Yana Karnaukhova: Gleb, how did you come to collect vintage cars? This seems to be much more than just a hobby, isn’t it?

Gleb Rachko: It all began in my early childhood, undoubtedly thanks to my parents. The first car models gifted by my mother, weekends spent with my grandfather in the garage next to our family’s “Moskvich”. Moreover, growing up in St. Petersburg, it’s hard not to absorb history, beauty, and an understanding of proper forms and lines. As a result, I developed a passion for beautiful cars, both modern and vintage. My desire to explore masterpieces of the automotive industry through books and films emerged during school years, long before the internet era in Russia, and it hasn’t faded to this day.
But how do you turn images into real driving experiences? The solution: automotive journalism! I still remember the indescribable feeling when, as a student and a novice reporter with almost no driving experience, I was handed the keys and documents to a brand-new test Chevrolet Tahoe. Could this really be mine, even if just for one day?!
A few years later, I gained experience driving hundreds of interesting models and realized I didn’t want to spend my entire life driving someone else’s cars. But one of them played a significant role: an English retro-style sports car by Caterham. A test drive and an article turned into a desire to sell these cars in Russia — on order, from the UK. In 2007, my colleague and I brought over a new yellow roadster, which became the first major deal in this small but deeply heartfelt business.
To this day, this Caterham CSR 260 is part of our small, friendly club of thrill-seekers. Back in those “golden years,” the retro movement was very trendy in Moscow: vintage car rallies, private museums, and events. The idea of importing vintage cars was inspired by Moscow’s “Avtoville” museum, which, unfortunately, has since closed but is still remembered by enthusiasts. At one point, I placed the Caterham on display there, and it fit so perfectly among its vintage neighbors that within a month, a website for selling and delivering classic cars from abroad was up and running. Soon, the first orders came in.
Thirty years ago, I could only dream of touching these coveted cars, but today I drive them, participate in restorations, shoot small films for my channel, bring rarities from abroad, and find them within Russia. My dreams have come true — isn’t that automotive happiness?

YK: What or who inspired you to start collecting vintage cars? Was it a person, a car, or an event that influenced your choice?

GR: To collect vintage cars, you need not only the desire but also the financial means. I was fortunate enough to acquire them alongside the growth of my business, which is directly tied to classic cars. When you are in close proximity to beloved rarities—immersed in the market, communicating with international dealers, collectors, and auction houses—you have a greater chance of finding something suitable in terms of price and condition. My first purchase, no longer for a client but for my own garage, was probably a 1961 Alfa Romeo Giulietta Spider, discovered in California. The desire to collect vintage cars didn’t arise suddenly; over the years, large-scale model cars simply turned into real ones. It’s a pleasant, natural, yet endless process—after all, there are far too many beautiful cars!

YK: What was your first interaction with vintage cars? Do you remember the car that pushed you to start your collection?

GR: In truth, all of us have interacted with vintage cars—when, as children, we gazed at black-and-white family photos of ancestors behind the wheels of automotive classics, primarily Soviet ones. That’s why almost all Russian collectors begin with cars from the USSR era: some are content with a GAZ-21, while others seek rare and costly government vehicles or prototypes.
Personally, I wasn’t drawn to this path. My family’s Volga in the garage is enough to satisfy my connection to domestic auto heritage. Professionally, though, I evaluate a rarity’s market value and its global resale potential. Unfortunately, Soviet and Russian cars are not the most valuable assets in this regard, though I hold our country’s automotive legacy in high esteem.

YK: Do you have a particular affinity for specific car brands? What attracts you to them—the design, engineering, or spirit of the era?

GR: I adore Italian brands like Maserati, Alfa Romeo, and Lancia, as well as British icons like Jaguar and Bentley. They exude style, passion, and luxury—not just in interiors but in their audacity to defy the perfection of German and Japanese rivals. I also deeply admire Citroën’s innovation and hold American classics from the 1930s, 1950s, and 1960s—like the Cadillac Eldorado and Chevrolet Corvette—in high regard.
It’s primarily the style and exteriors of these masterpieces that captivate me. While technical innovation also plays a role, progress has moved so far ahead that I’m glad we no longer have to deal with carbureted engines or drum brakes daily. These features are charming at exhibitions, but driving vintage cars requires caution and good weather. Yet, their spirit is unmistakable, especially when paired with period-appropriate music and the heartfelt reactions of onlookers. It’s an incredible feeling!

