Lancia’s 2004 B-sector monospace was that rare thing – a commercial success. But was it a better Idea than its Fiat sibling?
It has been suggested that the Lancia Musa died prematurely, production ceasing when Fiat Auto’s Stabilimento Mirafiori car plant was idled in 2012; victim of the catastrophic fall in Italian new car sales in the wake of the financial crash, sovereign debt crisis, not to mention the legacy of Fiat Auto’s inability to stabilise its business. Like several other Fiat Group models similarly affected by the Mirafiori (partial) shutdown the B-segment Lancia monospace was still selling in reasonable numbers. In fact, the Musa proved a solid sales proposition from the off, outselling its Fiat stablemate within two years of introduction. Within three it eclipsed it, a situation which continued until its allegedly untimely demise.
The basis of the Musa was the 2003 Fiat Idea, a compact MPV aimed at what was then, a growing sector of the European market. Based on a stretched version of the platform and mechanical component set of the second generation Punto, the car’s neat and functional bodyshape came courtesy of ItalDesign.
While no class-leader in critical terms, the Idea was given a broad thumbs-up from the press and with sales of over 61,000 for its first full year in production, it looked like being a commercial success. 2004 however would prove not only to be the Idea’s sales heyday, but also the year its upmarket twin entered the fray. Mechanically similar, the Lancia Musa was a centro stile Lancia take on the Idea template.
Styled under Flavio Manzoni to closely resemble the concurrent Ypsilon hatch, while also referencing elements of the larger Lybra estate, the Musa offered the same space, practicality and compact dimensions as the cheaper Fiat model in a manner Lancia described as ‘warm simplicity’.
It’s worth highlighting the following tract from Lancia’s press material which not only illustrates how far matters of taste have shifted in slightly over a decade but perhaps explains why for some of us, the Shield and Flag remains something of an open wound.
“This warm, sociable car that makes such a virtue of its welcoming, convivial atmosphere would not be comfortable in sombre or aggressive shades. Black and grey are therefore banned from the Musa’s palette of colours. In full accord with the best Lancia tradition, our stylists picked out contrasting colour matches based on warm shades (such as dark brown, reminiscent of fine woods such as Wenghe) and delicate shades (such as Ivory or Magnesium, reminiscent of a stylish sofa or armchair)”.
On reflection, the monospace concept was one that fitted the Lancia identity rather well. Indeed, one could quite easily make a case for Antonio Fessia’s 1960s berlinas – the Fulvia and Flavia – with their upright, rectilinear shapes, and light airy interiors as being ‘packaging cars’ of a similar idiom. With the Musa, Lancia made much of the car’s friendliness, of its interior being ‘a shrine’, of its sense of light and space. It certainly appeared to strike a chord with buyers, in 2006 and 2007 becoming Italy’s best-selling compact MPV .
In the autumn of 2007, Lancia announced a facelifted version. Changes were largely cosmetic, but the biggest was an enlarged boot area made possible by a slight increase in length. The nose received a redesigned corporate grille, with the revised (some would say, dumbed-down) shield emblem and additional external brightwork.
2007 was also the Musa’s best year commercially, but nevertheless, sales remained stable despite the febrile post-crash domestic environment. Italy remained the Lancia monospace’s largest market; the Musa’s compact dimensions and punchy engines, coupled with the indulgent interior space and appointments of much larger models relegating the sibling Idea model into also-ran status.
By 2011, the eight year old model really ought to have been on run-out mode, but with Fiat in crisis, no direct replacement was in hand. That same year, Fiat Auto took the disastrous decision to market rebadged US Chryslers as Lancias across Europe.
The Musa was unaffected by this move – the word being that it would remain in production owing to continued demand, coupled to the fact that it was probably quite a profitable model line. Sales had started to dip by then but levelled out again the following year.
By 2012 however, the post-crash Eurozone recession had decimated new car demand in Italy. Mirafiori was Italy’s largest car-making facility, employing over 5400 people and facing unprecedented losses, Fiat’s Sergio Marchionne took the controversial and unprecedented decision to pay production workers to stay home.
Previously previewed in Fiat’s 2010 product plan, the 500L monospace was officially announced at the 2012 Geneva motor show. But rather than build it at Mirafiori, Marchionne elected to switch production to the lower-cost and less volatile former Zastava plant in Kragujevac, Serbia. With styling influenced by Roberto Giolito’s 2007 retro-Cinquecento, there would (mercifully) be no Lancia version.
But what the Musa illustrated was that in Italy at least, there existed a robust market for a compact luxury monospace, offering as it did some of the virtues of a large vehicle on a smaller footprint. While it’s clear that the Musa remained in production far longer than ideal, it retained its market – one which may not have been entirely satisfied by the clown-shoe aesthetics of the 500L.
Of course no market segment lasts forever. It’s obvious now the B-segment monospace has run its course – hollowed out by the compact crossover – a format to which Lancia might well have struggled. All academic now of course, with the marque locked in its current state of suspended euthanasia.
But the gifts of the Gods are not to be rejected, and Melpomene has spoken. So with matters as they are, what is left to us but to sift the fragmentary evidence and impotently muse upon the possible identity of the culprit?