At the dawn of the 1960s, the world was shifting gears. Europe was roaring back to life after the hardships of the previous decade, and Italy, in particular, was basking in the glow of its boom economico. Optimism was thick in the air, highways were being paved at a record pace, and for the first time, it seemed like everyone who mattered wanted their own slice of la dolce vita—preferably with twelve cylinders and a wooden steering wheel.
Yet when it came to high-performance sedans, the pickings were surprisingly slim. The segment was little more than a polite gentleman’s club with three members: Lancia (with its refined, if eccentric Flaminia), Jaguar (with the suave but slightly twitchy Mk II), and Mercedes-Benz (with the stoic but unflappable 300 SE). These were dignified machines, yes—but none of them came with the roar of a race-bred V8 or the flair of Italian tailoring.
Enter Maserati
Inspired by the booming sales of Italian Gran Turismos—where Ferrari and Maserati were fighting tooth and nail for the affections of the world’s wealthy speed demons—the Modena-based marque sensed a golden opportunity. Spurred on by an idea from the journalist Gino Rancati, and backed by the ambitious Orsi family (then at the helm of Maserati), the company set out to do something completely revolutionary: build a four-door sedan with the heart of a GT. In other words, a limousine that wouldn’t just keep up with sports cars—it would leave them in its finely-stitched dust.
The concept was daring. No longer would four-door cars be relegated to chauffeurs and Sunday mass. This new machine would combine long-legged luxury with high-speed highway prowess, creating a whole new category: the berlina sportiva. A sports sedan. Yes, that’s normal now—but in 1963, it was the equivalent of inventing gelato that also burns fat.
And thus, the Maserati Quattroporte was born. Literally “four doors” in Italian—a name so charmingly blunt it could only have come from a country where form and function go on espresso dates—the Quattroporte would go on to define a genre, capture imaginations, and break speed limits in style for over six decades.
What follows is the story of how a simple idea—give rich people more doors, but make them fast—turned into one of the most enduring, eccentric, and undeniably Italian legends in automotive history. From Frua’s elegant original to Pininfarina’s pin-up poster, from Bertone’s French-tuned oddity to the modern, fire-breathing tech-laden cruiser, the Quattroporte has never just been a sedan.
It’s been a statement, made at speed, with the windows down and the V8 howling. Buckle up. The ride through Maserati’s most aristocratic speed machine is about to begin.
First Generation (1963–1969): Frua’s Original Masterpiece
While the Frua Indy-based cars were secret novelties of the 1970s, the true origin of the Quattroporte dates back to 1963. Maserati’s first-generation Quattroporte (Tipo AM107) debuted at the Turin Motor Show in October 1963 as a revolutionary concept: a luxury four-door grand tourer with the heart of a racing machine. In fact, the name “Quattroporte” literally means “four doors” – an unapologetically straightforward name in a country known for poetic monikers. But if the name was simple, the car was anything but: it combined stately limousine comfort with a 4.1-liter V8 derived from Maserati’s racing engines, making it the fastest sedan in the world at the time (up to 230 km/h).
The design was penned by Pietro Frua, who took inspiration from his Maserati 5000 GT he’d created for the Aga Khan a year earlier. Frua’s sleek, understated lines – long hood, upright grille, and balanced proportions – lent the Quattroporte an air of tailored elegance, like a bespoke Italian suit. Coachbuilder Carrozzeria Vignale handled the construction of the bodies, ensuring high-quality craftsmanship. Inside, the Quattroporte was advertised as a “living room on the move,” with sumptuous leather, wooden trim, and spacious seating for four – all the trappings of a gentlemen’s club on wheels. Owners could choose a ZF five-speed manual for spirited driving or a Borg Warner three-speed automatic if they preferred a more relaxed cruise.
