LANCIA GAMMA COUPÉ 2.5 I.E.
Beauty comes first
YEAR: 1981
According to many, this is still the last great Lancia coupé that, at the end of the Seventies, proposed a style in line with the trends of the time, yet firmly tied to Lancia’s traditions.
Flawless design with near-perfect proportions. Innovative yet elegant: just like a Lancia ought to be.
Geneva showroom, 1976
The Lancia Gamma Coupé was designed by Aldo Brovarone (Dino 246, Alfa Romeo Duetto), who brought before Pininfarina a more balanced idea than those put forwards by the other illustrious designers in competition for the project – amongst whom we remember Paolo Martin, father of the gorgeous Fiat 130 Coupé.
The fake “pillar” above the rear window as a mere aesthetic whim, the boot lid with a slightly lowered central part inherited from the 2000 Coupé, and the ridge running along the sides made this GT one of the most fascinating cars of its time: angular and sharp, but not excessively so, to this day it is considered one of the most successful two-doors made by Pininfarina. The interior made by Piero Stroppa, one of the first to be computer-designed, was a good match to the style of the body, resulting in a refined and innovative vehicle. The door panels with the typical curved handles and the front headrests perfectly integrated with the seats were a clear example of sophistication and originality.
The press welcomed the launch of the Gamma Coupé with very favourable opinions. It was considered, even in the UK, the worthy heir of a great car-making tradition. Presented together with the saloon at the 1976 Geneva International Motor Show, it had the same mechanicals of its four-door sister except for the wheelbase, shortened by 11.5 cm. Produced almost entirely at Pininfarina in Grugliasco and completed in Turin, it had two engine options: a 2500 boxer engine (2484 cc) and the 2000 derived version (1999 cc). The latter was meant to avoid the 38% VAT tax that in Italy impacted engines over 2.0 L.
Some technical issues that affected the first vehicles produced (such as the faulty timing belt), hastily delivered to avoid delays and the resulting money loss, were sadly only resolved during the marketing phase, inevitably compromising this magnificent car’s reputation.
The Series 2, to which our car belongs, was created in 1980, with a few improvements hard to spot from the outside, but that made the car considerably more reliable. That year, the 2500 Bosch engine with electronic injection was introduced, which ran more smoothly than its predecessor, and granted lower consumption. The body was upgraded as well, thanks to a treatment that used electrophoresis to improve its durability. The only cosmetic alterations were the rear panel with the name of the model, the new 15’’ alloy rims (only on the 2.5 L), and the grille. The interior sported a new dashboard and a few other minor details, such as the digital clock.
The Gamma Coupé went out of production in 1984, with 6789 vehicles made, of which only 1.209 units were a Series 2 2.5 i.e. Then nothing. This was the last car Pininfarina designed from scratch for Lancia, and its boxer engine was the last one Lancia engineered. This opened the door to new collaborations and marked a change in constructive logics compared to the past.
Driving experience – agile and spacious
Thanks to its platform, shorter than the saloon’s, and the boxer engine that lends it a lower centre of gravity, the Gamma Coupé is a real surprise, especially considering its generous size. The 2.5 L i.e flat-four (engine code “830A4.000”), linear and progressive, really compliments the build of this car. It has a top speed of 195 km/h, against the 181 of the 2 L version, while also boasting a definitely more impressive pickup.
Easy to handle, especially in tight-driving conditions, it reminds of more compact coupés of its time, with a narrower interior. On the other hand, this is a rather comfortable four-seat, (homologated for 5), with plenty of leg space for its passengers, as well as space in the boot. Brovarone’s genius is just as clear when we observe the car’s profile: streamlined, with an almost slender outline that seems to be hovering a few centimetres above the pavement. This car skilfully hides a roomy interior that can accommodate a family, more spacious than that of many saloons of the time. And to think that its heir is the 1996 K Coupé. Make of that what you will.
Documented jobs – Passione Classica’s Lancia Gamma Coupé 2.5 I.E.
The 2.5 L i.e. produced in 1981 were a little over 500, even fewer the ones with this colour combination: an elegant champagne hue for the body, beige interior, and dark brown carpets. This Italian coupé was exported to Germany and later found thanks to an acquaintance’s heads-up. I was looking for a Series 2 2.5 L i.e, exactly of this wonderful colour, which I believe is one of the best suited for this model.
The restoration was long and lasted about three years between hitches, setbacks, looking for spare pieces, and various tests. Amongst those who contributed to this project, a special mention goes to the Italian Lancia Gamma Club, whose members were always helpful and ready to share useful tips.
The car had already been repainted but, while it might have looked all right at a first glance, the colour chosen for the body was a beige metallic paint consistent with the model but wrong for this specific unit. I then discovered that the shade of this colour could vary depending on the production period—due to agreements between Lancia and its suppliers that changed over the years, and paint supply was no exception. The original colour came to light while disassembling this Gamma, decidedly lighter than what had been picked for the first restoration. That’s why, as you can see from the pictures, I resolved to repaint this Gamma Coupé to respect its authenticity.
