Classic cars or SUVs painstakingly retrofitted with modern drivetrains and interiors, otherwise known as “restomods,” are selling out despite prices of US$200,000 to US$400,000 and up. And the buyers are not all men.
The world of classic cars is overwhelmingly male-dominated, but it turns out these modernized versions have a broader appeal, tapping into girlhood nostalgia, too. The specialty shops that make these cars, based on everything from the Mercedes 280SL and Chevrolet Chevelle to off-roaders like the Land Rover Defender and the Ford Bronco, are reporting that their lists of female clients are growing, and some are buying more than one.
Jacqueline Comolli, who has homes in California and Maui, has a mid-US$300,000s Icon4X4 Ford Bronco, in orange and light blue, at each location.
“I’m happy with both of them,” she says. “I’ve only ever been drawn to old cars. They speak to me. But I can’t have a car that wouldn’t be safe or reliable. I don’t want to think that it’s about to break down.”
Comolli reports that she’s using the orange Bronco, fitted with a modern Ford five-liter “Coyote” V8 producing 420 horsepower, in Maui as her daily driver.
“It really connects with people who see it, in the way a regular expensive luxury car would not,” she says. “The older cars that people remember just evoke a feeling.”
Restomods are bespoke commissions, encouraging their owners to get involved in choosing colours and materials. Comolli says she sent in a “ratty old bikini top and a high-heeled shoe” for the colours she wanted.
Though the colour inspiration might be a bit different, the priorities of male and female clients are “pretty much the same,” says Jonathan Ward, CEO and lead designer at Icon4X4.
“They want enhanced performance, safety, and ease of service, while maintaining the vintage style and vibe.” He added that only 5% of his customers are women now, but “we are seeing more female interest.”
Emme Hall is a California-based auto writer who is very hands-on with her 2001 Mazda Miata off-road racer.
“There are fewer women who are car people today, and traditionally we haven’t had the same opportunities to work on cars,” she says. “When I wrench on my car I have to watch YouTube videos to avoid making mistakes. But when you buy one of these restomods, you get a dream car that is already done for you. The reliability and the workmanship are guaranteed.”
Katy Schuman, who drives a car from Illinois-based Gateway Bronco built to her individual style, is an interior designer who has also worked with Gateway on the details of another pair of Bronco builds. She has a second restomod on order, a Defender being built by the Landrovers, a company in Holland. Schuman’s husband drives a blacked-out LS3-powered 1968 Chevrolet Chevelle restomod with an eight-speed push-button automatic that was originally special-ordered by comedian David Spade from Florida-based Velocity.
Schuman says that her Bronco was built from a second-hand 1969 car that she and her husband had on the road for 12 years.
“They completely rebuilt our old Bronco,” she said. “It’s a lot smoother now with a new chassis, stronger brakes and motor.” When the Bronco was just a well-worn used car it broke down frequently, often while Schuman was ferrying the kids to school. “It was usually the battery,” she says.
Wales-based Hemmels completely rebuilds Mercedes SLs to exacting specifications, and CEO Thomas Butterfield says that 10% of his clients are women—more than most of the competition.
“Our women buyers are exceptionally focused on detail, and they thrive on the car being custom and bespoke,” Butterfield says. “There’s a reason one-off handbags from Hermès sell for millions, because they’re statements.”
He added that the company has matched exterior and interior colors from handbags, flecks of house paint, and shades of nail varnish.
Tessa Hartmann , a Scottish branding strategist in the fashion and entertainment space who appeared on ITV’s Real Housewives of Jersey for two seasons, first fell in love with Mercedes sports cars as a child when she saw movie star Grace Kelly in a 190 SL. Hartmann first owned “Grace,” a 1969 Mercedes 280SL “Pagoda” that she’d traded for her Maserati Ghibli. But the car needed a lot of expensive loving care and attention, and a restoration through a local shop stalled—in part because, Hartmann felt, the owners took advantage of a woman client. Hartmann decided to swap Grace for a restored SL.
“It was at that point that I discovered Hemmels,” Hartmann says. “I felt bad for Grace, but I named the new car ‘Doris’ after Doris Day, who also has an effortless charm and a wholesome femininity about her.”
Hartmann notes that her four kids thought she was making an eccentric move, which prompted the thought that “it’s O.K. for a man to idolise engines, exhaust, and torque, but if a woman expresses an interest in cars, especially classic cars, she’s eccentric? Frankly I couldn’t have cared less what people thought. I was in charge. I had earned the right to do what I wanted. I am a workaholic and if this was my vice, so be it.”
Doris has had a makeover, and Hartmann took delivery of the 1970 car last year, paying around £220,000 (about US$280,000 and minus the £70,000 she got for trading in Grace). “Doris has a silver body, red leather interior, a red roof, and a hardtop—she’s quite magnificent, and the craftsmanship from Hemmels is impeccable,” Hartmann says. “Doris only gets to come out on sunny days. I feel an immense pride in being able to have one of these cars—it was an achievement many years in the making.” She’d buy another restomod, and thinks they hold their value well.