Despite its exclusivity and price, the Quattroporte found home with wealthy enthusiasts, business magnates, and film stars who craved an Italian alternative to a Rolls-Royce. It had little competition initially – cars like the Jaguar XJ and Mercedes 300 SEL 6.3 were still years away – so Maserati essentially invented the “super saloon” segment with this model. Roughly 776 units were produced over six years, including a mid-cycle update in 1966 that added twin round headlamps (for a more imposing look and to satisfy US regulations) and a switch from a complex De Dion rear axle to a simpler live axle for better reliability. A larger 4.7-liter engine option was also introduced, boosting top speed to an incredible 255 km/h – cementing the Quattroporte’s title as the world’s fastest four-door of the era.
This first-generation Quattroporte was truly Frua’s masterpiece – an Italianate blend of race-bred power and luxury. As journalist Gianni Mazzocchi quipped, it offered the comfort of a first-class lounge and the performance of a Gran Turismo. It’s no surprise that this “four-door Ferrari in a tuxedo” quickly became a status symbol. The Shah of Iran, Mohammad Reza Pahlavi, famously bought one; so did actor Marcello Mastroianni. Even as decades have passed, the original Quattroporte remains an icon of 1960s Italian design – the progenitor of all Maserati sports sedans to come.
A Royal Prelude: Frua’s Limited-Edition Quattroportes (AM121, 1971–1974)
In the early 1970s, Maserati quietly built two very special Quattroportes that almost became the car’s second generation before fate intervened. These were coachbuilt by Pietro Frua – the same talented designer of the original Quattroporte – on the chassis of a Maserati Indy. Commissioned by royalty, they were literally fit for a prince and a king. One car (chassis AM121.004) was ordered by Prince Karim Aga Khan and debuted as a prototype in 1971. The other (chassis AM121.002), finished in deep blue with Italian and Spanish flags on the fenders, was sold to King Juan Carlos of Spain (then Crown Prince) after being displayed at the 1972 Geneva Motor Show. Frua endowed these sedans with a sleek, low-slung body and a 4.9-liter V8, giving them performance worthy of the Maserati name. The intention was to launch them as the next Quattroporte (Maserati even assigned the project an official code: AM121), but events took a turn. In 1968, Maserati had been taken over by Citroën, and the French owners decided to pursue their own vision for a luxury sedan.
Thus, the Frua-designed “almost Quattroporte II” remained a tantalizing what-if: only two were ever built. These one-offs – one for a prince, one for a king – became a royal footnote in Maserati lore, proof that the Quattroporte’s mystique had captivated even the world’s elite before the model’s next chapter officially began.
Second Generation (1974–1978): The Citroën-Bertone Experiment
After a five-year hiatus, the Quattroporte returned in the 1970s – or at least, something wearing the Quattroporte name did. The second-generation Quattroporte (AM123) was a product of Maserati’s then-owner Citroën and represented a sharp left turn from the original’s formula. Unveiled in 1974, the Quattroporte II looked and drove like a completely different breed of car, which is why some enthusiasts almost forget it existed. Where the first Quattroporte had curvaceous Frua styling and a throaty V8, the Quattroporte II featured razor-edged bodywork by Marcello Gandini of Bertone and was built on a stretched Citroën SM chassis. In place of Maserati’s race-derived engine sat a relatively modest 3.0-liter V6 (from the Citroën SM) driving the front wheels. Yes, a front-wheel-drive Maserati sedan – truly the product of Franco-Italian fusion!
To Gandini’s credit, the design was clean and quite avant-garde for a luxury saloon. The Quattroporte II sported a crisp, angular silhouette with slab sides, four square headlamps, and Citroën-style covered rear wheels. Inside, it had a futuristic dashboard and even Citroën’s hydropneumatic suspension, which provided a magic-carpet ride when it worked. Despite these innovations, the Quattroporte II struggled to find an identity. It wasn’t as opulent as a Mercedes, nor as sporty as a Maserati ought to be – it was a bit of an identity crisis on wheels. The oil crisis and economic woes of the mid-1970s didn’t help either. Maserati (and Citroën itself) ran into financial trouble, and this oddball Quattroporte was never fully homologated in the Italian market. In fact, production didn’t properly commence until 1976, and even then Maserati built each unit to special order, selling them in countries with more lax regulations (like Spain and the Middle East).
