Giugiaro designed the coachwork for this model in close collaboration with Renault's Paris-based technicians and designers. The car's mission was to help alleviate the economic crisis that was gripping Régie at the time. Although the styling is anything but revolutionary, an indispensable sense of modernity is created by the fluid lines and radial volumes (as opposed to the prismatic forms of the "21", also designed by Giugiaro). The benefits of this are also felt in terms of aerodynamic efficiency. The front is tapered and, apart from the pronounced mudguard fins, the coachwork is crisp and fluent. The rear pillar panel is generously sized and the doors are flush with the roof. The front bumper has a built-in horizontal air intake, while, in Renault tradition, the radiator cowling has been removed.

Giugiaro was asked to do the design, the engineering, the prototypes and the development of what was to be called project "Z-103”. The Yugoslavian management chose a solution characterized by the following: highly raked windshield, sloping engine hood, upright rear window and cut-off tail. With the name Florida, the “Z-103" was unveiled at the Belgrade Motor Show in April 1987. Mass production started in 1988. Although not avant garde in design, it was an undoubted leap in image and quality for the Yugoslavian auto industry.

The starting point was a three-box, four-door sedan that was to be followed by a coupe with the same platform. The brief called for a classic car, elegant with a decidedly European feeling without being a product of avant garde design. Giugiaro's proposal was accepted among those of Renault, American Motors and Marcello Gandini’s Styling Centers. His Premier, although a sedan of a classical concept, was characterized by details innovative for the United States market: radiator grille, front headlights, raked windshield and rear window, very high trunk, wrap-around glazed areas with hidden pillars. The clinic tests, however, showed that overall these details were too forward-looking, obliging Giugiaro to back-date his design by a number of years. Aerodynamics were, however, considerable.

The general architecture of this new study links up to the Medusa (1980), a four-door, four-seater berlinetta with mid-transversal engine. Yet thanks to its door opening system (mobile dome at the front, gullwing doors at the rear) and strong sports characterization, the Incas takes on an exotic look and suggests a more appropriate definition of a four-seater coupe. However, the Incas maintains the berlinetta's characteristics of roominess. Seen from the front and plan views, the shape is characterized by extremely clean lines, a kind of severity of design that presents no roughness or reliefs but only a winding mass of sheet metal and glass studied to penetrate the air with the least possible resistance. Structurally-speaking the Incas is an evolution of the research conducted by Giugiaro in 1984 with the concept car Maya: stamped and bent sheet metal platform and rear subframe. The aim of this design research was to create a sports car that could be built with contained investments and the equipment and technologies already used by the major car manufacturers worldwide. Improved and developed through the experience accumulated in building the two prototypes, Maya and Maya II EM, the Incas reinterprets this philosophy in a four-seater concept.