Body work aside, the mechanical aspect was undoubtedly the most expensive part of the restoration, as it forced the technicians to do some overtime, an Passione Classica to pay for some unplanned expenses (see pictures) that amounted to about 16.000 euros—spare parts included (invoices available as usual)—obviously in addition to the cost of the car. The engine, for instance, was completely disassembled and inspected. The 2.5 produced are already very few, even fewer are the ones that can boast full documentation, complete with invoices and pictures of the process. That’s why one must be wary of cars for sale at bargain prices that often have little to no proof of the jobs that have been performed, apart from the occasional oil change. Restoring a vintage car is expensive and it’s normal that its value increases with every operation. This 2.5 i.e. Gamma Coupé has therefore indisputable historical charm, and represents a divide between generations of Lancia aficionados. Italian engineering and Pininfarina’s and Brovarone’s signature together become a true masterpiece, perhaps one of the most beautiful of its time.
Driving experience – agile and spacious
Thanks to its platform, shorter than the saloon’s, and the boxer engine that lends it a lower centre of gravity, the Gamma Coupé is a real surprise, especially considering its generous size. The 2.5 L i.e flat-four (engine code “830A4.000”), linear and progressive, really compliments the build of this car. It has a top speed of 195 km/h, against the 181 of the 2 L version, while also boasting a definitely more impressive pickup.
Easy to handle, especially in tight-driving conditions, it reminds of more compact coupés of its time, with a narrower interior. On the other hand, this is a rather comfortable four-seat, (homologated for 5), with plenty of leg space for its passengers, as well as space in the boot. Brovarone’s genius is just as clear when we observe the car’s profile: streamlined, with an almost slender outline that seems to be hovering a few centimetres above the pavement. This car skilfully hides a roomy interior that can accommodate a family, more spacious than that of many saloons of the time. And to think that its heir is the 1996 K Coupé. Make of that what you will.
Documented jobs – Passione Classica’s Lancia Gamma Coupé 2.5 I.E.
The 2.5 L i.e. produced in 1981 were a little over 500, even fewer the ones with this colour combination: an elegant champagne hue for the body, beige interior, and dark brown carpets. This Italian coupé was exported to Germany and later found thanks to an acquaintance’s heads-up. I was looking for a Series 2 2.5 L i.e, exactly of this wonderful colour, which I believe is one of the best suited for this model.
The restoration was long and lasted about three years between hitches, setbacks, looking for spare pieces, and various tests. Amongst those who contributed to this project, a special mention goes to the Italian Lancia Gamma Club, whose members were always helpful and ready to share useful tips.
The car had already been repainted but, while it might have looked all right at a first glance, the colour chosen for the body was a beige metallic paint consistent with the model but wrong for this specific unit. I then discovered that the shade of this colour could vary depending on the production period—due to agreements between Lancia and its suppliers that changed over the years, and paint supply was no exception. The original colour came to light while disassembling this Gamma, decidedly lighter than what had been picked for the first restoration. That’s why, as you can see from the pictures, I resolved to repaint this Gamma Coupé to respect its authenticity.
Body work aside, the mechanical aspect was undoubtedly the most expensive part of the restoration, as it forced the technicians to do some overtime, an Passione Classica to pay for some unplanned expenses (see pictures) that amounted to about 16.000 euros—spare parts included (invoices available as usual)—obviously in addition to the cost of the car. The engine, for instance, was completely disassembled and inspected. The 2.5 produced are already very few, even fewer are the ones that can boast full documentation, complete with invoices and pictures of the process. That’s why one must be wary of cars for sale at bargain prices that often have little to no proof of the jobs that have been performed, apart from the occasional oil change. Restoring a vintage car is expensive and it’s normal that its value increases with every operation. This 2.5 i.e. Gamma Coupé has therefore indisputable historical charm, and represents a divide between generations of Lancia aficionados. Italian engineering and Pininfarina’s and Brovarone’s signature together become a true masterpiece, perhaps one of the most beautiful of its time.
In the Eighties, the world was getting ready for a cultural revolution: music saw a new year zero with the debut of MTV (August 1981), and was forced to, quite literally, reconsider its own image (the first video to be aired was “Video Killed the Radio Star” by The Buggles.)
Between pop-rock, the post-punk/new wave coming from Great Britain, and singer-songwriter music, Italy was going through a time of great ferment, with lots of genres populating the charts of best-selling albums: Orchestral Manoeuvres in the Dark, Nikka Costa, Dire Straits, Ricchi e Poveri, Phil Collins, and John Lennon. 1889 is also the year of Litfiba.
Jamaican singer and model Grace Jones published “Nightclubbing”, her fifth studio album. The cover, extremely famous in the world of photography, featured the singer wearing an Armani men’s suit, sporting a very short haircut and a cigarette in her mouth. The result was an androgynous figure (“fluid”, as we might say today,) shocking and highly provoking. Grace Jones is an artist that utilises voice, images, and sounds to instigate a confrontation between the two sexes and making herself a bridge between races, cultures, and musical genres.
Amongst the nine tracks of her album, the “Panther”, as she is still known today, left a reinterpretation of Astor Piazzolla’s Libertango, titled “I’ve seen that face before”. The piece was so well arranged and performed that it earned its own identity. Such a phenomenon has very few precedents in music history, and the piece became the artist’s signature song—so much so that lots of people today believe it is the original version of Libertango instead of a remake.
The jazz and pop vibes combine with Piazzolla’s latin mood, catapulting the listener into the world of mysterious Parisian night, haunted by ambiguous figures and elegant, seductive meetings. Here’s video: