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TWITTER.COM/ 2020MAG
20/20 GENEYE LAPS UP LUXURY > 54 THE PULSE OF LUXURY > 62 THE ABCs OF ORDERING EYEWEAR > 64
LLUXURY U X U R Y EYEWEAR E Y E W E A R IIS S ON ON A RADICAL NEW WAVE. GET READY TO EMBRACE THE NEW HIGH END.
20 2 0 MA G . C OM / A P P S
BON VIVANT HENRIETTE FROM OGI EYEWEAR
Exclusively providing the most innovative and distinguished men’s eyewear brands in the world
madvision.com I info@madvision.com I 888-961-4675
LIFE-TECH Series Patented materials Patented lenses
DISTINCTIVE DNA Monobloc titanium frames Patented Swiss technology
POCKET POCKETSeries Series The The first first frame frame that that can can fitfit in in your your pocket pocket 1 concept, 1 concept, 7 patents 7 patents
Style: Khole
© 2015 Gap Inc. Eyewear produced and distributed exclusively by Safilo USA, Inc. 1.800.631.1188. All Rights Reserved. Style: Damian
A new view. marchon.com Check out Marchon’s new website featuring a fresh new look. The MVP section has been renamed MyMarchon.com, where accounts can now click to order in a New York minute.
© 2015 Marchon Eyewear, Inc.
FOCUSED ON YOU
NIKE GOLF X2
THE PERFORMANCE SUNGLASS SPECIALLY TUNED FOR GOLFERS.
RORY MCILROY
Created to elevate the standard of golf-specific eyewear, Nike Vision introduces the Golf X2 and Golf X2 Pro to its performance line. Designed for golfers and utilizing real-time insight gained from the brand’s roster, the Nike Golf X2 and Golf X2 Pro help athletes reach the top of their game. Both the Golf X2 and Golf X2 Pro feature a lightweight design for comfort and fit, while a newly-expanded frame and lens shape provides increased coverage to protect golfers from harsh sun over the course of the day. Like all of Nike Vision’s performance product, the Golf X2 and Golf X2 Pro includes Nike’s patented MAX Optics lens design, creating a greater visual “sweet spot” throughout the entire periphery of the eyewear, ensuring golfers experience precise visual information at all angles of view.
NIKE MAX OPTICS Precise visual information at all angles of view
X
LIGHTWEIGHT NYLON FRAME For comfort and durability
X
ADJUSTABLE SILICONE SECURE-WRAP TEMPLES For a customized fit, added grip, and maximum stability
X
DEEP CUT LENS For maximum coverage
X
THIN TEMPLE DESIGN For under hat fit
X
ADJUSTABLE SILICONE VENTILATED NOSE BRIDGE Customized fit, improves comfort and reduces fogging
X
CAM-ACTION HINGES Snap firmly into place
X
INTERCHANGE POUCH INCLUDED
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NIKEVISION.COM
CONTENTS DECEMBER
20/20
Volume 42 Number 14 Copyright © 2015 Jobson Medical Information LLC E-mail: jspina@jobson.com Website: www.2020mag.com 2020mag.com/ipadapp 2020mag.com/iphoneapp Facebook.com/2020mag Twitter.com/2020mag 100 Avenue of the Americas, New York, NY 10013 (212) 274-7000 • FAX: 212-274-0260 SENIOR VP, EDITOR-IN-CHIEF James J. Spina EXECUTIVE EDITOR Christine Yeh GROUP EDITOR/LENSES & TECH Andrew Karp ASSOCIATE EDITOR Victoria Garcia ASSISTANT EDITOR Jillian Urcelay
F E AT U R E S
DIRECTOR OF EDUCATION Mark Mattison-Shupnick SENIOR RESEARCH ANALYST Jennifer Waller ART DIRECTOR Iris Johnson
4 1 HIGH!
20/20 tasks the new world order of HIGH-end eyewear. G E N E Y E V I E W : L U X U RY
WEB DESIGNER Julie Zidel GRAPHIC DESIGNER Jincy Thomas THE STUDIO AT JOBSON Elizabeth Crawford, Stephanie Gross, Matt Lambros, Joseph Vitaliano
5 4 GENEYE LAPS UP LUXURY
CORPORATE PRODUCTION DIRECTOR John Anthony Caggiano
Millennials turn up the notch on luxury eyewear.
CONTRIBUTING EDITORS Deirdre Carroll, Palmer R. Cook, OD; Preston Fassel, Mary Kane, Cheryl G. Murphy, OD; Barry Santini, Christie Walker
MARKETPULSE
6 2 LIVING LUXURIOUSLY ON THE COVER BON VIVANT HENRIETTE FROM OGI EYEWEAR PHOTOGRAPHED BY STEPHEN MARK SULLIVAN FACETNATION With drama beholding every facet, Bon Vivant soars to this new and ultimate peak in luxury and high-end eyewear.
Results from our latest Luxury Eyewear MarketPulse Survey. RXPERTISE
6 4 THE ABCs OF ORDERING EYEWEAR
Dr. Cook offers expert advice. C O N T I N U I N G E D U C AT I O N
9 2 AWARENESS OF CONTEMPORARY CONTACT LENSES, MATERIALS AND THEIR USES
8 • December 2015 20/20
20/20 (ISSN 0192-1304; USPS #051-090) is published
monthly except for March and September which have two issues, by Jobson Medical Information LLC, 100 Avenue of the Americas, New York, NY 10013-1678. USPS Number 051-090; Periodical postage paid at New York, NY, and additional mailing offices. Subscription: One-year subscription rates: USA $199; Canada/Mexico $301; all other countries $555; single copy price $25. To Subscribe: 20/20, PO Box 61, Congers, NY 10920-0061. For subscription information call: 877-529-1746 (USA). Outside USA call 845-267-3065. Or email us at 2020mag@cambeywest.com. Non-paid subscriptions to 20/20 are limited to optometrists, opticians, ophthalmologists, and buyers and key executives at retail chain store headquarters. All other individuals are eligible for subscriptions at the above annual rates. Payment must accompany your order. Advertising: Send all film with proofs to: Jobson Medical Information LLC, New York, NY 10013-1678. Postmaster: Send address changes to 20/20, PO Box 61, Congers, NY 10920-0061. Canada Post: Publications Mail Agreement #40612608 Canada Returns to be sent to Bleuchip International, P.O. Box 25542, London, ON N6C 6B2 Notice: Jobson Medical Information LLC does not accept responsibility for the advertising content of the magazine nor for any claims, actions or losses arising therefrom. Products and services advertised within this publication are not endorsed by, or in any way connected with, Jobson Medical Information LLC. We make every effort to report manufacturers’ news accurately, but we do not assume responsibility for the validity of news claims. If you are interested in ordering reprints of any articles that appeared in this issue please contact Wright's Media at 877-652-5295 or jobson@wrightsmedia.com.
The moment greater clarity equals greater confidence. ZEISS DriveSafe.
NEW FROM
ZEISS
// DRIVESAFE MADE BY ZEISS
More than two thirds of your patients may suffer from stress while driving, including challenges with vision. Help alleviate their stress with a new all-day lens solution – ZEISS DriveSafe.
2
1
Better vision in low light conditions.
Glare reduction that targets today’s high-intensity headlights.
3
Clearer viewing of the dashboard, mirrors, and road.
Recommend DriveSafe to patients who need better vision while driving. To learn more visit www.zeiss.com/DriveSafe. ©2015 Carl Zeiss Vision Inc. DriveSafe products are designed and manufactured using Carl Zeiss Vision technology. US patent 6,089,713. Other patents pending. Rev. 10/15
THE BRAND Founded in 1985, Revo quickly became a global performance eyewear brand known as the leader in polarized lens technology. Revo sunglasses were first created by utilizing lens technology developed by NASA as solar protection for satellites. “One of our strategic goals is to offer a world class sunglass brand to our brand portfolio, and Revo is the perfect fit for our organization,” says Peter Friedfeld, ClearVision executive vice president. “The brand has a great history within our industry, and as the original performance lens, it is a true authentic sunglass brand. The Revo collection, combined with our expertise in staying ahead of the trend to provide innovative, advanced products, is pivotal in the continuation of delivering superior, high performance sunwear that speaks to today’s consumers. We’re very excited to branch into this arena.”
THE COLLECTION The Revo collection is built on its rich tradition of technology and innovation by offering the clearest and most advanced high-contrast polarized sunglass available. •
Featuring 35 to 40 styles
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Offering 7 performance and fashion mirror lenses
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Mirror lenses feature 8 - 12 coatings
THE LENSES Revo lenses are polarized and feature The Revo Light Management System™ (LMS). •
Revo lenses selectively manage and filter all light in the color spectrum, with emphasis on Blue light/HEV light
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REVOlution Rx is available on all styles and features the latest in Shamir digital technology
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THE NEX T STEP IN THE DIGITAL LENS
REVOLUTION How returning to fundamental optical theory yielded the latest advancement in vision care Base Curve Basics
Front Surface Innovation
When the power of a lens is paired with its
Camber lens technolog y, developed by Younger Optics in partnership with ΖQGL]HQ 2SWLFDO 7HFKQRORJLHV Ζ27 introduces a new front surface innovation NQRZQ DV WKH 9%& YDULDEOH EDVH FXUYH ZKLFK SURYLGHV WKH VLJQLȴFDQW DGYDQWDJH of an optically ideal base curve for all viewing zones.
ideal base curve, the wearer enjoys clearer vision, with minimal oblique astigmatism. In a single vision lens, there is one power, so it‘s easy to choose the ideal base curve for the prescription. However, in a progressive lens, the disWDQFH ]RQH SRZHU FDOOV IRU D ORZHU ČľDWWHU base curve, while the near zone power FDOOV IRU D KLJKHU VWHHSHU EDVH FXUYH ΖQ traditional molded front-side progressive lenses, the varying base curve is built into the design. Nowadays, modern digital lens technology allows labs to create progressive lenses out of single-vision lens blanks. But this means the various powers must share a single base curve, one that may not be ideal for all zones. 7KH QHZ &DPEHU OHQV RÎ?HUV DQ HOHJDQW solution that represents the next step in digital progressive lens technology.