The ride owned by Diane Johnson-Marchand and Tania Marchand, is a restored bright-white 1990 Land Rover Defender 110 known as “Island Girl” in right-hand drive, upgraded to 455 horsepower via a GM LT1 V8. The builder, at a cost of around US$300,000, was Florida-based E.C.D. Automotive Design, which also restores Jaguar E-Types and Mustangs and has a little more than 6%female clients.
E.C.D. CEO Scott Wallace says the women he’s worked with bring a unique “perspective and flair” to their custom builds, “resulting in one-of-one vehicles that truly stand out. Their attention to detail and passion for design continually inspire us.”
Johnson-Marchand, a veterinarian in the Daytona Beach area of Florida, learned to drive in a Defender in Hawaii. That one was right-hand drive, so the new one had to be, too. She wanted an alloy-bodied car, located one in South Africa, and imported it to the U.S. before handing it over to E.C.D. for a nine-month build.
“We spent a month just on the design and personalised many aspects of the car,” Johnson-Marchand says. “And there were several on-site visits. E.C.D. kept us posted each step of the way, so we were able to see the car through the assembly process. Vintage looks combined with a modern drivetrain, that combination allows us to have the best of both worlds.”
There is actually a club for women supercar owners, the Arabian Gazelles, based in Dubai. Seeing the growing trend, similar organisations could take root around the world.
This stylish family home combines a classic palette and finishes with a flexible floorplan
Just 55 minutes from Sydney, make this your creative getaway located in the majestic Hawkesbury region.
Some designer handbags like the Hermès Kelly have implied power. But can a purse alone really get you a restaurant table—or even a job?
LIKE MARVEL VILLAINS, most fashion writers have origin stories. Mine began with a navy nylon Prada purse, salvaged from a Boston thrift store when I was a teen in the 1990s. Scuffed with black streaks and sagging, it was terribly beat-up. But I saw it as a golden ticket to a future, chicer self. No longer a screechy suburban theatre kid, I would revamp myself as sophisticated, arch, even aloof. The bag, I reasoned, would lead the way.
That fall, I slung it against my shoulder like a shotgun and marched into school, where a girl far more interesting than I was called out, “Hey, cool bag.” After feigning apathy —“I don’t know, you could use a Sharpie on a lunch bag and it would look the same”—we became friends. She introduced me to a former classmate who worked at a magazine. That woman helped me get an internship, which led to a job.
Twenty years later, I still wonder how big of a role that Prada purse played in my future—and whether designer bags can function as a silent partner in our success. Branded luxury bags took off in 1957, when Grace Kelly posed with an Hermès bag in Life magazine. (Hermès renamed that bag “the Kelly” in 1973.) The term “status bag” was popularised in 1990 by Gaile Robinson in the Los Angeles Times, describing any purse that projects social or economic power. Not surprisingly, these accessories are costly. Kelly bags cost over $10,000; ditto Chanel’s 11.22 handbag. Some bags by Louis Vuitton and Dior command similar price points. The cost isn’t repelling customers—both brands reported revenue surges in 2023. But isn’t there something dusty about the idea that a branded bag carries meaning along with your phone and wallet? How much status can a status bag deliver in 2024?
Quite a lot, said Daniel Langer, a business professor at Pepperdine University and the CEO of Équité, a Swiss luxury consulting firm. Beginning in 2007, Langer showed a series of photo portraits to hundreds of people across Europe, Asia and the U.S., then asked them 60 questions. Those pictured carrying a luxury handbag were seen as “more attractive, more intelligent, more interesting,” he said. The conclusion was “so ridiculous” to Langer that he repeated the studies several times over the next decade and a half. The results were always the same: “Purchasing a ‘status bag’ will prepare you to be more successful in your social actions. That is the data.”
Intrigued, I gathered various Very Important Purses—I borrowed some from friends, and others from brands—to see if they could elevate my station with the same unspoken oomph as a “Pride and Prejudice” suitor.
First, I took Alaïa’s Le Teckel bag—a narrow purse resembling an elegant flute case and carried by actress Margot Robbie—to New York’s Carlyle Hotel on a Saturday night. The line for the famous Bemelmans Bar stretched to the fire exit. “Can I get a table right away?” I asked the host, holding out my bag like a passport before an international flight. “It’s very busy,” he said in hushed tones. “But come sit. A table should open soon.” I sank into one of the Carlyle’s lush red sofas and sipped a martini while waiting—a much nicer way to kill 30 minutes than slumped against a lobby wall.
Wondering if this was a one-time thing, I called up Desta, the mononymous “culture director” (read: gatekeeper) who has worked for Manhattan celebrity hide-outs like Chapel Bar and Boom, the Standard Hotel bar that hosts the Met Gala’s official after party. “Sure, we pay attention to bags,” he said. “Not too long ago at Veronika,” the Park Avenue restaurant where Desta also steered the social ship, “we had one table left. A woman had a Saint Laurent bag from the Hedi Era,” he said, referencing Hedi Slimane , the brand’s revered designer from 2012 to 2016. “I said, ‘Give her the table. She appreciates style. She’ll appreciate this place.’”