Only 12 units of the Quattroporte II were ever made, making it one of the rarest Maseratis. Its legacy is that of an intriguing misfit. It’s remembered for its technical curiosities – hydropneumatic suspension, swiveling headlamps that turned with the steering, and the unusual FWD layout – more than for its performance. With a top speed around 200 km/h and much less power than its predecessor, the Quattroporte II was not the four-door thrill Maserati fans had hoped for. By 1975, Citroën had withdrawn from Maserati (after its own bankruptcy and takeover by Peugeot), and Alejandro de Tomaso took control of the company. One of de Tomaso’s first acts was to mercifully end the Quattroporte II program in 1978.
In hindsight, the Quattroporte II is a fascinating “might-have-been.” It embodied 1970s design trends and Citroën’s eccentric engineering in one car. Today, each of the dozen or so surviving examples is a collector’s curiosity – a reminder that even a legendary nameplate can have an awkward adolescence. If nothing else, it set the stage for Maserati’s grand comeback: under new leadership, the Trident marque was determined to return the Quattroporte to its former glory (and rear-wheel-drive V8 greatness).
Third Generation (1979–1990): Giugiaro’s Sharp Statement and Return to Form
Maserati’s third-generation Quattroporte (Tipo AM330) arrived in 1979 like a prodigal son returning to the family – back to a traditional Maserati formula, but with a contemporary twist. Under the stewardship of new owner Alejandro de Tomaso, Maserati ditched the Citroën experiment and went back to basics: V8 power, rear-wheel drive, and unashamed luxury. The design was entrusted to Giorgetto Giugiaro of Italdesign, one of Italy’s greatest stylists, who gave the Quattroporte III a sharp “folded paper” suit more in line with late-1970s tastes. Giugiaro had earlier shown a concept sedan called the Maserati Medici, and now those ideas materialized in production. The Quattroporte III’s lines were crisp and angular, with a prominent upright grille and rectangular headlights announcing a confident return to form. If the first Quattroporte was a tailored suit and the second was a funky leisure suit, the third was a power suit – angular, businesslike, yet undeniably Italian with its fine detailing.
Beneath the skin, the Quattroporte III had engineering ties to de Tomaso’s other projects. Its chassis was a stretched evolution of the Maserati Kyalami (itself derived from the De Tomaso Longchamp platform). This meant a robust V8 up front – Maserati offered a 4.2L and later a 4.9L all-aluminum V8, both fed by four Weber carburetors for that old-school grunt. Power output hovered around 250–300 hp depending on the version, ample for the era. Customers could choose a 5-speed ZF manual, but many opted for the smooth 3-speed Chrysler Torqueflite automatic, which paired well with the Quattroporte’s luxury mission. And luxury was certainly on the menu: plush Poltrona Frau leather, copious wood trim, deep-pile carpeting – the cabin was an Italian parlour of indulgence. The Quattroporte III was also huge, especially compared to its short-lived predecessor – at over 5.1 meters long, it had presence to spare.