YK: Among your examples, there are no Japanese or Korean cars. Is that a matter of preference, or is there truly nothing interesting from those regions?

GR: Not at all — Eastern countries have at times created such advanced designs that they remain astonishing even today. The value of these youngtimers (let’s be honest — the automotive history of these nations isn’t as long as that of the Old World, so we’re mostly talking about cars from the 1980s and 1990s) is further enhanced by the closed nature of their markets. Many Japanese cars never left their home country, where they eventually reached the end of their lifecycle. But today, enthusiasts are willing to pay enormous sums for models like the Nissan GT-R, Toyota Supra, or Honda NSX, appreciating their meticulous tuning and impeccable build quality. Investors, meanwhile, see returns of hundreds of percent from investments in these sports cars, as their value continues to rise! South Korea is slightly behind for now, but one day, even the Hyundai Tiburon will become a classic, I am sure of it.

YK: How do you decide which cars to add to your collection? Do you have criteria for evaluating potential purchases?

GR: Every collector has an internal wish list of cars they’d like to own. And everyone, without exception, faces limitations—most often financial, but sometimes quantitative. No matter how much money you have, the number of Bugatti Atlantics in the world won’t increase. You’d better have $50 million (or $100 million) ready and wait for one of the three current owners to sell.
In my “dream garage,” I enjoy seeing cars that are significant in the history of the automotive industry and global design, aligning with my ideology and taste. These don’t have to be expensive: Alfa Romeo Montreal, Citroën SM, or Jaguar E-Type are relatively affordable yet utterly divine, in my view. Some people are obsessed with Porsche, but I remain indifferent to them, as I do with Mercedes-Benz or BMW, though I respect their immense contribution to history. They’re just not my style.
So, my primary criterion is love—does my heart race when I see this beauty? Are my eyes lit with excitement? If the answer is yes, no further arguments are needed! Practicality comes into play when selecting a specific car: evaluating authenticity, condition, documentation, and more. This ensures joy and harmony in the relationship.
When helping friends or clients find the perfect old-timer, I use the same principles. Often, I manage to inspire them to buy a specific model by sharing its unique qualities and beauty.

YK: What materials do you consider benchmarks for luxury car interiors, and what qualities do they offer?

GR: Today, natural leather is seen as the pinnacle of luxury, though a hundred years ago, leather seats were reserved for chauffeurs, while passengers sat on velvet. Velvet is less practical and often more expensive, which led to the rise of vinyl and leather.
However, nothing compares to sitting in a cabin adorned with premium velour, fine wood veneers, and metal accents. Sadly, such materials are too costly for mass production. Nowadays, the definition of luxury often includes carbon fiber, Alcantara, and plastic, which I find less appealing.

YK: You have a unique approach to finding cars. Could you share the most exciting stories of “hunting” for rare models? Were there moments when you thought you might lose a car, and what helped you secure it in the end?

GR: The hunt for rarities rarely happens as such: if someone wants to buy, say, a Rolls-Royce Corniche, there will always be a dozen decent examples available for sale in Europe or the US. True, after more rigorous selection, only a few might remain, but there’s almost always a choice. It’s a different story when the goal is to find a truly rare model or modification. That requires searching through private, “collector-only” channels and monitoring auction platforms worldwide.
Recently, a Russian client considered buying the white Lamborghini Countach from the famous movie The Wolf of Wall Street. Two cars were used: one was wrecked after the chaotic parking scene involving DiCaprio’s character under the influence, while the other remained intact and was auctioned off in 2024. The idea was to purchase the latter, but it didn’t pan out—the “Lambo” sold to someone else for $1.6 million.
When it comes to truly unique cars, like Hermann Göring’s one-of-a-kind “Blue Goose” — an armored Mercedes-Benz 540 K roadster — it’s a completely different challenge. It involves tracking down the owners (who are almost always shrouded in secrecy), conducting negotiations, and organizing the transaction. Often, you don’t even have time to purchase a particular car that briefly flashes online—it can be a matter of minutes. Being in the right place at the right time, and with the right amount of money, is crucial. Sometimes luck is on your side; sometimes, it isn’t.
In some cases, the desired car is eventually acquired, but only years later and often at a completely different price. Still, it’s always intriguing, thrilling, and undeniably exciting.

