Imagine commissioning a car so extraordinary, so deeply personal, that it not only fulfills your wildest dreams but also reignites the passion of a legendary designer. The S1 LM isn't just a car; it's a testament to a vision, a collaboration, and, according to some, the project that 'saved Gordon Murray's life.' This is the story of how one individual's passion and determination brought to life a tribute to the world's greatest racing car, based on what many consider the world's best supercar.
In a world saturated with restomods, continuation cars, and nostalgia-fueled tributes – especially during events like Monterey Car Week, where limited-run specials command astronomical prices – it's easy to become cynical. But this year, one creation stood out, demanding our attention and respect. It was something truly special: the GMSV S1 LM.
Imagine the otherworldly V12 engine, the tactile engagement of a manual gearbox, and the unique three-seat configuration of the GMA T.50, all reimagined to evoke the spirit of a Le Mans-winning McLaren F1 GTR. But it doesn't just evoke; it elevates, adding an even more exotic mechanical edge. Only five of these masterpieces will ever exist, each carrying a multi-million dollar price tag, and all destined for the same, single collector. But here's where it gets controversial...
This isn't a case of Gordon Murray simply revisiting his past glories and selling them to the highest bidder. Instead, it's the result of a profound partnership with a customer who possessed a distinct vision. This individual challenged Gordon to embark on this ambitious endeavor, fueled by unwavering determination, meticulous attention to detail, and, of course, significant financial investment.
We had the distinct privilege of speaking with this individual, who prefers to remain anonymous, just hours before the car's grand debut at The Quail. He shared the complete story of the GMSV S1 LM, from its inception to its realization, in his own words.
"I was born in a small village in northeast Morocco, a place without running water or electricity, to parents who never had the opportunity to attend school. My beginnings were as humble as they could be. But even from a young age, I was captivated by cars, especially sports cars. This passion became my driving force, because I knew that to even get close to owning one, I needed to achieve financial success. It was partly selfish, but I also wanted to provide for my family. I left school at 16, ventured into business, and fortunately, I did well early on. I retired my father when I was 19 and then I started buying cars in my early 20s. I was a huge BMW M3 enthusiast – I recently acquired an E46 CSL and even had it converted to manual transmission."
He continues, "I vividly remember my first trip to London, pressing my face against the glass of the McLaren F1 store on Park Lane, mesmerized by this machine. It felt like a spaceship, so beautiful and ahead of its time. It seemed worth every penny. That's when I became a true fan, immersing myself in Gordon's history – the F1, the Brabham fan car, the MP4/4. Another hero of mine is Aryton Senna, which is why I had a bespoke P1 GTR created, named 'Beco,' in celebration of his 1988 world championship."
"I contacted McLaren because I wanted Ron Dennis and Gordon to autograph it. Ron was the team manager, and Gordon was the designer at the time. I also secured full endorsement from the Senna Foundation to use the name. This was even before the McLaren Senna existed – I think I sparked a little bit of an idea there. Ron graciously invited me to his home, showed me his collection, and then signed the car. I wanted Ron to sign on the left side of the dash and Gordon on the right, but apparently they're not the best of friends, so Ron signed right in the middle!"
"Then, I traveled to Paris, and unbelievably, I ran into Gordon Murray while checking into the Peninsula Hotel. I introduced myself, explained the situation, and he said he'd love to sign it but wanted to sign right on top of Ron's signature! In the end, he didn't sign the P1, because we got talking about something else."
And this is the part most people miss... "He told me he was there to meet with some clients because he was working on a new project. 'Nobody's ever done the F1 recipe again,' he told me. He envisioned a naturally aspirated bespoke V12 engine, only 100 cars, a manual gearbox, lightweight construction, a central driving position, three seats, an 80-liter fuel tank, 240 liters of luggage space, functional headlights, and proper air conditioning."
"He was passionately describing it, and I thought, 'This is perfect, but it can't be as light as the F1.' He replied, 'Oh, no, it won't be that light. It'll be a lot lighter, under a tonne!' My jaw dropped, and I immediately asked, 'Gordon, can I please give you a check right now?' He laughed and said, 'Slow down, hold on, I love your passion – here's my business card, get in touch with me, and we'll sort something out.'"
"I contacted him that very night. A week later, he emailed me the contract. I signed it, sent the deposit, and then, 18 months later, came the global reveal. I received a call saying they wanted to show me the car personally. Gordon told me, 'You're a very special person to us; you're the first customer ever to put down a deposit. You gave us a vote of confidence, and you're like part of the family.' I secured chassis number 50 and then ended up buying XP2 – the first car built before XP1, the first car Gordon tested personally with an engine, the first car with a working fan, the first car to reach 12,100 rpm, and it's all documented."
"And then I bought everything – the T.33, the T.50s – and Gordon and I became close during this time. I know his wife, he knows my wife and son, we've spent time together. It's a privilege. I told Gordon I love the T.50, but he needed to do something special to commemorate 30 years since the F1 GTR's Le Mans victory, similar to the five GTR-inspired LM road cars they built back then."