Critics at the time praised the new Quattroporte’s blend of performance and opulence. Here was a proper Maserati saloon once again, capable of ~220 km/h and cruising effortlessly with its V8 burble. It wasn’t svelte or especially sporty – in fact, with its chunky proportions and formal roofline, it looked every inch the dignified flagship. This appealed greatly to heads of state and celebrities. Italian President Sandro Pertini famously adopted a dark blue, armored Quattroporte III as his official state car in the 1980s. That special presidential version, engineered by Carrozzeria Pavesi, even had a taller roof section with a sunroof so Pertini could stand up and wave, plus a reinforced structure and thick 31mm bullet-resistant glass. Anecdotes from the era recount that when Pertini visited Enzo Ferrari in 1983, the proud Ferrari refused to open the Maserati’s door for the President – a playful nod to the rivalry between Modena’s marques. Meanwhile, famous figures like tenor Luciano Pavarotti, actor Peter Ustinov, and publisher Malcolm Forbes all chose Quattroporte IIIs as their chariots, underscoring the car’s image as the Italian conveyance for the rich and renowned. (It didn’t hurt that on TV and in movies, mafiosi and power-brokers were often depicted stepping out of Quattroporte IIIs, further cementing its badass mystique.)
Maserati continually improved the Quattroporte III throughout its long production run. In 1986, to celebrate Maserati’s 60th anniversary, the company introduced the Quattroporte Royale – an ultra-luxury edition with an upgraded 300 hp 4.9L engine, special disc-style wheels, rear picnic tables, and a champagne fridge between the rear seats. Initially planned for 120 units, only 51 Royale cars were actually built by 1990. By the time Quattroporte III production ended in 1990, about 2,100 units had been made in total – a success by Maserati’s boutique standards and a testament to the model’s appeal.
The Pavesi Quattroporte Coupé: When Four Doors Became Two
One of the quirks of the Quattroporte III era was that some customers found even four doors too many. Enter Carrozzeria Pavesi, a Milanese coachbuilder known for specialty conversions. In the 1980s, Pavesi took a handful of Quattroporte IIIs and transformed them into two-door coupés, creating perhaps the most paradoxical Maserati ever – a Quattroporte (Italian for “four doors”) with only due porte (two doors)! Only a few examples (estimated 5 cars) were converted in this way.
These coupés retained the Quattroporte’s wheelbase and overall length, resulting in an unusually long two-door profile – almost like a limousine that lost its rear doors in a magic trick. The B-pillars were moved back and the front doors stretched extra-long to allow access to the rear seats. The result was surprisingly elegant: a grand touring sedan-coupé hybrid for VIPs who wanted something utterly unique. Pavesi also offered bespoke armor modifications and targa roofs, catering to bespoke requests from affluent clientele. Today, these Pavesi Quattroporte coupés are unicorn-rare and highly coveted by collectors who appreciate their oddball charm. They stand as proof that in Italy’s coachbuilding scene, no idea is too bold – if a sheikh or tycoon asked for a two-door Quattroporte, Pavesi delivered.
Overall, the third-generation Quattroporte was a triumphant return to form, re-establishing Maserati’s flagship as a symbol of Italian prestige. It married the era’s sharp-edged design language with traditional Maserati power and luxury. By the end of the 1980s, however, the Quattroporte III was showing its age in the face of modern competition. Maserati, now under the Fiat umbrella, paused production to prepare the next evolution – one that would take the Quattroporte concept in a new direction for the ’90s.
Fourth Generation (1994–2001): Gandini’s Compact Luxury Saloon
If the Quattroporte III was a stately mansion on wheels, the Quattroporte IV (AM337) was more of a stylish penthouse – smaller, sharper, and sportier. After a brief hiatus in the early ’90s, Maserati – now controlled by Fiat – unveiled the fourth-generation Quattroporte in April 1994 at the Turin Motor Show. This time the design responsibilities went back to Marcello Gandini, the very man who had styled the ill-fated Quattroporte II two decades prior. Now working independently, Gandini gave the new Quattroporte IV a dose of aggressive character, clearly drawing on his famed wedge design philosophy (honed on legends like the Lamborghini Countach). The result was a compact luxury saloon with taut lines and a purposeful stance. Its proportions were significantly trimmer than its predecessors – at about 4.5 meters long, the Quattroporte IV was roughly the size of a BMW 5-Series, making it the smallest Quattroporte ever.