YK: Restoring a car demands meticulous attention to detail. Which aspects of restoration do you find most challenging and significant? How do you strike a balance between preserving authenticity and integrating modern technologies?

GR: The most important principle in restoration, much like in medicine, is “do no harm.” That means not damaging the original material or losing authenticity. Naturally, all numbered components—frame, body, engine block, transmission—are carefully preserved. Yes, they can be restored and repainted in factory-original colors and shades, but the serial numbers are sacred. It’s also crucial—and often challenging—to find information about the car’s exact specifications as it rolled off the factory floor. This requires studying books and repair manuals from that era, rather than relying on secondhand interpretations from the internet. Though, of course, the web is incredibly helpful in answering questions, with thousands of enthusiasts sharing their discoveries and knowledge.
Recently, I received a rare 1967 Cadillac dealer album from the United States. It not only detailed all the options and nuances of that year’s lineup but even included pasted-in samples of original upholstery fabrics! Publications like these are worth their weight in gold and offer invaluable insights into the secrets of bygone eras. Another example: we often need to restore original wooden interior trims. Of course, it’s easiest to make everything perfect, but if, in a 40-year-old Lamborghini, the veneer’s factory-applied lacquer is uneven or has sagged in places, it’s essential to preserve those imperfections. Only then will the car be restored to the standards of its era and not seem overly modern or artificial.
It’s a delicate balance, and every restorer has the right to their own approach. In Europe, for example, it’s common to preserve patina—the marks and scars of time—while in America, collectors tend to restore cars to perfection, as if they were shiny Christmas ornaments. Modern technologies, such as 3D printers, are incredibly helpful in the process, especially when original parts are impossible to source. For instance, plastic air ducts or handles can be replicated if an original from a similar model is temporarily available for reference. However, this is usually a last resort and not the most economical solution; in most cases, it’s possible to find 99% of the original components and assemblies.

YK: Is it possible to preserve a car for a century, ensuring it remains pristine and valuable for future generations?

GR: Of course, it’s possible! To do so, you simply need to prepare the mechanisms for long-term storage, apply the appropriate lubricants, limit oxygen exposure to the vehicle, and create the proper temperature and humidity conditions. If this isn’t done and the car is simply left in a garage, over time, rubber seals will dry out, wiring will become brittle, internal mechanisms will seize up, and the body will begin to corrode. This usually happens when a car is forgotten—perhaps during times of war or due to the absence of its owner—and is rediscovered decades later.
Such discoveries are referred to as “barn finds.” Every collector dreams of stumbling upon a rare Ferrari or Duesenberg this way and striking gold, though the chances are slim. However, when it does happen, the prices for these rediscovered treasures are astounding and often exceed those of their fully restored counterparts. Everyone in the market understands that significant investment will be required to bring such a car back to life. Yet the romantic allure of the story, combined with the guarantee of authenticity—that this is the original car—works its magic. As a result, we see record-breaking auction prices for vintage vehicles still draped in cobwebs.

YK: You collaborate with prominent collectors and investors. What drives investors to purchase vintage cars, and how is their perception evolving—are they aesthetic treasures or investment assets?

