If you had to choose the worst decade of automobile design, it would be hard to surpass the period spanning 1972 – 1982. Rapidly changing regulations, government interventions resulting in enormous bumper protrusions, proportional oddities resulting from shrinking formerly large cars to oddly proportioned small cars in a mad rush to build more fuel-efficient cars, all contributed to panic in the design studios. Some companies did better than others, but one British stalwart had unexpectedly prepared a totally new car that would launch at just the right time – The Triumph TR7. As their advertising mantra proclaimed, it was “The shape of things to come”.
Launched to meet the growing US market desire for a sporty low-cost car, Triumph sales in North America had been brisk enough to warrant and all new entry. Though only offered as a coupe due to the challenges of convertible construction to meet US safety standards, the TR7 would go on to become the top selling series Triumph during its eight-year production run, selling well over 100,000 units, a remarkable number considering the era. Though not intended to be, the TR7 would mark the end of the line for the TR series offering.
Designed internally, the TR7 was a radical departure from the formerly traditional low-slung roadsters originally designated from TR2-TR6. Oddly competing against their own parent market offerings (MG and Triumph both held by BMC and Leyland Motors who had merged to form BMLC) the two formerly competitive entities, now under the same banner, submitted proposals for the new market offering. Intent on reducing risks for the new investment, BMLC studied both concepts carefully eventually settling on the Triumph effort to lead the charge. Led by North American market insights, the front engine rear drive Triumph design offering simplicity and fuel economy – an advantage that further suited a faster development timeline by using off the shelf components from the existing BMLC parts bin.
But the more notable change in design would come later as the team was tasked with giving the car a newer, more advanced design appearance – one that might disguise the more sedate underpinnings. This task was met head on by designer Harris Mann whose wedge-themed design offered a fresh appearance complete with pop-up headlights, integrated 5-mph bumpers, a low roof line with small side glass, and a distinctive upswept sculpted body line that gave the car the appearance of forward movement even when standing still. Though quality issues and less than spirited performance limited broader market appeal and eventually sales, the TR7 proved to be an important statement of contemporary design even though Triumph would close its doors just three years after TR7 production concluded.
To fully appreciate the impact the TR7 had, we should consider the context of the era. Though Triumph was largely a cottage industry manufacturer, the TR7 was a huge risk. The visual impact the body design made on the public was so effective that the lacking power and performance became far less critical to the majority of American buyers who eagerly bought the wedge themed TR7 just as management had hoped.
The most obvious TR7 design feature is the curved character line transitioning from the front fender through the door and into the rear fender. Accentuated even more by added bump strip protection, this line was a very clever way of breaking up the surface while softening the wedge shape. Because the side profile is fairly tall and the wheels are unfortunately small, the rocker panels along with the rear valance, are finished in satin black to thin down the profile. This inexpensive cosmetic treatment cloaks the large rear bumper (also satin black) while the front valance remains body color, pulling your eyes towards the front of the car, while simultaneously balancing it with the rear.
In addition to the black lower, the trailing upper sail panel features a ribbed black plastic panel that divides the surface area and trims the panel horizontally as it settles the eye into the horizon. Consistent with advertising of the times, the TR7 appeared in magazines with an array of female models clothed in everything from bikinis to evening gowns, emphasizing the potential range of appeal the TR7 was intended to have.
The front of the TR7 is perhaps one of the more sedate aspects of the overall body design. With the large front bumper protruding nearly 5” from the body, the forward body panel houses pop-up headlights, a raised hood bulge, and twin louvered hood sections flanking the hood bulge. The clean front surface conceals a full width grille opening which is unfortunately hidden from view unless you remove the bumper – an enticing idea which greatly improves the visual impact of the car. With very few exceptions, nearly all sports cars of this era benefit from bumperectomies.
The rear view is particularly clever for a range of reasons. Raised quite high from the ground line, the spacious trunk allows ample room for luggage given the small configuration. The forward angled rear window and fluted black sail panel aids in distracting the eyes from the tall cockpit. Much like the side and front views however, the small wheels do little to create a more robust stance for the tall design. With careful hub and wheel selection, slightly lowered on larger wheel/tire combinations the TR7 translates into a more hunkered down sports car.
Eventually offered as a convertible and available with V8 power (as the TR8), the TR7 became more of a performance car, but little could be done to keep it alive after eight years of production. Fresh and dynamic, with a unique visual signature unlike anything on the road, the TR7 continues today as one of the most innovative body designs from the 1970s. Though the shape of things to come didn’t quite live up to the promises of tomorrow, the TR7 remains a potent reminder of what it was like when car makers took daring chances on radical designs.