Each Camber lens blank comes from a section of the “Elephant’s Trunkâ€? curve, creating a unique, patented VBC front surface that continually increases in diopter from top to bottom. 7KLV LPSURYHG IURQW VXUIDFH SURČ´OH JLYHV each viewing zone a base curve that is well-suited to its function. This totally new VBC front sur face, unique to Camber lenses, provides EHQHČ´WV WR ZHDUHUV LQ DOO ]RQHV :HDUHUV enjoy noticeably increased acuity in the periphery of the distance zone, as well as a reading area that is more comfortable DQG HDVLHU WR Č´QG ZLWK WKH H\H
Elephant‘s Trunk Curve The Camber lens blank has a unique, continuously increasing base curve, LGHDO IRU WKH LQFUHDVLQJ SRZHU SURČ´OH of digital progressive lenses. Learn more at camberlens.com
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Central Carolina Optical CFC Labs — CANADA Cherry Optical, Inc.
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Eye Save Optical Labs FEA Industries, Inc. IcareLabs iCoat Company Laramy-K Optical LensWorks Luzerne Optical Midwest Labs Ζ$ Ζ/
Camber Lens Blank From the top of the lens blank to the bottom, the base curve increases up to three diopters. 7KLV 9%& YDULDEOH EDVH FXUYH RÎ?HUV GLVWLQFW DGYDQWDJHV RYHU GLJLWDO SURJUHVVLYH OHQVHV made from a single vision lens blank.
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astigmatism in all visual zones
operate in mutual accord with the unique Camber lens blank. The VBC front surface is combined with a sophisticated back-side digital design; both surfaces work together to become WKH SDWHQWHG &DPEHU Č´QLVKHG OHQV The Rx Design Computation is further enhanced, when desired, by a complete set of individualization parameters that take into consideration the unique attributes of the frame and the preferences of the ZHDUHU 7KH UHVXOW LV D Č´QLVKHG OHQV WKDW is comprehensively customized for each individual patient.
Where to Order Lenses with Camber technology are now DYDLODEOH IURP VHOHFW ODEV OLVWHG ULJKW )RU an up-to-date list of Camber-authorized labs, visit camberlens.com/labs. Camber is a trademark of Younger Mfg. Co.
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Midwest Lens National Optical Co, Inc. Nexus Vision Group, LLC. Nexus Vision Illinois Nova Optical Labs — CANADA Optical Supply OptimEyes Optical Lab Pech Optical Corp. Precise Optical Rite-Style Optical Riverside Opticalab — CANADA Robertson Optical Laboratories, Inc. Sheridan Optical Sunstar Optical Laboratories
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THE BIGGEST RAVES ABOUT OUR NEW YOUTH FORCE™ LINE HAVE BEEN COMING FROM GROWN-UPS
What Eye Care Professionals Are Saying About Youth Force™: Lisa
NC
Good looking. Far superior to any other kids line. LOVE!
Karen
GA
Flying off the shelves! We sold 3 pair in the first two days and for a small office that is great!
Alesha
CA
Love! Very cute and sturdy.
Megan
NC
Love the various sizes, temples and bands. Love that both the glasses and goggles come together as one.
Lindsey
ND
Very impressed! Best feature is ability to wear under a football helmet.
Julia
TX
Overwhelmingly awesome response! Will be placing another large order soon.
Stacia
AZ
Love the line…will be selling off competition and adding Youth Force to all locations.
Donna
NV
The kids love them!!!
Misty
NV
Those are awesome! I show them over the competition because of all the options.
Mike
NY
Love over the competition - better looking, better design. Pt’s Very Happy!
Karen
TX
OMG! I love them! I’m impressed!
Eye Care Professionals are loving our new Youth Force™ ASTM F803 rated Sports Protective Eyewear line. Please call us to discuss how Youth Force™ can make both kids and their parents happy patients at your practice.
1.800.776.7842 // WILEYX.COM
WILEY X, the WILEY X Eyewear logo, WX, the WX Eyewear logo, the WX WILEY X logo and product names are trademarks or registered trademarks (marca registrada) of Wiley X, Inc., in the U.S. and other countries. Logos: © 2007-2015 Wiley X, Inc. All rights reserved. Copyright © 2015 Wiley X, Inc. All rights reserved.
P-17
FOR WORK. FOR PLAY. FOR LIFE. Wiley X is the only premium performance eyewear brand whose entire line meets ANSI safety standards. Our Active Series is perfect for activities that work up a sweat, with rubber nose and temple grips that ensure a snug fit. Your customers stay protected during high-intensity activities, with Rx-ready eyewear that’s stylish and comfortable enough to be worn anywhere.
ACTIVE SERIES
WX REBEL Dealer Ordering
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WX PEAK WILEYX.COM
CONTENTS DECEMBER
PUBLISHER/CEO Marc Ferrara
D E PA R T M E N T S
VP, ADVERTISING SALES Dennis Murphy
29 UPFRONT
80 WHAT’S NEXT
Kingsley Rowe’s Entrepreneurs in Eyewear; Hall of Frames; Street Seen; The Secret to Selling Caviar Eyewear; Zeiss Hosts DriveSafe Launch Events in Germany; What Eye Hear; Eyeing a Masterpiece with Max Mara and Sàfilo; Eyewear ACEs; and Inspecs USA and Vision Ease Debut O’Neill Sunglasses with Coppertone.
Line extensions from Kaenon, Ogi, Marchon, Match and Tura.
38 CE PLUS
DIRECTOR OF EDUCATION AND TRAINING Vincent Priore DIRECTOR OF DIGITAL PRODUCTS James DeMatteis REGIONAL SALES MANAGER Amanda Churchill VP, MARKETING Nancy Ness SENIOR MARKETING MANAGER Nogah Jones
84 NEW PRODUCTS
Certainly Square and Sensational Specs; and this month’s Basics goes lavish with luxury.
SENIOR MARKETING COORDINATOR Gillian Mulhere PRESIDENT, ECP BUSINESS SERVICES William D. Scott PRESIDENT, FRAMES DATA Tom Lamond PRESIDENT, JOBSON INTERACTIVE Joe Savarese VP, NEW BUSINESS DEVELOPMENT Al Greco SENIOR VP, EDITORIAL DIRECTOR Marge Axelrad
88 L&T NEW PRODUCTS
Zeiss’ DriveSafe Lenses, Satisloh’s MultiFlex; Essilor Sun Solution’s Kolor Up; and more.
A look at this year in CE Plus.
VP, CREATIVE SERVICES AND PRODUCTION Monica Tettamanzi JOBSON OPTICAL RESEARCH DIRECTOR Gerry Fultz DIRECTOR, CE PROCESSING Regina Combs DIRECTOR, NETWORK/SYSTEMS SERVICES Pierre Gascon TECHNICAL SUPPORT COORDINATOR Rey De Guzman TECHNICAL SUPPORT COORDINATOR Ken Lee VP, CIRCULATION/DISTRIBUTION Emelda Barea CIRCULATION MANAGER Micki Laporte
73 WHAT’S RIGHT NOW
Masterful materials make outlandish eyewear combinations. 74 WHAT’S NEW
Spotlighting the latest collections from Marchon, Kingsley Rowe, Gramercy Eyewear, Coco and Breezy and A&A.
2 0 EDITOR-IN-CHIEF 2 2 THROUGH MY LENS 2 4 GUEST EDITOR 9 0 PRODUCT GUIDE 10 4 PARTING GLANCE
CEO, INFORMATION SERVICES DIVISION Marc Ferrara SENIOR VICE PRESIDENT OF OPERATIONS Jeff Levitz SENIOR VICE PRESIDENT OF HUMAN RESOURCES Lorraine Orlando Classified Ad Sales: (888) 537-4858 sales@kerhgroup.com CE Customer Service: (800) 825-4696 EXT. 1 Subscription Inquiries: (877) 529-1746 Europe — Cecilia Zanasi; E-mail: Cecilia@studiozanasi.it
20/20 magazine encourages submissions of product news and information. Press releases and photography can be submitted via mail or email. Any photos and images sent by email must be high-resolution (300 dpi) JPEG, EPS or TIFF with an image size of at least four inches by four inches. Standard photo images must be of high quality. All mailed submissions should be sent to the attention of the appropriate editor. All information and photography becomes the property of 20/20. Questions? Email Editor-in-Chief James J. Spina at jspina@jobson.com.