"This would be a different animal than the T.50, something with a distinct character and appearance – something you'd own in addition to a T.50. Something that feels even more connected, more focused, telepathic steering, but not just a track toy – an even more precise road car. It'll be slightly firmer than the T.50, it has to be, but I wanted to work with Dario [Franchitti] to ensure it can handle bumps and twisty, winding roads."
"Gordon started to see my vision, and it coincided with the 60th anniversary of Gordon Murray Design. Once you ignite Gordon's creativity, there's no stopping him. From the beginning, we agreed it needed to be more distinct from the T.50 than the F1 was from the five LMs, and at a completely different price point. A true halo car. We went through that process together. I shared my ideas, he shared his, and then I received the email greenlighting the project."
"The GMA Le Mans GTR project actually stemmed from the S1 LM. If we had produced only five cars, the cost would have exceeded £20 million per car. So, we needed to distribute some of the development costs related to the solid-mounted engine, suspension, and chassis. But then we elevated everything to another level."
"I've ordered all five S1 LMs and will have the responsibility of deciding who gets one. But it has to be the right kind of person, not someone simply after a flashy object, but someone who understands its meaning, its importance, and who will use it as intended. I've only spoken to a few people about it, but word has already spread – let's just say I already have three or four times more demand than available cars."
"Initially, Gordon granted me permission to attend some meetings at the office. He got more than he bargained for! I immersed myself in the process, attended art school, and was constantly sketching and listening. The challenge was that the GMA studio is working on many projects simultaneously, so I couldn't get enough time to express my ideas fully."
"I needed to hire someone I could collaborate with, channel my creativity through, and create something tangible to present to GMA. It was a collaborative effort, and that's where Florian Flatau came in. The Tuthill GT One he designed had just been unveiled – and it was trying to do the same thing, to capture the essence of the original car, but in a modern way. I was also a big fan of his work for Singer. He initially said he was too busy, but I said, 'No, listen – this is the coolest project ever.' I asked him to sign an NDA, and the rest is history."
All I’m doing is pushing and enabling Gordon’s true expression, his philosophy of what a car is.
"Normally, he's given free rein to do his thing, but I was constantly staying up late and bombarding him with ideas. It was challenging at first, but trust developed, and we worked exceptionally well as a team. He lives in LA, which worked out well because I would just stay up until 5 am. Concurrently, we were making great strides on the engine project with Cosworth. We wanted more power, but I didn't want just a calibration exercise; I wanted to modify the internals and make it more exotic."
"Honestly, Cosworth wasn't eager to take on a project that involved increasing the capacity; their resources were stretched. But I insisted and pushed, and yes, money helped. We also agreed to keep the 4.3 engine exclusive to this project, the rawest, purest expression of the Gordon Murray Cosworth V12. It will set new benchmarks for the most power-dense engine in the world, the lightest V12 engine in the world, and the most responsive engine on the planet."
"When it comes to testing, Dario is, of course, the main man. How involved will I be? Well, if the design process is any indication, I'll be sleeping in his garage for the next year or so! I'm ready. I want to be as involved as possible because, look, I owe it to myself. I want to give everything I can to this car. And it can't just be the aesthetics. It has to uphold Gordon's seven principles, every single one of them – exclusivity, return to beauty, premium brand, engineering art, lightweight, the customer journey, and, of course, driving perfection."
"The truth is, this isn't really about me. All I'm doing is pushing and enabling Gordon's true expression, his philosophy of what a car is. I'm just in the background; it's him. It has his badge. This car exists because of Gordon's legacy. When the project was greenlit, all the happiness and joy were dampened because we found out about his condition. Gordon is a guy who sleeps very little like me, he wakes up five o’clock in the morning, he’s in the office by six or seven and he works 14 hour days. That’s who he is. It was the first time ever that he wasn’t able to do that. He had to be secluded and go through some really aggressive treatment that was incredibly painful."
"At Goodwood last year, after he completed his treatment successfully, his wife met me and said, 'This car saved Gordon's life. Working on it was the one thing that gave some relief.' It's been very emotional. This car deserves a story and a buildup because, look, I want to deliver on the design and the engineering art, but it has to be pure driving perfection. This will be the best driver's car ever."
Pub Ammo
- Gordon Murray never intended for the F1 to be raced. However, a few affluent customers persuaded him and McLaren boss Ron Dennis otherwise. Due to time constraints, only minimal modifications were made, but the F1 GTR triumphantly finished first, third, fourth, and fifth in its debut at the 1995 Le Mans 24-Hour Race, solidifying its legendary status.
- To commemorate this victory, McLaren created five GTR-esque LM road cars, boasting a more potent V12 engine than either the race car or the standard road car. Over the years, other F1 road cars have been fitted with the lookalike High Downforce kit, while a select few have also received the unrestricted race engine.
GMSV S1 LM
- Price: £10m+ (est)
- Powertrain: 4.3-litre V12, 700+bhp, n/a lb ft
- Transmission: 6spd manual, RWD
- Performance: 0–62mph in n/a secs, n/a mph
- Weight: 997kg (est)
What do you think about such extreme collaborations between designers and clients? Is there a point where customer influence can compromise the designer's vision, or is it always a net positive? Share your thoughts in the comments below!