GR: Passion usually outweighs profit, with 90% of clients driven by a deep love for cars. For instance, someone fulfilling a lifelong dream of owning a Ferrari F355 rarely prioritizes its investment potential, though rising values are a welcomed bonus.
That said, the annual appreciation in value for such models is, of course, a pleasant bonus and an excellent way to preserve and grow one’s wealth.
More often, though, this is the domain of my colleagues—particularly those abroad—who specialize in selling classic and youngtimer cars. When you work with these vehicles every day, monitor the market, and maintain an inventory for sale, it’s only natural to start thinking about investing in the right models. However, major clients in Russia operate with entirely different financial perspectives, earning vastly more and not buying cars solely for profit. There are far more global and high-margin ways to make money.
That said, as the Russian vintage car market grows, owners are beginning to realize they can sell something from their collection to purchase something else, something more exciting. In such moments, it’s absolutely critical to have worthy examples with the right pedigree, legal clarity, and impeccable technical condition. Unfortunately, Russia has its share of poorly purchased or even illegally imported vintage cars from past years. This is a pain point for collectors, but the market is gradually improving.

YK: What do modern cars lack compared to vintage models? Which aspects of past automotive craftsmanship would you like to see in today’s cars?

GR: All the charming madness of past years has disappeared along with the demands for safety, environmental standards, and ergonomics. This isn’t necessarily a bad thing, as it saves countless lives on our roads, though it doesn’t make them more beautiful. It’s hard for a modern car to stand out from the crowd of its peers, so designers add strings of LED lights, attach fake exhaust tips to bumpers, and make wheels bigger and bigger, often forgetting about comfort. To be, not to seem!
Take the Aston Martin Lagonda sedan from the 1980s—it astonished with the height of its hood, barely reaching the knees of someone standing next to it! Today, such a design is unimaginable due to pedestrian safety regulations. Think of the iconic Volga with its leaping deer hood ornament—beautiful, but long banned for the same reasons. Huge, thin steering wheels without airbags or collapsible columns in case of a crash—stylish and convenient, but at what cost in lives?
On the flip side, there’s the relentless drive for cost-saving. Full chrome bumpers, seven-liter V8s—those are relics of the past. Now it’s all plastic and 1.5-liter turbo “coffee grinders” under the hood. The grandeur, style, and beauty are gone; everything is neat, safe, but indistinguishable and faceless.
How I’d love to walk into a Lincoln showroom again and sink into a soft, three-seater couch. But that’s in the past. Time can’t be turned back, but you can buy a piece of the past—a car. And that is wonderful!

YK: How might attitudes toward vintage cars evolve in the future? Which contemporary cars do you predict will become classics?

GR: The perception of personal cars, especially as symbols of freedom, like in post-war America, is gone forever. Today, a car is more of a means of transportation than an expression of oneself. Hence, the rise of car-sharing services and practical yet uninspiring electric vehicles optimized for city life. Yes, people still buy and flaunt expensive luxury models, but take a closer look: they are usually generic SUVs or roaring sports cars, not the elegant, custom-bodied vehicles of the 1930s.
Modern car manufacturers aim to produce numerous models on a single platform to save costs, resulting in a flood of identical “soap bars” differing only in screen size in the cabin. This drives people toward exclusivity, and at some point, they realize that even upholstering the interior of a Mercedes-AMG G 63 in lavender won’t help them stand out. But showing up at a meeting in an uncomfortable, expensive, unreliable, yet irresistibly cool Lamborghini Diablo from the ’90s or a Dodge Charger from the early ’70s? Now, that’s something!
This is why vintage cars are growing in popularity and will continue to do so. Society values individuality, charisma, and the boldness of owning such vehicles. And let’s not forget nostalgia—today’s buyers are drawn to the cars of their childhood, meaning late 20th-century models. Cars from the ’80s, ’90s, and early 2000s are rapidly increasing in value.
Will today’s BMW M5s or Mercedes-AMG GTs be in demand 40 years from now? I’m confident they will. Sports and limited-edition models have always been revered and command a premium. The key question is how much longer the era of internal combustion engines will last. While widespread electrification has been delayed and Europe’s planned ban on internal combustion engine cars by 2030 has been postponed, there’s still hope for exciting cars in the near future.
Interestingly, recent concept designs often look to the past. Volkswagen revived the Scout brand, BMW brought back the Neue Klasse, Hyundai reimagined the retro Grandeur EV, and Citroën is reinventing the Ami, 2 CV, and SM. There are countless examples, all signaling that people crave the warm, nostalgic charm of vintage car styling.
Of course, these are reincarnations, not originals—but who says you can’t keep both in your garage?