16 • December 2015 20/20
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EDITORIN-CHIEF
LIVING THE LIFE OF … I usually write these editor columns in my head before committing words to print, and that composing usually happens as I commute to work on the Long Island Railroad. And on the day I was giving thought to this issue devoted to re-assessing Luxury in eyewear, my mind drifted to the eminent release of Bob Dylan’s The Cutting Edge 1965-1966: The Bootleg Series, Vol. 12, a collector’s edition of 18 CDs minutely examining a VERY specific and brief recording period in the bard’s career. The pre-release chatter for it on Dylan’s website notes it is “an unprecedented look at Dylan’s recording process. Every outtake, rehearsal and alternate version—a unique insight into a legendary icon’s creative process.” I want it. I want it BAD. And in my previous guise as a rock writer, I’d likely have been sent, for review, the 6-CD, $100 version. Point is though, at $600 bucks for the 18-CD limited edition (5,000 copies), Spina is truly dreaming. And… he’s doing this dreaming on a far-from-luxurious commute on the most disgusting, mismanaged railroad in this country. Based on this nasty commute and my lack of having that Dylan boxed set… what the hell do I know about… luxury? And even more specifically, what do I know about luxury eyewear? Actually… PLENTY. Fact is I’m really best as an observer rather than a purveyor or partaker. And in the focused scenario of luxury eyewear, I’m an outsider. I’m not a vendor and not a retailer/dispenser. As an editor/writer, I acutely observe and report on most every aspect of the optical arena, and though this magazine is supported by a variety of advertising clients, no one from the publishing and advertising team coerces our editorial coverage. And in that very context, I say you are badly misguided if you think the luxury experience is completely defined by the actual branded source of the eyewear, be it the proud and rightfully lauded realm of independent eyewear OR the more simplified extreme of eyewear under the control and cache of a designer or luxury brand moniker. That name game is important to you AND the consumer, but the more critical definition of a luxury eyewear experience is what YOU and your team and your retail environment (in ALL of its facets) bring to the experience with your customer. Dig into our 20/20 Luxury Eyewear MarketPulse to note the extent and impact of this niche on your world. It’s growing. It’s in a climate of price point adjustment. But one factor remains clear: You need to step up constantly with impeccable product and service in order to assist your customer wanting to see and be seen in luxury eyewear.
• James J. Spina
1-877-Teka-Eye
Editor-in-Chief jspina@jobson.com
To view entire collection visit
www.tekaeyewear.com 20 • December 2015 20/20
G U E S S .CO M A R T D I R : PAU L M A R C I A N O
PH: PÜL M ANNS
G U E S S ? © 2 0 15
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THROUGH MY LENS
EYE SAF ETY IN A DIG IT-EYEZED WORLD In our constantly connected online world, millions of people who use smartphones, tablets and computers suffer from digital eye strain (DES), including exposure to potentially hazardous high energy blue light. Fortunately, modern spectacle lens technology offers many solutions for patients who have become “digit-eyezed,” ranging from advanced lens designs that alleviate DES to new materials and coatings that block the “bad” blue. In case you missed it, the November issue of 20/20 included a special editorial supplement, Solutions for Digit-eyezed Living. This newly updated collection of articles from Vision Monday and 20/20
takes an in-depth look at this eye health and wellness issue, and examines its causes and effects. In it, you’ll find Cheryl Murphy, OD’s recommendation for ocular protection, tips for dispensing blue light filtering lenses, an analysis of the visual needs of Millennial-age patients, a comprehensive guide to blue light filtering products and spotlight on new eyewear for the digiteyezed lifestyle. You can also find it on 2020mag.com, and a digital edition is available to subscribers. If you’re still hungry for more information, I’d suggest watching my in-depth discussion with Tommy Lim, OD, about the dangers of overexposure to blue light
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Satisfaction guaranteed or your money back* Nanofilm meets your difficult cleaning challenges. Learn the science behind this remarkable advancement by reading the technical paper at: www.NanofilmUSA.com
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in the video, “Be the Blue Light Expert for Your Patients.” You’ll find it on the Review of Optometric Business website at www.reviewob.com/be-the-blue-lightexpert-for-your-patients.aspx. I’d also recommend reading the Vision Council’s excellent 2015 report, “Hindsight is 20/20/20: Protect Your Eyes From Digital Devices,” which provides useful information for those of us who are digiteyezed—which these days is just about everyone.
• Andrew Karp
Group Editor, Lenses and Technology akarp@jobson.com
AR
Better for Superhydrophobic Topcoats
GUEST EDITORS
edCF DA STATES ITS CASE One of the most insightful questions that was asked by Steven Kolb, president and CEO of the Council of Fashion Designers of America (CFDA), during the first Eyewear Designers of the CFDA (edCFDA) Panel Discussion at Vision Expo in New York last spring wasn’t about inspiration or trends, but rather how each of us got started designing eyewear. Ironically, not one of the panelists started their career actually wanting to BE an eyewear designer. None, in fact, were designers of ANY sort. We were a retailer, an optician, a photographer, an engineer and an optometrist. A seemingly unlikely and diverse cast of characters inextricably bonded together, representing design: the optical industry equivalent of the Breakfast Club! But that was one of the very reasons a group of us decided it was overdue to join forces and form a group that would, in part, help nurture new talent and provide a platform for eyewear
designers. There are no easy entry points into this as a career. We have no schools and no programs. And being truly “independent” we had no collective voice. We originally sought to form a stand-alone organization, but after several valued conversations with Steven Kolb and Vision Monday’s Marge Axelrad, it became clear we should work under the umbrella of the CFDA, who wholeheartedly supported the idea. The CFDA is an invitation-only, nonprofit organization created in 1962 to “strengthen the influence and success of American fashion designers.” Michael Kors and Vera Wang are on our board of directors. Diane von Furstenberg is chairwoman. While it’s great that we have marquee designers leading the CFDA, illustrative of the prestige and influence of the organization, quite frankly eyewear as a category is at the bottom of the fashion food chain compared to apparel and other
accessories. Jewelry, shoes and handbags arguably rank above eyewear in the minds of fashion editors and consumers. Just look at any red carpet celebrity coverage. Although, it may be safe to say… we at least currently trump gloves. We want to change that. James Spina of 20/20, our friend, mentor, confidant and strident supporter, has championed his long-held belief that “Eyewear is the ULTIMATE Accessory. After all, it sits smack in the middle of your face.” So… that’s our goal. We’re the edCFDA. In the simplest of terms and in the most convenient definitions, we are friends, colleagues, competitors and designers coming together to make James’ mantra true and to do him proud.
•
Gai Gherardi, Blake Kuwahara, Christian Roth, and Selima Salaun edCFDA Executive Members
Model: Stepper SI 20027 速 TM
DISTIBUTED BY: IMAGEWEAR 800.414.7656 | WALMAN OPTICAL 800.863.2759 | WWW.IMAGEWEAR.COM
IS YOUR PROFITABILITY
KEEPING YOU UP AT NIGHT? WE CAN HELP you implement a plan to grow your business starting with Transitions® lenses. Call your Essilor Brand Sales Consultant at 1-800-237-8725, ext 1215, to learn more!
©2015 Essilor of America, Inc. All rights reserved. Essilor is a registered trademark of Essilor International. Transitions and the swirl are registered trademarks of Transitions Optical, Inc. Photochromic performance is influenced by temperature, UV exposure and lens material. 6/15
PRODUCED AND DISTRIBUTED BY LUXOTTICA GROUP - MOD. TY 2056
UPFRONT DECEMBER
Ashleigh Parsons and Ari Taymor
EDITED BY CHRISTINE YEH
Sophie Lopez
Athena Currey
Ben Watts
ENTREPRENEURS IN EYEWEAR Kingsley Rowe recently launched its very first campaign entitled “Shared Vision,” celebrating style and creativity. Shared Vision introduces and praises Los Angeles and New York entrepreneurs who have made their unique visions a reality. These eight notables include leaders in the world of food, fashion, art and photography. Sharing with the public how they fulfilled their dreams, they were given the chance to model their favorite Kingsley Rowe frames in their own artistic atmospheres. Visionaries include artist Zoe Buckman, photographer Ben Watts, Hollywood stylist Sophie Lopez, co-owners of popular LA restaurant Alma Ari Taymor and Ashleigh Parsons, DJ and fashion retail owner May Kwok, “Taste The Style” creator and cofounder of DAILE beauty brand Cyndi Ramirez, founder of The Posters and former model Athena Currey, and style consultant Andrew Weitz. “It was a privilege and a pleasure being welcomed into the professional spaces of some of today’s most celebrated creatives and entrepreneurs,” says Romy Kurlansky, founder of Kingsley Rowe. “We draw inspiration from each of their creative visions and unique paths to success.” These selected “creatives” offered insight on their vision, lifestyle and of course, their favorite Kingsley Rowe eyewear pieces. Athena Currey, founder of a charitable art e-commerce website, eloquently stated her advice on making your vision a reality. “Start with a very thought-out plan, and then be prepared to change it,” says Currey. “Things that are good in theory may not actually work in reality. Being flexible allows the business to organically form and gives it space to grow.” Style consultant Andrew Weitz’s response was a bit more concise: “One word: Passion.” When asked how the frames he chose reflect his personal style, Weitz responded, “I am a fashion-forward gentleman. My style is like a cocktail. It’s a mixture of edgy, conservative, chic, hip and dandy; all of which I think these frames reflect.” Kingsley Rowe’s unisex collection effortlessly combines vintage and contemporary influences and designs with craftsmanship that perfectly complements these creative entrepreneurial influencers. It’s refreshing to see a brand like Kingsley Rowe supporting those that are finding their vision and in turn making it a reality. These creators prove that it’s always possible to follow your passions and do what inspires you. —Jillian Urcelay
Cyndi Ramirez
Zoe Buckman
Andrew Weitz
May Kwok
December 2015 20/20 • 29
UPFRONT
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2
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HALL OF
FRAMES 5
BY VICTORIA GARCIA
REALITY STAR Season Two winner of reality TV show “House of DVF” Hanna Beth (1) wears Diane von Furstenburg style 601S Lila sunglasses from Marchon Eyewear…
RACE READY Professional stock car race driver and NASC NASCAR champion Carl Edwards (2) is all smiles wearing sunglass style Legend with smoke gray TICKLE ME PINK Swapping out her “American Horror S Story” persona, Lady Gaga (3) steps out in New York City in round Jim Jimmy Choo style Andie sunglasses from Sáfilo…
CASUALLY COOL Actress Jennifer Aniston (4 (4) wears Vogue style VO2963S 1916/S suns from Luxottic Luxottica while filming
her upcoming movie “Mother’s Day” in Atlanta…
SULTRY SONGSTRESS Actress and singer Sele Selena Gomez (5) accentuates her black ensemble with leather Jimmy Choo style Nita sunglasses from Sáfilo…
SEQUIN QUEEN While doing press in New York Yor City for her movie “The Intern,” actress Anne Hathaway (6) llooks perfectly poised wearing Michael Kors MK2013 3065/11 Polynesia sunglasses from Luxottica…
6
A FRIENDLY FACE “Extra TV” host and actor M Mario Lopez (7) looks casually chic in Salvatore Ferragamo SF776S sunglasses from Marchon Eyewear.