Underneath, this Quattroporte was essentially a four-door derivative of the Maserati Biturbo architecture. It rode on a stretched Biturbo/De Tomaso platform, featuring fully independent suspension and rear-wheel drive. Maserati equipped it initially with a pair of twin-turbocharged V6 engines (2.0-liter for the Italian market, 2.8-liter for export) that packed quite a punch – the Italian 2.0L V6 could produce over 280 hp thanks to aggressive tuning, while the 2.8L offered around 284 hp with a broader torque curve. In 1996, Maserati even slotted in the 3.2-liter twin-turbo V8 from the Shamal coupe, creating a muscular “V8 Evoluzione” variant with 335 hp, transforming the little Quattroporte into a ferocious sport sedan. All versions came with a 6-speed manual or automatic gearbox, and with their lighter weight, these cars were seriously quick – the V8 could top 270 km/h, making it the fastest Quattroporte to date.
Gandini’s design was distinctive: the Quattroporte IV had a pointed nose with slim, cat-like headlamps and a subtle bonnet bulge, while the profile showed off angular wheel arches and a sloping rear deck. One controversial flourish was the rear wheel arch “blister” – a semicircular accent that echoed a styling cue from the Maserati Biturbo coupés. Some found it an odd adornment (critics playfully nicknamed it the “hunchback” detail), but it certainly made the car recognizable. Overall, the car’s aesthetics reflected early ’90s trends – a bit of wedge, a bit of origami – and have aged into a sort of retro charm. Inside, the Quattroporte IV was all business: a straightforward dashboard, clear instruments, and an abundance of wood and leather that reminded you this was indeed a Maserati. However, compared to its forebears, it was tighter on space – rear legroom was modest and the trunk small. Maserati was clearly aiming this model at drivers as much as passengers, targeting the sport sedan market dominated by the likes of the BMW M5, rather than competing purely on limousine luxury.
The Quattroporte IV had the distinction of being the first in the line under full Fiat ownership, and it benefitted from improving build quality and reliability efforts. In 1998, after Ferrari took charge of Maserati (Fiat handed operations to its Ferrari division), the Quattroporte IV underwent further refinement under the “Quattroporte Evoluzione” program. Ferrari’s engineers implemented over 400 changes to improve everything from NVH to fit and finish. The last of the line rolled out in 2001, marking the end of this compact Quattroporte era. In total, approximately 2,400 units of the fourth-gen were produced – not a huge number, but enough to keep Maserati’s four-door presence alive through the ’90s.
This generation may not have been as famous as the ones before or after, but it has its devoted fans. They appreciate its nimble size and Gandini-designed character – some calling it a “four-door Ferrari junior” given its performance. One might say the Quattroporte IV was ahead of its time: today, the idea of a luxury sports sedan with a smaller footprint and high-output V6 engines (think AMG C63 or BMW M3 sedan) is commonplace, but Maserati did it in 1994. The car also set the stage for Maserati’s revival in the new millennium. As the company transitioned to Ferrari’s stewardship, a grander vision for the Quattroporte was brewing – one that would catapult the famed nameplate back to the top of the luxury market.
Fifth Generation (2003–2012): Pininfarina’s Renaissance Beauty
The Quattroporte V (M139) is often hailed as the car that re-established Maserati as a true competitor in the luxury performance arena. When it premiered at the Frankfurt Motor Show in late 2003, it stole the spotlight – not just because of its specs, but because of its breathtaking design. After decades, Maserati had once again turned to Pininfarina – the legendary Italian design house – to pen its flagship. (In fact, this marked a reunion after a 50-year hiatus in Maserati’s collaboration with Pininfarina, the last project having been in the 1950s.) The result was a sedan that many declared “the most beautiful of its class,” a perfect blend of elegance and aggression that could only come from Italy. Under the direction of stylist Ken Okuyama (of Pininfarina) and chief designer Lorenzo Ramaciotti, the Quattroporte V featured classic Maserati cues reimagined for the 21st century: a prominent trident grille, curvaceous fenders, and a swept-back profile that oozed “dynamic elegance”.
