Background
Oh Issigonis, you incredibly clever chap – your ground breaking scamp of a car was without doubt one of the most noteworthy of the 20th century. Featuring a transverse A-Series engine with a sump-mounted gearbox and frankly extraordinary packaging, its nippy front-wheel-drive offerings were more than a match for its cheeky visual persona.
In original Austin form the BMC A Series 848cc power unit delivered just 34bhp but, as the car weighed less than Twiggy on a cabbage soup diet, its performance belied those humble underpinnings. And even if you weren’t hurtling along at the speed of sound, it felt as though you were.
Perhaps the model’s biggest trick was that inside it didn’t feel quite so Mini; that smart engine placement ensured that interior occupants were able to stretch out in a cabin of tardis-esque proportions.
It was however on the competition front that the Cooper and Cooper S models cemented a lasting legacy as they proved to be right little terriers, with a multitude of race (British Saloon Car Championship in ’61, ’62, ’69, ’78 & ’79, European Saloon Car Championship in ’64 & ’68) and rally (Monte Carlo winner in ’64, ’65 & ’67) successes.
The original 1961 version was humble, taking the standard Mini’s 848cc engine, albeit with a slightly longer stroke, to create the first dedicated Cooper engine, the 997cc. With twin SU carburettors it developed 55bhp, or 21bhp more than the engine upon which it was based. This, along with its miniscule kerbweight, close-ratio gearbox and disc brakes on the front axle, enabled it to humble far more powerful machinery.
A shorter-stroke, higher-revving 998cc Cooper engine arrived in 1964, shortly after the introduction of the high-performance Cooper 1071S, the version that is possibly the most revered Cooper of them all.
Its 70bhp and 62lb/ft of torque had only to haul 686kgs, which means that not only is it surprisingly quick but its front disc brakes, cooled by ventilated steel wheels, are stunningly effective. But the real reason for its success in the hands of folk like Paddy Hopkirk was that most corners could be taken flat.