7
30 • December 2015 20/20
Photo of Lady Gaga © Vantage News; photo of Jennifer Aniston © Splash News; photo of Selena Gomez © SGP; photo of Anne Hathaway © Splash News
lenses from Wiley X Eyewear…
2 0 1 5 D E B U T E Y E W E A R C O L L E C T I O N B Y A LTA I R 8 0 0 . 5 0 5 . 5 5 5 7 | A LTA I R E Y E W E A R . C O M
UPFRONT
SEEN
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STREET PHOTOGRAPHED BY CHRISTIE WALKER
32 • December 2015 20/20
EYE LOVE WHEN YOU SMILE (TAKE 2): Last month we paid face time and trend tribute to the men at the recent Vision Expo West in Las Vegas. We’ve saved the best though for this month with a look at the women of optical at Expo rocking all sorts of CatEyes, rectangles, squares and even a new wavvy temple or two. —James J. Spina
Š 2015 marchon eyewear, inc.
Wishing you a brilliant holiday season
FOCUSED ON YOU
UPFRONT
THE SECRET TO SELLING CAVIAR In the beachfront town of Boca Raton, Fla., David Camporeale has a large clientele base to say the least. The optician describes his customers as a melting pot of retirees, tourists, families and of course, people looking for specialty eyewear. Camporeale’s practice, Looking Sharp Eyewear, resides in the suburbs of Florida, and most if not all of his clients are repeat buyers. He believes that the best part of selling eyewear is seeing the way his customers feel about his brands and glasses. Specifically, Camporeale enjoys selling Caviar Eyewear from Ultra Palm Optical. He has seen a lot of success over the past seven years selling the brand and even has a few tips for other retailers selling Caviar. Camporeale describes Caviar frames as the ultimate jewelry piece. The eyewear is fancy and perfect for special occasions because of its crystal details. He recommends displaying the products in a careful and smart way to catch the attention of shoppers. This optician always presents Caviar on velvet trays in the same way that jewelers present expensive diamonds. The velvet mats make it easy for customers to see all of the embellishments and details. This technique also enhances the frame’s value. He believes that the trick to selling high-end frames is simply treating them like jewelry: If you make the frames look like they warrant a special occasion, customers will want to treat themselves. Another great display tip for selling Caviar frames is location, location, location. He positions the frames in two different sections of the store. The first is by the front window, and the other is by the main dispensing area. When the sun sets on the frames that are displayed in the front window, light reflects off of all of the crystals. Customers see the sparkling frames and are prompted to walk inside the store and try them on. It’s clear that Looking Sharp Eyewear’s main way of drawing attention to the Caviar brand is simply by showing it.
^
For more selling tips on Caviar Eyewear, check out Camporeale’s video on www.2020mag.com/video.
Finally, Camporeale advises to never mention the price until it becomes an issue. The key is to have someone fall in love with the eyewear first. Once she understands how great the frame is, then start talking dollars and cents. Caviar frames are unique because they really are a statement piece, making women feel elegant and naturally speak for themselves. Once customers realize they need another functional jewelry piece, they can’t resist buying Caviar. —Jillian Urcelay
ZEISS HOSTS DRIVESAFE LAUNCH EVENTS IN GERMANY In conjunction with the launch of its new DriveSafe lenses, which are designed to enhance vision for drivers, Zeiss invited a group of international guests including 20/20 director of education Mark Mattison-Shupnick (pictured) to participate in a series of events in Germany in October. The first stop was a tour of Zeiss corporate headquarters in Aalen, followed by a visit to the Zeiss museum in nearby Oberkoken. The museum, which is dedicated to the history of optics, features a world-class collection of antique telescopes and spectacles. For the second leg of the trip, the group traveled to Berlin’s famous Templehof airport, where they tried out ZeissDriveSafe lenses while participating in a driving experience designed by the Mercedes Benz drive team. “The attendees drove the Mercedes Benz drive team experiences after a demo so that the emotion of each personal driving experience was analogous to the emotion and passion for precision of the Zeiss researchers and optical people that made their DriveSafe lenses worn during the drive,” explains Mattison-Shupnick. —Andrew Karp
34 • December 2015 20/20
UPFRONT
uSáfilo Establishes Subsidiary in Turkey… Sáfilo Group has
announced the establishment of a subsidiary in Turkey, serving as the hub of its new Central Eastern European Division.
What Eye
patent, a revolutionary glazing system that holds lenses firmly in the frame without the need for screws.
BY VICTORIA GARCIA
uNouveau Eyewear Launches New Website…
HEAR
uCharmant
USA and Isaac Mizrahi Sign Licensing Agreement… Charmant USA and Isaac Mizrahi announce a multi-year licensing agreement for the manufacturing, distribution and design in conjunction with Xcel Brands for a new sunglass collection launching in spring 2016. uDe
uMarcolin
Announces Early Renewal of Montblanc International License… Marcolin
Group has announced the early renewal of an exclusive license agreement for the manufacture, design and worldwide distribution of the Montblanc optical and sun collections.
Rigo Vision and Furla Strengthen Licensing Agreement…
uBlackfin Wins Silmo d’Or Prize…
De Rigo Vision and Furla have added five more years to their licensing agreement, now signed until 2022.
Blackfin was recently awarded the Silmo d’Or prize in the Frame Technological Innovation category for the shark-lock
Nouveau Eyewear launches its new website www.nouveaueyewear.com, introducing online ordering and live inventory. Other features include new releases, an on-demand catalog and a favorites list. uMoscot and Simon Miller Introduce New Collaboration…
New York and Los Angeles independent denim and indigo brand Simon Miller has collaborated with Moscot to create sunglasses that mix classic designs and a modern interpretation of a vintage glacier sunglass style.
You Help Patients See. We Help New Patients See You Online.