This Quattroporte was considerably larger than the previous one – about 50 cm longer with a wheelbase stretched by 40 cm – bringing it back into the full-size luxury category. That long wheelbase endowed it with a spacious rear cabin fit for executives (or rock stars) and gave the car a stately presence. Under the hood, Maserati installed a 4.2-liter naturally aspirated V8 derived from Ferrari’s engines, producing roughly 400 hp. True to its heritage, it was rear-wheel drive, and initially came with an F1-style DuoSelect automated manual gearbox mounted at the rear in transaxle layout for better weight distribution. This high-tech gearbox promised quick shifts at the track, though in early models it proved a bit jerky at low speeds – something a sense of humor can’t ignore, as some owners joked their Quattroporte “bucked like a stallion” in city traffic. Maserati later offered a smooth ZF automatic (from 2007 onward), which broadened the car’s appeal greatly. But transmission quirks aside, the driving experience was sublime: the V8 made a fierce, soulful howl as it revved, and the Quattroporte’s handling was astonishingly agile for a 2-ton sedan. Maserati managed to give it the reflexes of a sports car – aided by near 50/50 weight balance – while maintaining a plush ride (courtesy of Skyhook adaptive suspension).
What truly set the Quattroporte V apart was its interior and sense of occasion. The cabin was a triumph of Italian craftsmanship: swaths of supple Poltrona Frau leather, hand-stitched and available in a palette of rich hues; genuine wood veneer trim (rosewood, mahogany, you name it); and details like an analog Maserati clock on the dash. Sitting in the Quattroporte, one felt ensconced in luxury. And yet, the driving position and the canted center console reminded you this was a driver’s car as much as a chauffeur car. In terms of innovation, beyond the drivetrain, the Quattroporte introduced modern infotainment and comfort features to Maserati – though these early-2000s systems were sometimes finicky. Still, nobody could deny that this Maserati had character in spades.
The market reception was enthusiastic. Here was an Italian alternative to the Audi A8s and Mercedes S-Classes of the world, one that bristled with personality and turned heads everywhere. It quickly became the ride of choice for those bored with Teutonic sameness – celebrities, CEOs, and athletes flocked to it. Maserati capitalized by offering numerous variants: the sporty Sport GT with stiffer tuning, the Executive GT with added rear amenities, and later the ultimate Quattroporte Sport GTS with a freer-breathing 4.7L V8 (440 hp) and raucous exhaust. Over its production run, the Quattroporte V received a mild facelift (in 2008) but largely stayed true to the gorgeous original shape – wisely, Maserati knew not to mess with success. In total, over 25,000 units were built from 2003 to 2012, by far the most of any Quattroporte up to that point, making it the best-selling Maserati sedan ever at the time.
Pininfarina’s magic touch had clearly paid off. Reviewers praised the Quattroporte for bringing “romance and passion” back to the segment – you could enjoy a symphony (literally from the 15-speaker Bose audio, or figuratively from the engine note) while in a car that itself looked like a work of art. There were also coachbuilt specials: famous carrozzeria Touring Superleggera even made a bespoke “Bellagio” fastback wagon version of the Quattroporte V in limited numbers (for those who needed a Maserati shooting brake). That’s right – a Quattroporte station wagon, proving that the creativity around this model knew no bounds in the 2000s. One Quattroporte was even turned into a hearse in 2010 for the funeral of the president of Poland, an oddly poetic bookend demonstrating that this car literally accompanied heads of state from the heights of power to their final farewell.
Humor and anecdotes aside, the fifth-generation Quattroporte did something truly important: it firmly re-established Maserati’s reputation for building world-class luxury sports sedans. It showed that Italy could not only compete with, but even outshine, its rivals in terms of style and charisma. By the end of its run, the Quattroporte V had become an icon in its own right – a poster car for a new generation of enthusiasts. It set a very high bar for its successor, essentially becoming the defining image of “Maserati Quattroporte” for modern times.
