"Time and workload was a big issue as we were trying to get the car done in time for SEMA," says Steve. In the end, the Pure Vision staff made it happen by cutting the stock fenders at the outermost edge, cutting a new quarter-panel 1½ inches in from the edge, and then welding it to the factory edge right above the top of the rear wheel. From there, pie cuts were made toward the front and back, to bow the fender around the wheel and have the ends meet the quarter-panel extension and doorjamb at the factory locations.
The faux rear factory quarter-panel scoops are now functional and feed fresh air to the rear brakes. The original insert was turned into a frame that holds a mesh screen—tubes were bonded to the original base and are connected to high-temp hose that passes behind the interior side panels, under the rear seat delete panel, through welded pass-through tubing in the floorpan and out to custom brackets mounted to the rear axle.
At the back of the car, Matt opted for a slightly different approach to the rear spoiler.
"The Mach 1 wing is kind of cool, but I liked the ducktail spoilers from that era, too" Matt says. "From an aftermarket component standpoint, it made sense to make one that anyone could bolt on and that's what we did." Matt also reshaped the rear bumper cover out of surfboard foam to his liking, and the taillights were next on the modification list. Feeling that the '69-'70 lights were simply too big and bulky, the idea to integrate the lights from the '67-'68-model Mustangs was put into motion. Between them, the filler panel was opened up in a bid to aid aerodynamics, and no doubt add another element of style and personality to the rear end. Centered between the PIAA reverse lights, which are mounted behind the mesh grille, the Mustang's gas cap started off as a reproduction of the original, but the running pony icon was removed. The Anvil Auto icon was created in the same fashion and put in the pony's place behind polished acrylic.
All of this heavy lifting in bodywork is complemented by a host of smaller, and detail-oriented changes. The factory turn signal buckets were transformed into fresh air inlets for the front brake cooling ducts, and handmade screens and frames were fabricated for the inlets. The turn signals are frenched in '66 Corvette turn signals, and the hoodpins are actually custom push-button pieces designed to resemble factory Mustang pins. Steve also reduced weight by drilling out the factory door handles, hood hinges, wiper arms, and shifter lever while at the same time, adding a subtle, yet racy element of style. What components weren't fabricated from scratch or didn't come from the car were sourced from Year One, though we suspect many of them have been modified as well.
After hundreds of man-hours were spent designing, fabricating, altering, modifying, and getting the body and all of its features just right, it was finally time to choose a color for the exterior. Not wanting to go with a flashy candy color, Matt also shot down the idea of shooting it black, as many people go for the menacing color. Steve proposed the idea of a simple white.
"I was reluctant on the color at first" notes Matt. "It had to be a neat white, and we ended up using Alaska White from the Range Rover." The shade is just a hair off of bright, offering just enough of a custom look. For the interior, Steve liked the chocolate brown that the Astons used, but Matt wasn't crazy about the idea. Going back to the European lineage, the duo agreed on a sophisticated red. "We later realized the combination was more or less a factory combination," quips Matt. Mick's Paint, which operates out of the SoCal Speed Shop in Pomona, California, was entrusted to paint the Mustang.
The last unique item on the exterior was something that can make or break a car, and that was the wheel design. Keeping with the '60s racing theme, Steve looked to the '69 Gurney Eagle IndyCar, and patterned the wheels after the multi-spoke design, as well as making sure that they cleared the mammoth six-piston calipers and 14-inch rotors.