Help give the gift of sight this holiday season! Schedule your free website evaluation by December 31, 2015, and iMatrix will make a donation to VISION USA, a program that provides eye care to Americans in need. Use Promo Code: DEC152020
1.855.466.5848
www.imatrix.com/2020-dec15.html
UPFRONT
EYEING A MASTERPIECE Max Mara and Sàfilo turn on the color and creativity through an original collaboration with artist Maya Hayuk. This partnership and hard work with the art piece “Optiprism” was recently unveiled at the Max Mara Madison Avenue boutique in New York City. Hayuk designed and brought “Optiprism” to life by creating the geometric, colorful and large-scale wooden diptych painting. This work of art exemplifies both Max Mara’s creative spirit and the artist’s signature style. Optiprism was inspired by and represents the Fall/Winter Max Mara eyewear collection. Hayuk reinterprets the eyewear collection’s classic stud feature by using a multifaceted prism motif throughout her work. The pattern has an array of bright, vibrant colors and textures that “wow”” viewers. The painting, which was revealed at the NYC boutique by Hayuk and Mariaa Guilia Maramotti, U.S. retail director for Max Mara and granddaughter of Max Mara’s founder Achille Maramotti will also later travel to Beijing and Milan. This collaboration celebrates the Max Mara GEM eyewear collection, specifically focusing on the prism located on the sunglasses’ temples. In order to further commemorate thee design and art piece, a limited me pattern as the painting, will edition sunwear style was created. The sunglasses, which feature the same be available February 2016. Each of the limited 200 pairs of sunglasses is numbered and signed by terials, were also unveiled Hayuk. The frames, which are crafted and made from the finest Italian materials, to guests at the event. The event had notable attendees such as Harley Viera-Newton, who was also the celebrity eronica Webb guest DJ of the night, editor-in-chief of Elle Magazine Robbie Myers, model Veronica and project director of Optiprism Pippa Cohen. All guests enjoyed glasses of champagne while viewing the work of art and limited edition sunglasses. Optiprism willl be taken n Urcelay abroad as the entire event travels to Beijing and Milan. —Jillian
Maya Hayuk Maria Guilia Maramotti
Harley Viera-Newton Sàfilo’s Glenn Rusk and Alessandro Marcer
36 • December 2015 20/2 20/20 0 0
Maria Guilia Maramotti and Robbie Myers
Pippa Cohen and Veronica Webb
UPFRONT
EYEWEAR ACES 20/20 had stars in our eyes on this special night in November with two of our esteemed optical colleagues honored for their talent and leadership at the Accessories Council’s 19th Annual ACE Awards Gala at Cipriani 42nd Street in New York City. ACE stands for “Accessories Council Excellence” and celebrates those making significant contributions to furthering the awareness and use of accessories. Marchon Eyewear president John Varvatos and CEO Claudio Gottardi received this year’s Leadership Award for his instrumental work in expanding Marchon’s global presence and establishing major brand additions to its portfolio. Designer John Varvatos received Designer of the Year honors for his unique design style uniting old world craftsmanship and refined tailoring with a rock ’n’ roll sensibility in a brand that now represents all lifestyle categories including an eyewear collection with Rem Eyewear. Eyewear is the ULTIMATE accessory, and these two visionaries’ accolades affirm that eyewear indeed has its place at ACE. —Christine Yeh Lacoste North America CEO Joelle Grunberg, VSP board member Rob Lynch, Ivanka Trump, Marchon president & CEO Claudio Gottardi and Calvin Klein creative director Ulrich Grimm
INSPECS USA AND VISION EASE DEBUT O’NEILL SUNGLASSES WITH COPPERTONE Vision Ease is introducing its first frame and lens package. Developed in partnership with Inspecs USA and sun and surf apparel brand O’Neill, the polarized sunglasses deliver the UV and blue light protection of Coppertone Polarized Lenses in modern frames designed by O’Neill. The sunglass package is offered in plano and prescription, featuring 14 frame styles in multiple colors and five lens colors. Frames and lenses can be paired in any combination so consumers can design their own look in their prescription sunwear. “This package delivers advanced eyehealth protection, style and performance from two classic and trusted brands,” says Kari Knapp, senior marketing manager with Vision Ease. Vance Wright, president at Inspecs USA adds, “By partnering with Coppertone Polarized Lenses, we were able to create a product that looks great and enhances vision and clarity, all while protecting our eyes from the sun’s harmful rays.” The Rx sunglasses are offered as single vision and progressive highdefinition digital lens designs and are available for wrap frames in +3.00 to -3.00 total power, with a 6 or 8-base lens determined by frame style. —Andrew Karp
shopfashionoptical.com
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Plus
One of the “Plus” parts of CE and the Opticians Handbook is the author. These individuals collect information and experiences, compose the prose, write the questions, consider the opinions of ABO/NCLE certified peer reviewers and benefit from the edit and layout expertise of the 20/20 editors. This CE Plus celebrates this year’s authors with an excerpt from a recent written piece.
Prepare Your Office for a Successful Holiday Season, counsels ALEX BENNETT, ABOM. “Proper planning and foresight can alleviate headaches leading up to our busiest time of the year in the office: flexible spending deadlines. Once our patients are finished buying gifts, they realize they have leftover flexible spending dollars to use up and usually by Jan. 1. FSA dollars are residual income left over for ‘want’ items like second pairs of glasses. Here’s how you can prepare your office, your patients and yourselves for the busiest (and most profitable) optical season.” In Tips for Reducing Remakes, BETHANY DEWOLFE, ABOC, shows how “…one pair of progressives does not always meet every need of your patient. This is why discussions about occupational lenses are important. If your patient has more than a +1.50 add, spends the majority of their day on the computer, reading music or doing meticulous repair work, explain why they would enjoy a lens specially designed for that aspect of their life instead of expecting one pair of glasses to meet every need. If the patient realizes it may take multiple pairs to meet their specialized needs, they will be less likely to put all their hopes in one pair of glasses being perfect for every part of their life.” Need to teach patients in Protecting Your Investment, How to Care For Your Eyeglasses? JOHNNA DUKES, ABOC, says: “So, you’ve just helped your patient choose the most beautiful, technologically-advanced, perfect pair of eyewear. You’ve adjusted them to fit like a glove, and you’re ready to send your patient out into the world with this new optical masterpiece. Here’s the question, have you properly prepared this patient for all that is waiting for them in the real world? Not sure what information is imperative? Let me help.”
WE WISH YOU THE BEST FOR THE HOLIDAYS AND EVERY SUCCESS FINISHING ALL THE CE REQUIREMENTS YOU MIGHT HAVE. —MARK MATTISON-SHUPNICK, ABOM
38 • December 2015 20/20
PRESTON FASSEL describes The Eyewear
Tune-Up. Fassel says: “It’s a quick, efficient way to differentiate your dispensary or practice from others the next time a patient comes in for an adjustment or even just as an added extra during a yearly exam. It’s an opportunity for you to demonstrate your abilities, remind the patient that you’re more than just a salesperson and give them something to think about the next time they need eyewear and are lured by the perceived value of online optical.” JODI GROH teaches us 7 Ways to Build a Local Marketing Strategy. Groh discusses: “Whether a new practice or long-established office, marketing is a must for business growth. When in highly competitive marketplaces or in tough economic times, marketing is critical for simply maintaining business. Marketing, however, does not have to be expensive. You can create a strong local presence and increase your number of patients by implementing an assortment of these affordable tactics.” LINDA HARDY, LDO, CPOT, COA, in Prescribe & Provide Sports Glasses explains: “Many of the children and teen patients who come into your office will be newly enrolled in sports they have never played before. The child who just this fall started playing for the football team or the local softball league will need glasses they can wear while they play their favorite sport. You have an opportunity to emphasize to parents not only the importance of protecting the child’s eyes from injury, but the chance to improve the child’s athletic performance with enhanced visual acuity.”
Speaking truths, MIKE KARLSRUHD M.Ed, helps us understand Why You Should See Sales Reps Regularly. According to Karlsruhd, “It is important to remember the job of the sales rep. They are paid to have a conversation with you. It may be hard to believe, but often reps are just as passionate about their jobs as you are about yours. They are also trained not to give up after the first, second or third ‘no.’ It is a common misconception by opticians and doctors that the only concern sales reps have is to sell you products that you don’t want or need; and that, quite simply, could not be further from the truth.”
EYES / LENSES / FITTING LENSES / FREE-FORM / FRAMES / SUNWEAR / PATIENT SOLUTIONS / IN-OFFICE / STANDARDS
Susan Knobler describes Millennials in the Marketplace. She says: “They are smart, confident, tech-savvy social activists concerned about the environment and social equality. As customers, they’re poised to change the way almost everything is sold because of their international, instantaneous digital connectivity. They see work as a means for doing ‘good’ in the world and look to purchase products affiliated with causes they care about. We’d better pay attention and take them seriously, learn who they are, how they see their world and how to employ and sell to them.” Keep The Customer Connection by MINDI LEWIS, MA, ABOC, FNAO, and managing editor of the Opticians Handbook discusses: “You’re committed to providing a great customer experience. You work hard to send patients out the door knowing you’ve provided them with great-looking, highquality eyewear that meets their needs and fits their lifestyles. That’s the start to a great customer relationship. But now what? Research shows the average eyewear repurchase cycle is about two years. How do you keep that relationship going in between visits? “ Nuts and Bolts Display Basics by SUZAN MATTISSON discusses: “Displays can be changed seasonal or monthly, depending on your foot traffic. If you’re lucky enough to have frontage on a busy street, it would be worth your while to switch up your windows every four to six weeks. People do tend to ‘blank out’ as they pass your business if the displays don’t catch their attention or change often.” BARRY SANTINI, ABOM, teaches in Coping With Corridors. Santini says: “If you are ever intimidated or overwhelmed by the idea of juggling all the factors required to arrive at an optimal corridor length, then you can always consider selecting one of the advanced, premium class fully-optimized designs. These fully-personalized position of wear designs will automatically take all of the variables into account to strike an ideal balance between distance, intermediate and reading in selecting the final corridor length. More advanced designs promise even greater wearer satisfaction by factoring in the wearer’s previous lens design, corridor length, prescription, as well as center of rotation, eye dominance and head cape.”
It’s All In The Presentation, says MAGGIE SAYERS, ABOM. “The big moment is here: Ms. Jones is picking up her new eyeglasses. She is excited and a little afraid. Excited because these new glasses are so cool. It is the latest style, and she went for the high-tech lenses, too. But what if she does not like the frame and what if the lenses are not all that great? She has spent so much money. What then? These are the thoughts that go through your patient’s mind, and how you present the new eyeglasses is going to play a big role in how your patient will see with the new eyewear.” In The Physics of Polarizing Filters, ARI SILETZ says: “Reflected sunlight is the nuisance we see as glare, and this is why polarized lenses are so useful to beachgoers and motorists: They block glare. The polarized filters on these lenses preferentially block the horizontal component of light oscillation while transmitting the vertical component. The result is a darker image but with better contrast.” TIM SLAPNICHER, ABOC, teaches us about Making Frame Selection Relevant. Slapnicher says: “As we bring in new frame lines that are exclusive to our area, we are excited to bring in a large number of frames from fewer vendors. Many optical shops make the mistake of bringing in eight to 14 pieces of one collection. Commit. Bring in a ton. Represent the line. When we place an opening order, we bring in a minimum of 30 pieces (usually ranges 30 to 50 pieces). This can feel crazy if you’re not used to it, but we have the highest sell-through with our deepest collections. When you commit to a brand, you are making a statement for your patients. This is a must. Dive in. Buy big and sell big.” DICK WHITNEY, Carl Zeiss Vision asks, Does
Material Abbe Value Influence Your Patient’s Vision? According to Whitney, “A key aspect of understanding reference wavelength dealt with differences in refraction properties of various materials for different wavelengths of visible light. Specifically, in the presence of prism, ‘white light’ is broken up into the familiar rainbow. Plus lenses yield more lateral chromatic aberration than minus lenses of identical power. This is because of the front surface curvature and thickness of the lens, which combine to produce more prism (when examined at the 30-degree viewing angle). More prism means more lateral color!” December 2015 20/20 • 39
OUT OF THIN AIR
CLICK&TWIST
screwless hinge technology. STYLE: (TOP) F62: Grey/Blue; (BOTTOM) F59: Mauve/Crystal
| 1-877-88-MATCH | matcheyewear.com
20/20 F E AT U R E S
D E C E M B E R / 2 0 1 5
HIGH!
