Car Love Worldwide is the international journal of vintage and classic car collecting. We write about the things that matter once a car has stopped being merely transport and started being a record of where it has been: provenance, restoration craft, the auction market, and the quiet discipline of preservation. We are independent, reader-supported, and based in the United Kingdom, where the publication is registered as Car Love Worldwide Ltd.
The journal began in 2016 as a single voice. Edmund Revell had spent years as a parts-runner inside the British Jaguar trade before moving into something more particular — cataloguing provenance for European auction houses, the unglamorous work of establishing what a car actually is and where it has actually been. He started Car Love Worldwide because the published writing on collecting tended to fall into two camps: breathless price reporting, or nostalgia with no documentation behind it. He wanted somewhere to do the third thing, which is to take the cars and their histories seriously, in plain language, without selling anything. He still runs the editorial side and writes our marque histories. He keeps a 1972 Jaguar E-Type that he describes, accurately, as "a long-term liability."
The others came aboard over the following years, each because the journal had a gap only they could fill.
Marta Oliveira writes about restoration and workshop craft. She ran a restoration shop in Porto for fifteen years, specialising in pre-1980 European bodies, and she writes the way a good restorer works — slowly, and with a healthy suspicion of shortcuts. She is currently rebuilding a 1967 Alfa Romeo Giulia Super, a project she has promised to finish since roughly the day she joined us.
Henry Castellano covers the auction and collector market. He spent his earlier career as a commodities reporter for a wire service, which is to say he learned to read a market before he learned to read a car, and he brings that scepticism to the saleroom. He files from Scottsdale, Amelia Island, Monaco, Goodwood, and Paris, and he is based in Lisbon. He is the person who tells you when a result is real and when it is theatre.
Priya Anand writes about preservation and originality. She trained and worked as a museum objects conservator before turning that eye toward cars, and she is the reason we treat "original" as a word with a precise meaning rather than a marketing flourish. She owns a 1973 BMW 2002 with its original paint, which she will defend at length, and she is based in Toronto.
What we do
We publish one or two pieces a week. A typical week might bring a marque history that runs to several thousand words, a workshop piece on a single restoration decision, a sober read of a recent auction result, or an argument about what preservation should mean for a particular car. We write for collectors and for people who would like to become collectors, on the assumption that both deserve to be told the truth.
Our perspective is deliberately international and, frankly, more European than most of the English-language car press. The cars we care about were built in Coventry and Turin and Stuttgart and Munich as readily as anywhere, and the market that trades them is global. We try to write as though that is obvious, because it is.
What we don't do
We are not a buyer's service. We do not source cars, broker sales, or take a cut of anything. We do not provide appraisals or valuations by email — a number sent by a stranger who has not seen the car is worth precisely what you paid for it, and we would rather not be that stranger. We run no sponsored content and no affiliate links. Nobody pays to appear in these pages, and nobody can.
How the journal stays afloat
Car Love Worldwide is reader-supported. The articles are free to read and always will be. The lights stay on because some readers choose to support the work, and because we keep a small shop of in-depth PDF guides and video courses — practical material on provenance research, buying without being burned, restoration planning, and preservation — priced between roughly fifty and three hundred dollars. That is the whole business model. There is no third one we are not telling you about.
If you have read this far, you already understand the publication: four people, four specialities, one shared conviction that these cars deserve to be written about carefully. We are glad you are here.