1970s Italian Innovation: The Striking Fiat Abarth 2000 Scorpione

Wedge Sting - The late 1960s was a fascinating period in automotive design. As the swinging curves of the ‘50s and early ‘60s began to fade, a new design language took the stage—one defined by sharp lines, bold angles, and futuristic flair. This shift wasn’t just a quiet evolution—it was a dramatic statement, and few cars illustrated this turning point more vividly than the Fiat Abarth 2000 Scorpione.

The 1969 Fiat Abarth 2000 Pininfarina Scorpione at the 2014 Concorso d'Eleganza Villa d'Este. (Picture from: UltimateCarPage)

When the curtain rose at the 1969 Brussels Motor Show, it wasn’t just another prototype that stood in the spotlight. It was a bold, unapologetic wedge of a machine, sculpted by Pininfarina and built on the bones of a purebred Abarth race car. The Scorpione, as it was fittingly named, didn’t just push the boundaries of what a sports car could look like—it redrew them entirely. The usual three-part silhouette—nose, cockpit, and tail—was replaced with a seamless, unbroken line stretching from the tip of the hood to the roof, breaking convention with refreshing confidence.

Right side view of the 1969 Fiat Abarth 2000 Pininfarina Scorpione. (Picture from: UltimateCarPage)

At the heart of the design was Filippo Sapino, a young talent who had recently transitioned from Ghia to Pininfarina. With the Scorpione, he made an unforgettable mark. Taking cues from the Abarth badge itself, Sapino designed the car to echo the form of a scorpion. The sharp front intakes resembled pincers, the muscular front fenders played the role of outstretched claws, and the steeply curved windshield hinted at the creature’s body. And at the rear? A dramatic trumpet-style exhaust, unmistakably mimicking a scorpion’s arched tail, completed the theme with striking intent.

Function was just as unconventional as form. In place of standard headlights, a rotating central unit with six separate lights sat recessed in the nose, hidden until needed. There were no traditional doors, either. Instead, the entire windshield lifted upward, giving the driver dramatic entry into a stripped-down cockpit. Racing pedigree was obvious inside—no frills, just a large central rev-counter and the bare essentials, underscoring the car’s roots in motorsport.

Dashboard view of the 1969 Fiat Abarth 2000 Pininfarina Scorpione. (Picture from: UltimateCarPage)

Beneath its edgy surface, the Scorpione was built on Abarth’s SE010 chassis, which was created for competition under the Group 4 regulations. This was no show queen—at its core was a mid-mounted, 2.0-liter twin-cam, sixteen-valve four-cylinder engine. Even in a slightly detuned state for the concept car, it still cranked out a hearty 220 horsepower. Combine that with a feather-light body weighing just 740 kg, and the Scorpione had the kind of power-to-weight ratio that demanded respect.

Its presence extended far beyond the show circuit. One admirer, Japanese collector Shiro Kosaka, was so enamored by the Scorpione’s design and history that he set out to make it a centerpiece of his collection. Pininfarina agreed to part with the one-off—but only on the condition that Kosaka would build a dedicated Abarth museum to house it. He kept his promise. Although the Scorpione likely arrived in Japan around 1977, the Gallery Abarth Museum officially opened in 1992, with the radical wedge firmly at its core.  

Rear side view of the 1969 Fiat Abarth 2000 Pininfarina Scorpione. (Picture from: UltimateCarPage)

For decades, the car remained away from European soil, a hidden gem on the other side of the world. That changed in 2014 when it returned to the spotlight at the prestigious Concorso d’Eleganza Villa d’Este. Time hadn’t dulled its impact. Visitors were instantly drawn to its aggressive angles and thunderous exhaust—proof that true design doesn’t fade; it just waits for the right moment to strike again.

The Fiat Abarth 2000 Scorpione stands today not just as a piece of automotive history but as a vivid expression of innovation, collaboration, and bold creativity. It’s a reminder that design isn't always about evolution—sometimes, it’s about revolution. *** [EKA [30112015] | FROM VARIOUS SOURCES | ULTIMATECARPAGE ]

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