The world is on a rapid cycle of change determining life’s finer things. And perceptions of what it means to be privy to the more luxurious side of this life changes anew too. Nothing states that case more intensely than eyewear. Old laps of luxury are now just lapse of luxury. The new HIGH-end is marked royally by inroads from the whirl of Independent Eyewear AND the perception of what designer brands need to do in order to keep proper and honest pace. Take a cruise as 20/20 tasks the new world order of HIGH-end eyewear. —James J. Spina
Photographed by STEPHEN MARK SULLIVAN Art Director
IRIS JOHNSON Associate Editor
VICTORIA GARCIA Trend Setting
JAMES J. SPINA Hair/Makeup
CHRISTIE LEE/ R.J. BENNETT Stylist
GO DEEP Witness the thick, deep bridge and deepened eye shape as Mikli boldly embraces a powerful face statement, slightly softened by classic Mikli zyl cross-hatching. ALAIN MIKLI A03051 from Alain Mikli
BARBARA EISEN/ R.J. BENNETT Models: BAPTISTE/ RED; LARA/MAJOR
GREEN WITH ENVY Eye know… Eye know… It’s a take on blue too! But in any case, this style is a total “want” and a ripe new shade of distinction, especially for men. MAD MENSCH 3675 from Bevel Specs
42 • December 2015 20/20
STYLE FEATURE
| High ! |
WELL PREP-PAIRED The days of being just another P3 are over. The shape begs for new dimensions and spectacular color… hence this flat-faced and royal purple epic. JACQUES DURAND Levant from Gramercy Eyewear
PRIVATE CLUB With a style that defines the full range of what a man needs in his eyewear (classic-yet-casual), this is the club where every man is a master. CUTLER AND GROSS 1213 from Cutler and Gross
December 2015 20/20 • 43
STYLE FEATURE
| High! |
SCARED E. CAT Boo! Actually… Boo-tiful to the extreme. FENDI 0137/S from Sàfilo
44 • December 2015 20/20
Sophisticated looks, rich tones and easy to wear shapes highlighted with subtle embellished touches like Mazzucchelli acetate, leather accents and Swarovski Crystals. Café Boutique combines the highest quality materials and construction to create a look of refined elegance for modern day women. Affordable luxury, exclusively distributed through the most discerning independent eye care professionals.
Café Collections Style: CB 1001
800.962.3200
STYLE FEATURE
| High! |
THE CRYSTAL SHIP One of eyewear’s precious traditions cruises the globe to new and clear horizons. VICTOR from Kirk & Kirk (on him); BALENCIAGA 5042 from Marcolin USA (on her)
46 • December 2015 20/20
December 2015 20/20 • 47
STYLE FEATURE
| High! |
MADAME B U T T E R F LY An empowered super-size shape honed from eyewear’s rich heritage takes flight anew in a heavenly facial tone. PRADA VPR 25S from Luxottica
EYE BELONG TO THE BLAKE GENERATION As stated… Eye TRULY belong and believe in the Blake Generation. The only thing like Blake eyewear is… Blake sunwear. HAWKSMOOR from Blake Kuwahara
48 • December 2015 20/20
w w w . l a f o n t . c o m
STYLE FEATURE
| High! |
THE PERFECT SUNDAE Hot, buttered caramel teamed up here with a deep, rich cherry on top. You can literally TASTE the colors. SALVATORE FERRAGAMO 787S from Marchon Eyewear (on him); WINSLETT from SALT. Optics (on her)
50 • December 2015 20/20
December 2015 20/20 • 51
STYLE FEATURE
| High! |
MODERN ART Like a perfect lapel, Lanvin represents this most elegant choice for a gentleman concerned with taking a fresh but confident step toward Havana. LANVIN 062 from De Rigo Vision
52 • December 2015 20/20
Let your true self shine through
BECAUSE YOU ARE UNIQUE
Titan Minimal Art - The Icon Customized lenses featuring shape 5375 with a 20% brown tint, fade to clear.
Contact your Silhouette Account Executive for more information: 1-800-223-0180 | www.silhouette.com
GenEYEVIEW
| Luxury |
GenEYE LAPS UP
LUXURY They want the best and they want it… Now… AND they want it with quality, service and details that define Millennials as the demographic turning up the notch on eyewear to new heights.
—James J. Spina; Photographed by Stephen Mark Sullivan
•Brand Apparent. GenEYE doesn’t want screaming logos and garish trickery. They are the first to embrace independent thinking, subtle embellishments and product identity that speaks to THEIR identity.
•Time is Precious. The dispensing experience needs to be as important and inspirational as the actual eyewear. Be fully aware that they can go elsewhere, and that elsewhere can certainly be online so your face-to-face with them needs to be earned and invaluable.
•Investing in Luxury. GenEYE is VERY investment-savvy, and that insight means they are looking for a relationship AND product commitment from you. Fly-by-night has no place for this generation intent on building a solid foundation on everything from how they save for the future and how they SEE in that future.
•Best Face Forward. Considering the amount of screen time this generation experiences, you best bring your best store environment forward full time. Your displays, your seating, your mirrors, your windows and even your own appearance, and the look of your team needs to be impeccable.
54 • December 2015 20/20
Clockwise from bottom left: BMW 6512 from Aspex Eyewear; VUARNET VL1508 from Vuarnet; CHRISTIAN DIOR Abstract from Sàfilo; MONTE CARLO from Leisure Society
December 2015 20/20 • 55
GenEYEVIEW
| Luxury |
From top: BALENCIAGA 49 63B from Marcolin USA; DEREK LAM Samara from Modo; CUTLER AND GROSS 1202 from Cutler and Gross
56 • December 2015 20/20
MODEL 56 5611
cavi viar arfr fram m es e s .cc om om
80 00. 0 32 327. 7..51 7 5185 85
GenEYEVIEW
| Luxury |
From top: TANDA from Gรถtti Switzerland; JIBBERS from Norman Childs Eyewear
58 โ ข December 2015 20/20
From top: ELEANOR from SALT. Optics; ROSITA from Lafont; VANNI 3717 from Design Gallery/A Division of Match Eyewear; CAZAL 4219 from Eastern States Eyewear and Ultra Palm Optical
December 2015 20/20 • 59
GenEYEVIEW
| Luxury |
OGA 77870 from Morel
From left: ZENSE 7908 from ProDesign Denmark; JOHN VARVATOS 153 from Base Curve/ A Luxury Division of Rem Eyewear
60 • December 2015 20/20
MODEL 3104 - 3106 MATERIAL METAL
PRODESIGN EYEWEAR INC. T 888 275 2335 F 888 275 2540 W PRODESIGNDENMARK.COM
MARKETPULSE
| Luxury Eyewear |
LIVING LUXURIOUSLY Luxury eyewear isn’t just for the rich and famous. In fact, close to 80 percent of independent optical retailers sell frames mes that cost $120 or more at wholesale, which we consider “luxury.” While women continue to dominate the categoryy of luxury eyewear consumers, their male counterparts’ interest has steadily increased over the past three years, accordingg to the 2015 Luxury Eyewear MarketPulse Survey conducted by Jobson Optical Research. We recorded the responses of approximately 200 to 300 independent optical retailers who dispense luxury eyewear and were qualified to take this his survey. When it comes to luxury eyewear, there isn’t a one-size-fits-all mentality. Sure, the pieces are uniquely well-made de bearing outstanding craftsmanship, but eyewear designs can range from elaborate ornate details to beautiful, delicate ate simplicity. While the description of whether the term luxury refers to high quality, exclusivity or high price is still a topic pic of debate, it’s clear that luxury is in high demand. —Jillian Urcelay ay Which one of the following best describes ‘luxury’ eyewear to you?
Do you sell sunwear? If Yes
48%
47%
98% 2013
Exclusivity
2014
High Price
2015
31%
39%
35%
21%
14%
18%
2013
2014
2015
Starting at which price point would you classify ‘luxury’ eyewear?
