Description
The Innocenti Mini 90 was one of the most distinctive and stylish evolutions of the Mini concept—an Italian reimagining of a British icon that combined the mechanical ingenuity of Alec Issigonis’s design with the sophistication and elegance of Italian coachbuilding. Introduced in 1974, the Mini 90 marked the beginning of a completely new chapter for Innocenti under the ownership of British Leyland, and it represented one of the most radical reinterpretations of the Mini ever built. Designed by the legendary Marcello Gandini at Bertone—the man responsible for icons like the Lamborghini Miura, Countach, and Lancia Stratos—the Mini 90 gave the familiar mechanical underpinnings a thoroughly modern, angular Italian body and a touch of metropolitan chic that the original never aspired to.
By the early 1970s, Innocenti had built a strong reputation for producing high-quality Minis for the Italian market, with superior trim, finishes, and craftsmanship compared to their British equivalents. However, the classic Mini body—originally introduced in 1959—was beginning to show its age. Rather than abandon the platform, Innocenti and British Leyland commissioned Bertone to design a completely new car that retained the Mini’s mechanical architecture but clothed it in fresh, contemporary styling. The result was the Innocenti Mini 90 (and its larger-engined sibling, the Mini 120), launched in 1974 and built at Innocenti’s Lambrate plant in Milan.
Mechanically, the Mini 90 remained true to the original’s ingenious layout. Power came from the proven A-Series inline four-cylinder engine, in this case the 998 cc unit producing around 45 horsepower. The engine was mounted transversely, driving the front wheels through a four-speed manual gearbox housed in the engine sump—an arrangement that maximized cabin space and gave the car its legendary compactness. Suspension was independent all around, using the familiar rubber cone springs that gave the Mini its extraordinary handling agility. Steering was quick and direct, and front disc brakes (with rear drums) provided strong, consistent stopping power. The car weighed just over 700 kilograms, ensuring lively acceleration and the same nimble, go-kart-like feel that had made the Mini a motoring icon.
The transformation, however, was in the design. Gandini’s work for Bertone turned the Mini from a charming utilitarian box into a crisp, modern hatchback. The Mini 90’s body was more geometric and solidly sculpted, with sharp creases and a purposeful stance that reflected the design language of the mid-1970s. The front featured a distinctive rectangular grille flanked by inset headlamps and a slim bumper, giving it a confident, contemporary face. The flanks were smooth and uncluttered, with a slightly rising beltline and wide glass areas that provided excellent visibility. At the rear, the cut-off tail and large rectangular lights gave the car a robust, cohesive appearance. The proportions remained compact—short overhangs, wide track, and upright cabin—but the car now looked thoroughly modern, elegant, and unmistakably Italian.
The interior of the Mini 90 was a world apart from its British forebear. Where the original Mini’s cabin was famously sparse, the Innocenti’s was stylish, comfortable, and well-finished. The dashboard was entirely new, designed with Italian flair and far better ergonomics. The driver faced a rectangular instrument cluster with clear gauges and simple switchgear, all framed by a sculpted dash top and centre console. The seats were broader and more supportive, upholstered in durable fabric or optional vinyl with contrasting stitching. Door panels and trim materials were significantly upgraded, giving the cabin an ambience of quality and warmth rare in such a small car. The driving position was improved too—more natural and less upright—while sound insulation made the car quieter and more refined than the original Mini.
On the road, the Innocenti Mini 90 retained the playful personality that had always defined the Mini. Its steering was precise and full of feedback, and the chassis balance remained exceptional. The front-wheel-drive layout and low weight gave it extraordinary grip and agility, allowing it to change direction with immediacy and confidence. In city traffic, it was quick, light, and perfectly maneuverable; on twisting country roads, it danced through corners with enthusiasm. The 998 cc engine, though modest in output, delivered willing performance and a lively exhaust note, and its short gearing made the most of its power. The ride was firmer than many small cars of the era but never harsh, and the brakes were strong and progressive. It was, in short, a car that blended the Mini’s legendary dynamics with Italian refinement and flair.
The Mini 90 was joined by the Mini 120, which used the larger 1275 cc A-Series engine from the Cooper S, producing around 65 horsepower. The two models were visually identical, differing only in engine size and trim options. The Mini 90 was the more accessible of the two—an ideal city car that offered practicality, efficiency, and elegance in equal measure. Both were offered in several trim levels, including the more luxurious De Tomaso versions that arrived later in the decade, featuring sportier styling, alloy wheels, and more powerful engines.
Innocenti marketed the Mini 90 as a refined, modern small car for the sophisticated urban driver. It was aimed at a market that valued design and quality as much as practicality, competing with the Fiat 127, Autobianchi A112, and Renault 5. In Italy, it was admired for its craftsmanship and handling, and it attracted a loyal following among drivers who appreciated its blend of style, compactness, and performance.
Today, the Innocenti Mini 90 is regarded as one of the most fascinating reinterpretations of the Mini formula. It stands as proof of how versatile the original design was—capable of evolving into a wholly different yet equally compelling car. Collectors and enthusiasts admire it for its Bertone styling, fine Italian build quality, and unique position as a bridge between British engineering and Italian design artistry.
Restored examples reveal the precision of its construction and the elegance of its proportions: the subtle surfacing, the tight panel fit, and the timeless Gandini lines. On the road, it remains a delight—quick, agile, and engaging, yet more comfortable and refined than the classic Mini.
The Innocenti Mini 90 was more than just a new body on an old platform—it was a reinvention. It proved that even a utilitarian design could be elevated into something stylish, urbane, and enduring. With its combination of British ingenuity and Italian flair, it remains one of the most charming and distinctive small cars of the 1970s—a true Mini alla Milanese.