Some say a status bag can open professional doors, too. Cleo Capital founder Sarah Kunst, who lives between San Francisco and London, notes that in private-equity circles, these accessories can act as a quick head-nod in introductory situations. Kunst says that especially as a Black woman, she found a designer bag to be “almost like armour” at the beginning of her career. “You put it on, and if you’re walking into a work event or a happy hour where you need to network, it can help you fit in immediately.” She cites Chanel flap bags made from the brand’s signature quilted leather and stamped with a double-C logo as an industry favourite. “People love to talk about them. They’ll say, ‘Ohhh, I love your bag,’ in a low voice.” They talk to you, said Kunst, “like you’re a tiger.”
For high-stakes jobs that rely on commissions—sports agents or sales reps, for instance—a fancy handbag can help establish credibility. “It says, ‘I’m succeeding at my job,’” said Mary Bonnet, vice president of the Oppenheim Group, the California real-estate firm at the centre of Netflix reality show “Selling Sunset.” As a new real-estate agent in her 20s, Bonnet brought a fake designer bag to a meeting. To her horror, a potential buyer had the real thing. “I work in an industry where trust is important, and there I was being inauthentic. That was a real lesson.” Now Bonnet rotates several (real) Saint Laurent and Chanel bags, but notes that a super-expensive purse could alienate some clients. “I don’t think I’d walk into [some client homes] with a giant Hermès bag.”
Hermès bags are supposedly the apex predator of purses. But I didn’t feel invincible when I strapped a Kelly bag around my chest like a pebbled-leather ammo belt. The dun-brown purse cost $11,800, a sum that prompted my boyfriend to ask if I needed a bodyguard. Shaking with “is this insured?” anxiety, I walked into a showing for an $8.5 million apartment steps from Central Park. I made it through the door but was soon stopped by a gruff real-estate agent asking if I had an appointment. No, but I had an Hermès bag? Alas, it wasn’t enough. The gleaming black door closed in my face.
“What went wrong?” I asked Dafna Goor, a London Business School professor who studies the psychology behind luxury purchases. “You felt nervous,” she replied. “That always makes others uncomfortable, especially in a high stakes situation,” like an open house with jittery agents. Goor said recognisable bags from Louis Vuitton and Christian Dior are also often faked, which can lead to suspicion if not paired with “other signals of wealth.”
“You can’t just treat a bag as a backstage pass,” said Jess Graves, who runs the shopping Substack the Love List. Graves says bags are more of a secret code shared between potential connections. “I’ve been in line for coffee and a woman will see my Margaux [from the Row] and go, ‘Oh, I know that bag.’ Then we’ll chat.” Graves moved from Atlanta to Manhattan in 2023, and says she’s made some new, local friends thanks to these “bag chats.”
I had my own bag chat that night, when I brought Khaite’s Olivia—a slim crescent of shiny maroon leather—to a house party thrown by a rock star I’d never met. In fact I knew hardly any guests, but as I stood in the kitchen, a woman in vintage Chanel pointed to my bag and asked, “How did you get that colour? It’s sold out!” Before I could tell her my name, she told me the make and model of my purse. Then she laughed about her ex-boss, a tech billionaire, and encouraged me to buy some cryptocurrency. The token I picked surged nearly 30% in about a week. Now I was onto something—a status bag that might bring not just status, but an actual market return.
Thanks to their prominence on social media, certain bags have gained favour among Gen Zers. “TikTok and Instagram make some luxury items even more visible and more desirable to young people,” said Goor. I experienced this firsthand on a stormy Saturday morning, when a girl in a college hoodie pointed at my Miu Miu Wander bag as I puddle-hopped through downtown New York. The piglet-pink purse is a TikTok favourite seen on young stars like Sydney Sweeney and Hailey Bieber. “Your bag is everything!” yelled the girl from the crosswalk. “Thanks, can I have your umbrella?” I shouted back. She laughed and left. My Wander had made a splash—but it couldn’t keep me dry. I ran to the subway, soaked. The bag looked even better wet.
Changing the Status Bag Quo
Everyone loves an ingénue—fashion insiders included. Perhaps that’s why at Paris Fashion Week in September, newer handbags from Bottega Veneta and Loewe jostled for space and street-style flashbulbs.
“These bags, especially ones by independent labels like Khaite, are quieter signals of cultural access,” explained Goor. “Everyone knows what an Hermès Kelly bag is. So now there need to be new signals” beyond traditional status bags to convey power.
Sasha Bikoff Cooper, a Manhattan interior designer, says there’s a less cynical explanation for why these bags have captured celebrity fans—and more important, paying customers. “They’re fresh and also beautiful,” she said. “Hermès is always classic. It’s like a first love. But you want newness, too.”
The Wall Street Journal is not compensated by retailers listed in its articles as outlets for products. Listed retailers frequently are not the sole retail outlets.
This stylish family home combines a classic palette and finishes with a flexible floorplan
Just 55 minutes from Sydney, make this your creative getaway located in the majestic Hawkesbury region.