28%
23%
99%
97% 78%
What percentage of your total frame sales are from the following wholesale price ranges? (Averages charted) 20%
19%
How many different frame vendors do you purchase from? (Averages charted)
18%
Frame only retail price higher than $500
Over $120
2013
$90 to $120
2014
Frame only retail price higher than $300
$35 to $60
$60 to $90
81%
Sell Luxury Sunwear (frames costing $120 or more at wholesale price)
Sell Sunwear
23%
77%
22%
21%
22%
29%
29%
29%
20%
21%
20%
10
10
10
2013
2014
2015
2015
Under $35
60%
64%
60%
Frame only retail price higher than $200
11%
13%
17%
11%
11%
11%
2013
2014
2015
2013
2014
2015
62 • December 2015 20/20
SOURCE: 2015 Luxury Eyewear MarketPulse Survey
48% High Quality
When selling luxury eyewear, approximately what percent of the time do the following scenarios occur? 2013
31%
2014
29%
2015
31%
30%
Customer comes in looking for a specific luxury brand
35%
39% 30%
Customer comes in looking to buy luxury eyewear (no particular brand in mind)
35%
37%
You try to upsell to a luxury eyewear purchase
How would you describe your luxury eyewear customers? GENDER
24%
25%
AGE
30%
9%
10%
13%
15%
13%
14% Same across all age groups
About the same
Mostly 55+
Mostly men
49%
Mostly women
51%
47%
Mostly 45-54 Mostly 35-44 Mostly 18-34
24% From top: MATSUDA 3047SG from Matsuda Eyewear; MEYER from Barton Perreira; SM X MOS 001 from Moscot
24%
24%
76%
74%
69%
3%
3%
3%
2013
2014
2015
2013
2014
2015
*Where percentages are omitted, the value is <2%
Whatt p Wh percent r nt off th the lluxury r eyewearr that you sell is ‘Independent Eyewear’— meaning brands that are eyewear heritage brands (such as Silhouette and Lafont)? 20%
17%
Where do you primarily select and purchase the luxury eyewear that you sell? 4%
16%
5%
METHODOLOGY This sample was derived from the proprietary Jobson Optical Research database and conducted by Jobson Optical Research’s in-house research staff in September 2013, October 2014 and September 2015. Only independent optical retailers
75% to 100%
Other
who dispense luxury eyewear (frames costing
50% to 75%
On the Internet
$120 or more at wholesale price) qualified to take
25% to 50%
21%
19%
21%
From reps visiting me
0 to 25%
25%
30%
27%
At trade shows
this survey. In 2013, 204 qualified ECPs participated, 244 participated in 2014 and 310 participated in
88%
83%
87%
2015. All participants were offered a chance to win a $200 Amazon.com gift card as an incentive. —Jennifer Waller, Senior Research Analyst
35%
34%
37%
10%
12%
8%
2013
2014
2015
2013
2014
2015
*Where percentages are omitted, the value is <3%
December 2015 20/20 • 63
RxPertise
The ABCs of Ordering Eyewear DR. COOK OFFERS EXPERT ADVICE
R
emember the Where’s Waldo books? That ubiquitous guy in the bright red hat and striped shirt is still challenging kids of all ages. Waldo is adroit at hiding in full view. Waldo’s there, but he is oh so hard to find. Finding errors that creep into a lab order is a bit like dealing with those confounding Waldo pictures. Just like finding Waldo, once you spot the error, the “Oh yeah” phenomenon kicks in, and you wonder how something so apparent could have been missed. When your lab work arrives, it should be as ordered. And most of the time it is, but occasionally there are errors or delays. Even if the lab corrects the error at no (apparent) cost, remakes are expensive in terms of patient confidence and reputation. In the long run, those remakes are paid for by wrapping the costs into the pricing of prescription work, so ultimately we all pay. Eyewear that is incorrect is not always the result of doctor errors (those do occur), nor is it always due to blunders at the lab. Just as a pebble can start an avalanche, even minor oversights in ordering can lead to 64 • December 2015 20/20
problems of memorable proportions. Eliminating ordering errors is a lot like not dropping that pebble. CREATING THE ORDER
Someone must pull together all the data that the lab needs to fabricate the eyewear. That person is the fail-safe who can shorten delivery times, avoid remakes, make adaptation easier and improve patient satisfaction. The ordering process gives one last opportunity for “getting it right.” Inappropriate pairing of frame and Rx, selecting less-than-the-best lens material, and failing to provide accurate or even usable measurements are common mistakes that can occur during frame selection. Fortunately, many of these and similar errors can be filtered and corrected when the order is written. This serves your practice and your patients far better than allowing patients’ complaints to serve as your “first alert” that errors and omissions had occurred. UNDERSTAND THE CHALLENGE
Step one is to be sure you can estimate the powers in the major meridians and the
vertical meridians at a glance. If the meridian of strongest power falls at or near the ED meridian, edge thickness in minus lenses and center thickness in plus lenses may be problematic, and excessive decentration may create issues (Fig. 1). Imbalance in the vertical meridian is not well tolerated by many patients. Wearers of single vision prescriptions can adjust their head tilt (chin-up, chin-down) to compensate, but wearers of multifocals cannot. Even single vision wearers may have problems if the MRPs force them to assume an awkward head position. Actually, the possibilities for errors and omissions abound. GUIDELINES THAT WORK
It may not be practical or possible to have the staff member with the most education and experience in optics writing the lab orders. A practical solution is to create ordering guidelines that screen out the critical orders. For example, it is common practice for manufacturers to give minimum fitting heights for their PAL designs. Minimum fitting heights are usually the Continued on page 66
PHOTO OF BLOCKS © ISTOCK.COM/JOBSONHEALTHCARE; FRAME: VANNI V1165
By Palmer R. Cook
cinzia designs.
CINZIA DESIGNS E U R O PA I N T E R N AT I O N A L E U R O P A E Y E . C O M | 8 0 0 . 6 2 1. 4 1 0 8 {CIN-5047}
{CIN-5043} B R AC E L E T S BY C I N Z I A
{CIN-5042}
{CIN-5046}
CINZIA DESIGNS E U R O PA I N T E R N AT I O N A L E U R O P A E Y E . C O M | 8 0 0 . 6 2 1. 4 1 0 8
{CIN-5038}
{CIN-5040} B R AC E L E T S BY C I N Z I A
The ABCs of Ordering Eyewear
of the pupillary centers relative to the pupils and vertex distance. This data gives you a lot of valuable information that should be considered when ordering new eyewear.
HISTORY HELPS
BUT THE PATIENT REALLY WANTS . . .
If you know “the basics” of the patient’s previous eyewear, you have a head start. It really helps to know the base curves, tint, wrap, pantoscopic tilt, PAL design, lens material, coatings, center thickness, location
The optician has marked the Fitting Crosses ( ) at level C., which is at the center of the patient’s pupils. The lens design is the PureSite Ultima. The two yellow dots at level B. represent the Distance Reference Points (DRPs). For this design the DRPs are 6 mm above the Fitting Cross. The Prism Reference Points ( ) are at level D., which is 4 mm below the Fitting Cross. The optician used the minimum fitting height (14 mm), which is the distance from Level C. to Level E. The Near Reference Points (NRPs) are at level E. For this patient’s right eye, the NRP is nearly cut in half at the apex of the bevel, and more than half the reading area (shown by the circle with diagonal lines) is cut off or blocked by the eyewire. The patient’s left monocular PD is smaller than the right, so the decentration inward and the upsweep of the eyewire has caused the NRP to lie outside the frame along with more than half of the reading area. When the ordering person checks this on the centration chart, it will be obvious that this frame will not work well for the patient. The optician who helped the patient in frame selection did not check the frame on the centration chart before the patient had made his final choice. This is a common and often troubling error.
The root cause for unhappy eyewear outcome is often stubborn insistence on using an inappropriate frame for either the patient’s anatomy or his prescription. If your dispensary tech caves on this one, it is the equivalent of allowing a 5-year-old to sit on your lap A ROGUES’ GALLERY OF and steer the car. If you are the COMMON ORDERING ERRORS office ordering guru, you can • The patient’s name is illegible or not included. appeal to higher authority and • Special Instructions are contradictory. deflect the contentious issue • Only one or two digits are used for the axis. by letting the patient know • Power signs (plus or minus) are missing. that “you checked with the lab • Tint is marked, but the kind and density are omitted. and . . . ” If that doesn’t work, • “Frame to Follow” is marked but the frame name you can offer to let the patient and color are omitted. purchase the frame on a non• Excessive decentration is required. • Inappropriate edge thicknesses are specified. returnable basis, and they can • Inappropriate center thicknesses are specified. try to find someone who will • MRP heights are not given for lined or SV lenses. attempt the inadvisable. Labs • The PD information is not included. are plagued by the failure of • There is no identification of the person who placed professionals to simply say no the order. when a poor outcome is inevi• The frame is inappropriate for the lenses. table. Even worse, your repu• The brand name is incorrectly specified. tation suffers when eyewear • The handwriting is not intelligible. outcomes don’t measure up. 66 • December 2015 20/20
FIGURE 1
Continued from page 64 distance from the Fitting Cross to the level of the Near Reference Point (NRP). If an order is written for a Fitting Cross height that is equal to the minimum fitting height for the design being used, at least 50 percent of the reading area of the lens will be lost. In many cases, the loss will be more than 50 percent (Fig. 1). An appropriate guideline would be to call for counsel from a senior staff member if the Fitting Cross height for each eye is not at least 2 or 3 mm greater than the manufacturer’s minimum fitting height. Another red flag is to have more than 3 mm of decentration of the distance MRP or Fitting Cross in either eye. Sometimes this decentration rule will work, other times—particularly with low power lenses—the decentration can be safely increased. For errors that occur with some regularity, see the Rogues’ Gallery of Common Ordering Errors.
SIGNS AND NUMBERS
Whenever writing or entering a lens power, either a minus (-) or a plus (+) sign should be used. Unfortunately, some programmers have not made provision for plus signs, assuming that no minus sign means the number is a plus value as we learned in arithmetic. If the power you want is a +1.00, the omission of the + when ordering could indicate that the sign, whatever it was, had been omitted. When entering the axis value, three digits should always be used. This assures that you had completed the axis entry. Axis 18 could have been missing a “zero” at either beginning or end, so the meaning could have been clearly “eighteen” if it were written 018 or if written 180, “one hundred and eighty” would have clearly been indicated. When ordering spheres, close off the power by adding DS after the power. This tells everyone who sees the order that the cylinder power and axis were purposely left blank. WHO DUN IT
Whether it was Col. Mustard, Miss Scarlet or Professor Plum, when your lab has a need-to-know, the person who wrote the order is usually the best one to contact. Getting to the right person quickly reduces Continued on page 68
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VSPOne.com ©2015 Vision Service Plan. All rights reserved. VSP is a registered trademark of Vision Service Plan. VSPOne is a registered trademark of VSP Labs, Inc.