Sixth Generation (2013–Present): The Modern Era and Maserati’s In-House Design
Launching the Quattroporte VI (M156) in 2013 was a bit like passing the torch – how do you follow an act as beloved as the fifth-gen? Maserati’s answer was to go bigger (literally) and more technologically advanced, while preserving the model’s core identity. The sixth generation was the first Quattroporte designed entirely in-house at Maserati’s Centro Stile, led by designers Marco Tencone and Giovanni Ribotta, under the guidance of Lorenzo Ramaciotti. They opted for an evolutionary approach: the car’s styling stays true to the Pininfarina predecessor with its flowing silhouette and prominent grille. At a glance, one might even confuse a 2013 Quattroporte for a facelift of the 2003 version – but under the skin, a lot had changed. The new Quattroporte was built on a fresh platform and grew significantly in size: its wheelbase stretched to 317 cm (125 inches), making it considerably larger than any Quattroporte before it. The reason? Maserati aimed to compete directly with long-wheelbase German flagships and to cater to markets like China where rear legroom is paramount. This Quattroporte could truly cosset a chauffeured rear passenger – a nod that sometimes the driver might not be the owner.
The engine lineup also moved with the times. Maserati introduced twin-turbocharging to the Quattroporte for the first time. The flagship models boasted a 3.8-liter twin-turbo V8, developed by Ferrari, churning out 523 hp in the Quattroporte GTS – enough to launch this big sedan to 100 km/h in about 4.7 seconds and on to a top speed over 300 km/h. There was also a more “sensible” 3.0-liter twin-turbo V6 (producing 404 hp, or 350 hp in some markets) and even a 3.0-liter V6 turbo-diesel option (a first for the Quattroporte, catering to European demand). All engines were mated to a smooth 8-speed ZF automatic, and Maserati ensured that despite the turbos, the engines retained a charismatic sound – especially the V8, which snarls and crackles in the best Italian tradition. Notably, Maserati also offered all-wheel drive (Q4) on V6 models for the first time, enhancing its all-weather usability (though the V8 remained rear-drive only, to the delight of purists).
In terms of innovation, the sixth-gen Quattroporte is loaded: adaptive suspension, Skyhook dampers, modern infotainment with a touch-screen interface, advanced driver aids, and so on. It’s a thoroughly contemporary luxury car. Yet, some observers felt that in becoming so modern, the Quattroporte VI lost a tiny bit of the bespoke charm of earlier models. It is arguably more “corporate” in design – the product of wind-tunnel tuning and global component sharing (e.g., some switches and the navigation system interface are shared with other Fiat/Chrysler models). As one commentator quipped, the new Quattroporte is “the most competent car Maserati has ever built in this class, but also the most anonymous”. Its sheer size and more restrained styling (some say a bit too conservative, with heavy-handed front bumper details) mean it doesn’t turn heads quite as readily as the Pininfarina model did. However, it’s hard to argue with the performance and comfort it delivers. Maserati consciously targeted the German rivals and succeeded in creating a car that could go toe-to-toe on technology and surpass many on passion – a tricky balance.
Throughout its current run, the Quattroporte VI has seen continuous improvements. In 2016 it got a facelift with a subtly tweaked grille (adding active aero shutters) and updated electronics. High-performance Trofeo versions were introduced, stuffing a 580 hp V8 (borrowed from the Ferrari-built Levante Trofeo SUV) under the hood, making the Quattroporte Trofeo a true super-sedan capable of 326 km/h. Meanwhile, interior upgrades and bespoke trims (like the lavish GranLusso and sporty GranSport trims) allow customers to tailor the Quattroporte to their tastes – be it ultra-luxury with Zegna silk upholstery or carbon fiber and Alcantara accents for a sporty flair.
