 1966. Between 1962 and 1966, the company produced just 65 GT cars, nearly all intended for competition. Built in Camberwell, these cars were never about mass production; they were precision tools designed for racers who valued lightweight engineering and mechanical honesty.
The 1964 Diva GT 1300 Type C powered by by a Cosworth-tuned reverse-flow 1.3-liter Ford Kent four driving the rears through a Hewland 5-speed, the car was reportedly originally delivered to F1 driver Jackie Oliver who intended to campaign it in the 1964 24 Hours of Le Mans.(Picture from: BringAtrailer)
Visually and structurally, the Diva GT embodied the minimalist efficiency of its era. The car featured a compact sports coupé silhouette wrapped in a glassfibre-reinforced plastic body produced by Heron Plastics. Beneath that skin sat a finely constructed tubular steel spaceframe chassis with independent suspension all around, an advanced feature for its class at the time. Disc brakes at the front added further credibility, making the Diva GT a technically serious contender rather than a garage-built curiosity. Interior appointments were sparse, focused entirely on the driver and the demands of racing, reinforcing its purpose-built character.
The 1964 Diva GT 1300 Type C ex Jackie Oliver was built
around a finely constructed tubular steel spaceframe chassis with fully
independent suspension, an advanced feature for its class at the time.(Picture from: Pinterest)
Power came from a range of four-cylinder Ford engines, typically the Kent unit, with displacements from just under one litre up to 1.6 litres, allowing the car to be tailored to different racing classes. Although a road-capable version could be specified on paper, every Diva GTproduced ultimately went to the track. Variants such as the B, C, and D Typeswere designed exclusively for competition, while the slightly more road-orientedDiva 10Ffeatured thicker fibreglass and a more flexibly mounted engine. Even then, practicality remained secondary to performance and durability.
The Diva GT 1300 Type C ex Jacky Oliver is the third of just 13 Type-C models–most were constructed of fiberglass over a tubular steel spaceframe chassis, but this features aluminum bodywork with wider front and rear fenders and an extended Kamm tail. (Picture from: BringAtrailer)
On the circuit, the Diva GTproved its worth. It achieved notable success in British national GT racing and made its mark internationally, including a class win at the 1964 Nürburgring 1000 km race in the under-1000 cc prototype category. Drivers associated with the marque read like a snapshot of future motorsport talent, including John Miles, Jackie Oliver, Peter Gethin, Brian Redman, and Alain de Cadenet. One particular example even earned an entry at the 1964 24 Hours of Le Mans, underlining how far this small British manufacturer managed to reach.
The Diva 10F was the only car designed for road use and was a version of the GT cars with thicker fibreglass bodywork and a more flexibly mounted engine. (Picture from: BringAtrailer)
Although Diva Cars ceased production after a change of ownership in 1967, the Diva GT’s story did not end there. Many cars continued racing for decades, finding new life in historic championships across Europe well into the 21st century. Today, the Diva GT stands as a reminder of a time when creativity, craftsmanship, and determination could still level the playing field. Its legacy feels especially relevant now, as modern enthusiasts rediscover the appeal of lightweight design and authentic engineering in an increasingly complex automotive world. *** [EKA | FROM VARIOUS SOURCES | CARS-BONHAM | BRINGATRILER | AUTA5P.EU | RITZSITE.NL | SPECIALCARSPHOTOS | HYDE1841 | WIKIPEDIA ]
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The car’s roots stretch back to the mid-engined sports car formula that had captivated Europe since the 1970s. By the time the Ecosse Signature appeared, it carried forward a distinctive wedge-shaped silhouette—sharp, low, and unmistakably period-inspired—yet refined for a more modern audience. Its glassfibre bodywork preserved the lightweight ethos of its predecessor while subtle restyling softened some of the harsher lines, giving it a cleaner and more contemporary stance. The proportions remained compact and purposeful: a short nose, a cabin pushed forward, and muscular rear haunches that hinted at the engine mounted just behind the seats. Inside, the cabin followed a driver-focused philosophy typical of British sports cars of the era—intimate, functional, and built around engagement rather than luxury excess. The low seating position, straightforward instrumentation, and snug two-seat layout reinforced its identity as a pure driver’s machine. 
What truly distinguished the Ecosse Signature, however, was the engineering evolution beneath its sculpted body. After earlier iterations had experimented with various powerplants, the team behind the reborn project opted for a turbocharged Fiat twin-cam engine sourced from the Croma Turbo, replacing the previously considered Alfa Romeo V6. This decision signaled a clear intention: deliver sharper performance while maintaining manageable weight and balance. With its mid-engine configuration and carefully developed chassis—featuring independent suspension and a rigid structural core—the car promised agile handling and lively acceleration. It was a combination that, on paper, aligned perfectly with the spirited driving culture of the late 1980s, when enthusiasts were rediscovering compact performance machines after the fuel-conscious years earlier in the decade. 
Yet ambition alone could not secure its survival. Despite the renewed interest and thoughtful mechanical updates, the Ecosse Signature required significant investment to move beyond prototype status. Funding proved elusive, and without the financial backing necessary to enter full production, the project quietly faded. Today, The Ecosse Signature holds a unique place in automotive history: not as a mass-produced success, but as a reminder of how creativity, persistence, and engineering passion often outpace commercial reality. In an era when boutique manufacturers and restomod culture are thriving once again, its story feels surprisingly relevant—an echo of what can happen when bold ideas meet harsh economics, and a compelling chapter in Britain’s enduring love affair with the mid-engined sports car. *** [EKA | FROM VARIOUS SOURCES | ARONLINE | AC3000ME | WIKIPEDIA | SILODROME | ADRIANFLUX | ALLCARINDEX | CARSTYLING.RU | CLASSIC AND RECREATION SPORTSCARS IN FACEBOOK ]
