Miguel Sánchez
Even when we talk about the most exclusive ranges, each and every one of the mass-produced cars is conditioned by various economic studies. This way, Its production must comply with parameters governed by profitability. The one that, leveling expenses and income, determines if the balance ends up being positive when we face the investment in design and development with the sales quota.
Thus, engineering has always been limited by its necessary adaptation to finance. And it is that, after all, no matter how passionate the most performance sports are, they are still an object of consumption subject to economic rules. However, let's think for a moment what it would be like to devise the best possible GT without taking into account any business conditions. To devise a vehicle that, adding the best elements of the time, would be a true dream car.
Well, the same thing was raised by John Anstey at the beginning of 1967. Director of the automobile section in The Daily Telegraph, he summoned his team of editors for a challenge based on two very simple rules. The first marked the end of all that: bring to reality a unique GT presented as the ideal sports car. After this, the second indicated the priority of doing it with already existing elements, thus selecting the best engineering of the time.
At this point, those British editors chose the Jaguar E-Type as the best basis for such a project. Because of this, the newspaper contacted the Coventry factory. Excited about the advertising possibilities of the idea, it donated one of those GTs equipped with the 4,2-litre six-cylinder engine.
From here, with an undisguised desire for localism, the writing of The Daily Telegraph added Dunlop tires to the set, Some Triplex Safety Glass glasses with temperature regulation and leather seats signed by Connolly.
Of course, when dressing the group they found a problem. And it is that, for better or for worse, in the sixties british bodybuilders were no longer the reference. Far from it, the twenties with its majestic Rolls-Royce in a unique piece were already very far away. In this way, everything pointed to Italy as the place where this journalistic project would take its final form.
What's more, thanks to designers like Marcello Gandini, transalpine coachbuilders were moving beyond their elegant classicism in order to experiment with truly futuristic concepts. Something clearly visible in the case of Bertone.
JAGUAR PIRANA BERTONE, A STEP BEFORE THE LAMBORGHINI ESPADA
Given the enormous influence exerted by the print media of the time, when John Anstey presented the project of his ideal GT to Bertone, he was delighted to be able to dress it. Thanks to that, Nuccio Bertone assigned the project to Marcello Gandini. As young as it is referential -he had not even turned thirty-, the creator of the recent Miura took the commission under the inherent responsibility of transcending the already refined lines of a Jaguar E-Type.
To do this, he based his work on a style with which he had been experimenting since 1966 thanks to Marzal. A first sketch in order to come up with what could be a 2+2 vehicle in the Lamborghini range. Yes indeed, that design studio was extremely futuristic due to its vertical opening doors with transparent panels. Due to this, in Bertone they decided to keep only their most acceptable forms. And, after all, the idea of the British newspaper was to create an ideal GT, yes. But also credible in the face of a hypothetical series production.
Thus, by mid-1967 Marcello Gandini already had the lines of the Jaguar Pirana ready; name under which this project was finally released. Protagonist of a careful balance between innovation, elegance and sensation of speed the Jaguar Pirana was finished off with the recurring silver paint on Bertone concept vehicles. With all this, he became the sensation of Earls Court. First important event where it was presented before being bought by a collector a few months later. Just as it used to be done in not a few of those international fairs.
Now, beyond its anecdotal story, where is the value of the Jaguar Pirana. Well, some would place it in the fact that it is a unique piece. And it is true. However, just a glance at its volumes gives us the answer. And it is that, not in vain, Marcello Gandini used this One-Off as a study of what in 1968 would end up being the Lamborghini Espada. A GT 2+2 fully anticipated in its appearance by the Pirana, responsible for civilizing the daring style presented by the Marzal in 1966.
With all this, this Jaguar ended up being an indirect protagonist in the history of Lamborghini. A curious story that, let us not forget, was born from wanting to create an ideal GT with the best engineering of the time.
Photographs: RM Sotheby's /Bertone