As of today, the Quattroporte remains Maserati’s flagship, and indeed one of the last of a breed – a big rear-wheel-drive sedan with an exotic badge in an era shifting to SUVs. It has graced the garages of many discerning motorists, from business magnates in New York to diplomats in Dubai. In popular culture, it continues to make appearances, and it still exudes an aura of Italian sophistication wherever it goes. Maserati has kept the model fresh, but rumors swirl of an all-new generation on the horizon as the car approaches its 10th anniversary. Enthusiasts hope the next chapter will carry forward the Quattroporte’s legacy of blending performance with Italian luxury and a touch of eccentricity.
Epilogue: Six Decades of “Four Doors” and Counting
From the Frua-bodied curiosities built for royalty, through six distinct generations, the Maserati Quattroporte has charted a unique course in automotive history. It essentially invented the idea of the “sport luxury sedan” back in the 1960s, and over the years it has reinvented itself time and again – sometimes radically (as in the 1970s Citroën era), sometimes conservatively (as in the latest model) – but never losing the core of what makes it a Quattroporte. Each generation carries its own stories and quirks: the original was a trendsetter beloved by mid-century jet-setters; the second, a French-infused oddity that’s now an ultra-rare collector’s item; the third, a symbol of power and success in Italy’s boom years (with a few armored for presidents and even chopped into coupés for eccentric millionaires); the fourth, a spirited compact saloon that bridged old Maserati to new; the fifth, a design masterpiece that put Modena back on the map; and the sixth, a high-tech grand tourer for the modern executive.
Across these generations, the Quattroporte stayed true to its name – it always had four doors (well, except those Pavesi conversions!) – and true to an idea: that a sedan can have soul, style, and speed in equal measure. It’s a car that could only come from Italy. Even the name, initially a simple description, has become an evocative brand in itself. “Quattroporte” now means much more than “four doors” – it conjures images of Italian presidents waving from sunroofs, movie stars arriving at film festivals, the wail of a Maserati V8 echoing through mountain roads, and the sight of that trident badge leading the charge on an Autostrada. It’s the embodiment of La Dolce Vita meets horsepower.
Humor, drama, triumphs and missteps – the Quattroporte’s history has it all. In one particularly Italian twist of humor, when Maserati turned fifty and introduced the fifth-gen Quattroporte, some noted it was Pininfarina’s first Maserati design in half a century and joked that the long separation was due to “artistic differences” – clearly, the reunion produced magic. And who can forget Enzo Ferrari’s playful jab at Pertini’s Quattroporte, refusing to go to the car – a moment that speaks to how even within Italy, the Quattroporte commanded respect and a little envy.
As Maserati looks to the future – possibly electrification, autonomous features, and new design languages – the Quattroporte remains a cornerstone of its lineup. The world has changed around it, but the concept of a fast, beautiful Italian sedan is just as compelling as it was in 1963. The Quattroporte has proven it can adapt to the times without blending into the crowd. Whether it’s styled by Frua, Bertone, Giugiaro, Gandini, Pininfarina, or Maserati’s own Centro Stile, it carries an unmistakable presence. It’s a rolling narrative of Italian automotive art through the ages.
In conclusion, the Maserati Quattroporte’s complete history is a rich tapestry of innovation and elegance, peppered with delightful eccentricities. It’s a story of six generations (and a couple of extra Frua outliers) where each chapter adds to the legend. And through it all, the Quattroporte has never lost its core appeal: offering those lucky enough to sit behind its wheel (or ride in its back seat) the delicious experience of luxury with a racing heart. Here’s to the Quattroporte – may it continue to roar forward, writing new chapters in style for years to come, all while reminding us that sometimes the literal translation “four doors” can unlock a whole world of driving excitement and automotive passion.
Sources: Maserati archives and publications, historical accounts and contemporary reviews, and various enthusiast resources documenting the evolution of the Quattroporte.
