YOU see, when really rich collectors come into sight of a fantastic classic car, they probably would already be conjuring some perfect image in their mind.
But more often than not, this perfect image will not really be the same one as the car that came out of the factory. The collector would want the car to be restored to be better than new and, thus, “over-restoring” it.
There is really nothing wrong with restoring something to have the best of modern technology and performance.
However, in the process, these cars lose a part of their character, a part of who they are.
This isn’t such a big crime for an Austin 7 or Datsun 240Z because there are thousands of them, and we can be quite sure there are those with high historical value that are kept in their original condition.
However, when it comes to really rare automobiles such as the Bugatti Royale, Hispano Suiza J2, Bentley Continental James Young Coupe and one of those Cadillac V16s, the over-restoration might give us longer lasting classics that are accurate in every visual aspect but are merely like digital replicas.
A digital replica is accurate in every dimensional aspect but simply cannot express the experience of the original, just like how a CD has trouble conveying the warmth of vinyl record. In some ways, we humans want to see some errors in the reproduction process, just enough to give it character and individuality.
It could be hardwired into us, as some mathematicians and physicists are arguing that everything is essentially repeating patterns with minute repeating errors.
For example, take the picture of the most beautiful person in the world but split it in half to do a perfect mirror image — it will lose its character and charm.
In fact, one could see the same thing happening when we just flip an image. While we still recognise the person in the photograph, somehow our brain would usually nag on us that it is not quite the same person that we know of.
The Bugatti Type 35, the most racing Bugatti ever and one of the most successful racing machines of all time, is one of my heroes. That as well as the Mercedes Benz W-196 and the W-125 grand prix racers.
I had never seen the two grand prix racers up until the time I visited the Mercedes-Benz Museum in Stuttgart. And because it was on home ground, the cars were kept in their original condition with seats worn out and battle scars intact.
Sadly, my first encounter with the Bugatti Type 35 was in Leeds, England, on a quiet back street near a camera shop I worked at on weekends to supplement my meagre student allowance.
It was parked by the roadside and really caught me by surprise. After all, it was one of the most valuable automobiles in existence and the fact that there was a pristine example in blue in the northern industrial city best known for lacklustre football and a very good law faculty was certainly unexpected.
Of course, I would say that Leeds University has a very good law faculty because it issues really pretty certificates.
After gawping at the example for a good five minutes, the only conclusion I could draw was it being a very well-made replica that would still demand brand new Rolls Royce money, but was not the real thing.
If it was, then I have real respect for the owner because I would see that car out in town at least every two months. He really enjoyed that car.
The realisation that the car was too perfect and new really disappointed me.
Ever since then, every time I see a car that is over-restored, I cannot help but feel the same. It’s like seeing an impressionist of your favourite singer or actor.
You enjoy the show but you know that you are allowing yourself to be cheated.
We have a list of Unesco heritage sites of the world. And once a town or a location makes it onto that list it means that they are considered an important piece of human history and we must take responsibility over its preservation.
A heritage site should not be restored willy nilly and be turned into a perfect-world Disney replica of what’s historical.
The same should be applied to classic cars. Unesco should draw up a list of significant automobiles to be included.
And if a car makes it into the list, it must be made available for public viewing for a certain period of time every five years or something.
The United Nations, through Unesco, would organise exhibitions at the very least at local museums and if there was funding put together, a regular exhibit could be held every five years.
Industrial art is part of the human heritage. It plays an important role in our history as a species, reminding us of our greatness and follies. It should be celebrated just as we do poetry, literature, paintings and such.