YK: Is the number of cars in a collection important to qualify as a collector? Should collectors be knowledgeable about cars and their history?

GR: I like the term “car enthusiast.” Around the world, it describes people with “gasoline in their veins.” What truly matters is how you treat your treasures on wheels, not how many you have or how much they’re worth. You can lovingly care for a modest VAZ-2101, preserving it carefully, knowing its history, gathering period-correct literature, tools, and even a vintage first-aid kit. That’s what collecting is all about.
We value not the metal itself but the emotions it evokes—the stories of the people who designed these cars, who owned them before us, and the artifacts connected to the vehicle. I believe that the fewer cars in a collection, the stronger the bond between the owner and each one.
Sure, it’s marvelous to be able to fill massive warehouses with rare cars, but it’s important not to confuse hoarding with true collecting. True collecting lies in the care, passion, and love for these almost-living objects.

YK: What about motorcycles? Do clients request vintage two-wheelers?

GR: Absolutely. I work with two-wheeled machines as well. I remember about ten years ago, I imported a rare 1946 Indian Chief and even rode it briefly around the yard, wondering at how inconvenient motorcycle controls were back then. Imagine this: you have to balance the bike while pressing the clutch with your foot, shifting gears with your hands, and simultaneously adjusting the ignition timing and fuel delivery!
The vintage motorcycle market is no less complex than the automobile market. There are countless nuances that require meticulous investigation with foreign experts specializing in specific brands. And the prices for motorcycle rarities are often far from modest. For instance, rare Ducati models from the 1970s now cost several hundred thousand dollars, and a Harley-Davidson from the early years of production can fetch a price tag of a million.
That said, I wouldn’t say vintage motorcycles are very popular in Russia. You can still take a vintage car out on the streets today, but riding a motorcycle that’s several decades old is far more dangerous. Nevertheless, there are some incredibly serious motorcycle collections in the country, owned by genuinely passionate enthusiasts.

YK: Have you ever had cases where you advised a client against purchasing a specific car and recommended considering something else?

GR: Most often, clients are mature, established individuals with their own tastes and preferences. However, they are not expected to know the entire model lineup of, say, Oldsmobile from 1961. That’s precisely where professionals like me come in—to explain the nuances and value of various modifications, body types, powertrains, limited editions, and so on. It’s these subtleties that shape the final choice of a classic car, which is often initially described in broad terms, such as “an American retro car from the early 1960s suitable for the whole family, with a budget of up to $200,000.” My role often involves steering clients away from inherently impractical models, ones that might lack resale potential, or poorly restored examples.
The most common reason for rejecting a particular car is the absence of proper or matching numbers on the components. This is crucial not only for importing and registering the vehicle but also from the perspective of its historical significance. Naturally, alternative options often arise—another make, a slightly different production year, or even something entirely unexpected for the client. In essence, the process feels like flipping through a vivid encyclopedia in search of the next toy, and it’s always an enjoyable and captivating experience.

YK: What is your opinion on “modernizing” vintage cars with new engines, suspensions, or trendy interiors?

GR: This process is called “customization” or “restomodification.” It has a long history, especially in the United States, and millions of both supporters and opponents. Surprisingly, I don’t see anything wrong with it, as it represents a completely different, parallel world with its own rules, trends, and market. You might be surprised to learn that the most expensive Chevrolet Corvette C1s from the 1950s are, in fact, restomods, often priced at $200,000 or $300,000, while an authentic example can be purchased for around $100,000.
The reason lies in the significant investments required to create such projects: replacing the powertrain, reinforcing the chassis, upgrading the brakes, wheels, and essentially all systems. If done properly, using high-quality components, it can cost a fortune. Does this diminish the car’s value as a classic? Undoubtedly. But the client ends up with a vehicle they can enjoy driving without worrying about an overheating radiator or insufficient braking power on radial tires.
As for my personal preferences, I wouldn’t mix the past and the present in one glass. It’s far better to drive a modern car for daily use and occasionally indulge yourself and others with a drive in an authentic classic car, savoring the spirit of its era.