The ABCs of Ordering Eyewear
SPECIAL INSTRUCTIONS
Special Instructions consist of information to clarify what is needed to “get it right,” which is what everyone wants. Handwritten instructions must be readable and all instructions should be clear. For example: “Patient leaving on vacation Dec. 4th” could be misinterpreted, as “We need it by Dec. 4th.” This is not going to work if the patient’s flight leaves at 7 a.m., and your lab delivery arrives at 10 a.m. “We must dispense no later than 3 p.m. Dec. 3rd. Call at once if this is a problem,” would be a better message. Top-notch labs work hard to meet your needs, but they need the facts. If the message had omitted the “at once,” someone at the lab may decide to wait to determine if a delay could be corrected in time. An immediate lab/practice consultation would allow alternatives to be considered. Eyewear might be overnighted to the patient’s destination, and the family could take a vacation as scheduled. Result? Problem resolved, and everyone wins. Impossible or impractical instructions can also slow the order. A +5.00 lens cannot have a 1-mm center thickness at any sensible spectacle size, nor can a PAL be given lateral prism only in the reading area without special handling. Your lab’s customer service or consultants should be consulted before ordering when you encounter unusual Rx parameters. THE CENTRATION CHARTS
Centration charts allow you to know whether the chosen frame will accommodate the lens measurements you have specified. Your eyewear designer (i.e., the staff member who 68 • December 2015 20/20
FIGURE 2
Continued from page 66 phone time for everyone. Labs want to minimize turnaround time and eliminate errors. For handwritten orders, always initial at the same place on the form, and do it only when the order is complete. The ordering initials or numeric code could go in the top line of “Special Instructions” for electronic orders.
In order to make best use of the distance portion of any PAL design, the lines-of-sight must pass through the DRPs. The patient who was measured as shown in Fig. 1, must drop his chin downward to view through the DRPs. If he views through the Fitting Cross, the major ray bundle will intersect the top of the corridor. Part of adapting to PAL lenses includes learning to adjust the head position so that the object of regard of the moment is viewed through a level of the lens that gives acceptable performance. For more distant objects of regard and those for which lateral eye movements are anticipated, patients need to be at or near the DRP level for most lens designs.
works with the patient during frame selection) and the staff member who creates the order should each have an up-to-date notebook containing a centration chart for every design you use. Every PAL order should pass the centration chart test before the frame choice is finalized and again at the time the lab order is written. This is for the benefit of the patient (avoids frustration and disappointment), for the lab (avoids re-makes, saves time) and for the reputation of your practice (avoids embarrassment and bad word-of-mouth). Centration charts are free, and their regular use is a benefit for all. EFFECTIVE POWER
The fact that lens power varies depending on the vertex distance is well understood. Ideally, the refracting vertex and the fitting vertex should be the same. Errors creep in when these distances are unequal. Most doctors refract at about as short a vertex as they can without the lashes touching the refractor (e.g., about 12.5 to 13.5 mm). Forehead rests usually control the refracting distance. Occasionally, a patient will present with a forehead like a balcony on a Holiday Inn. In such cases, the eyewear may fit at a reasonable distance, but the refracting vertex may have been significantly longer. Lenses with approximately 5 or more diopters of power may require some compensation in powers of all major meridians. Most labs can help with this, but unless you request the compensation, it will not happen.
MAKING THE MOST OF LENS TECHNOLOGY
The best performance of any ophthalmic lens is through the optical center (OC). Doctors know that when they prescribe prism, the optical performance will decrease, so they make a judgment for every prism prescription that the benefit (usually in binocularity) will outweigh the reduction in performance. The challenge for single vision (SV) lenses and lined lenses remains, as always, to place the OC so that the patient gets the best results. This usually means that the OC, or Major Reference Point (MRP) is placed at or near the base of the pupil when the patient’s head is in the preferred position, and when the lines-of-sight are horizontal. Today, failure to specify the OC or MRP for SV is the most common ordering error in the industry, and it leads to extended adaptation periods and vague complaints about new eyewear that could easily be avoided. EFFECTIVE VERTICAL PRISM
Effective vertical prism can be thought of as the prism effects that the patient will have for distance viewing and for near viewing. In the past, prescribers and dispensers were generally aware of the problems of the imbalance created at near, and they specified the OCs and MRPs to eliminate the problem for distance and used slab-off (or reading glasses) to compensate for imbalance at near. Continued on page 70
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The ABCs of Ordering Eyewear
Continued from page 68 When PALs are ordered, imbalance in power between the vertical meridians has greater effect because the patient must look above the PRP for distance vision, and the drop from the DRP to the NRP is greater than the drop usually experienced by wearers of lined lenses. There is an easy way to visualize the special challenges of ordering PALs. Below are two examples of how differing powers between the right and left vertical meridians (i.e., imbalance) can further complicate ordering. Since the add power does not affect the imbalance, all adds will be +1.50 in each example. The optician knows the prescribing doctor in each example wants no more than 0.5Δ of vertical imbalance for his patients at the DRP and NRP: Rx #1: OD -1.00DS, OS -1.50DS. The DRP is 1 cm above the PRP for this design so at the DRP the patient will have 1Δ BU at the right DRP and 1.5Δ BU at the left DRP. The optician found that the patient didn’t have sufficient reading area, so a remake was done that raised the Fitting Cross 4 mm. This caused the patient to drop his chin downward for distance seeing, but he said that was not a problem, and he adapted to the 0.5Δ more BU OS at the DRP. The same minimal corridor of 14 mm was used so the imbalance at the NRP was 0.5Δ more BD OS. Rx #2: OD -1.00DS, OD -2.00DS. This still gives 1Δ BU at the right DRP, but there will be 2Δ BU at the left DRP. In order to bring the imbalance to the doctor’s preferred limit, the order is placed with 0.5Δ of BD prism in the left lens. This brings the imbalance to 0.5Δ more BU OS in the left at the DRP level, but the patient will have 1.5Δ more BD (1Δ more BD due to the imbalance in lens powers and 0.5Δ more BD due to the prism added OS for distance vision). The ordering optician called the prescribing doctor and suggested either: 1. Going ahead with the overall 0.5Δ BD OS for distance vision and reading glasses with the upper “distance” area modified for 70 • December 2015 20/20
computer use and a slab-off OS with D-segs for prolonged reading. 2. Fully correct the distance imbalance with 1Δ overall prism BD OS and a 2Δ slab-off to fully correct the near imbalance. The doctor felt either approach might work and asked the optician to explain the alternatives, including the slab-off line, to the patient. The patient selected the number one alternative and wanted to try to adapt to the prism issue at near before ordering the reading glasses. He subsequently discussed his near vision problems (primarily tiredness with prolonged near work) with the doctor who prescribed D-35 segs (the patient is an accountant) and increased the distance plus for computer work, adjusted the add for near and added slab-off OS to minimize the imbalance at near in the reading glasses. SUBMITTING THE ORDER
e-mail are the avenues usually used. The eyewear parameters must be recorded somehow. If you input the order electronically, the issue of illegible handwriting is eliminated, and all avenues of submitting the order should be open to you. Some labs extend a small discount for electronically submitted orders because it saves them time and money. Ask your lab if these savings are available to you. Just as any writer needs an editor/proofreader, the person that helps the patient in lens and frame selection should have a backup in the form of a knowledgeable ordering person. The qualifications for that very special person include a working knowledge of practical optics, an ability to pay close attention to detail, a talent for working with prescribing doctors, other staff members and the customer service and consultation staff at the lab(s) of your choice and the patience of Job. LT
How an order is submitted can make a big difference in remakes, turnaround time and overall patient satisfaction. Unless your lab is next door, fax, phone and some sort of
Contributing editor Palmer R. Cook, OD, is director of professional education at Diversified Ophthalmics in Cincinnati, Ohio.
CORRECTION: Note that the following table in the RxPertise feature “Is Your Dispensary on the Edge?” in October 20/20 had several incorrect values listed. The chart has been corrected here for your convenience.
Material
Index
Abbe
Refl.
Gh%
Standard Plastic
1.49
58
3.97%
100%
Crown Glass
1.52
59
4.30%
117%
Trivex™
1.53
45
4.39%
119%
Mid-index Plastic
1.56
39
4.79%
143%
Polycarbonate
1.59
30
5.15%
164%
MR-8™
1.60
41
5.32%
175%
Mid-index Plastic
1.60
36
5.32%
175%
High-index Plastic
1.66
32
6.16%
230%
High-index Glass
1.701
42
6.70%
269%
Thin ‘n’ Lite
1.74
33
7.29%
314%
Very High-index Glass
1.802
35
8.20%
390%
Very High-index Glass
1.885
31
9.40%
500%
© 2015 Diversified Ophthalmics, Inc.
Give the gift of vision
Photo Courtesy: Cielo Pictures
this holiday season.
A donation of just $100 this holiday season could help fund a school screening in an underserved community Haiti is the poorest country in the Americas. There are only 3 optometrists and 6 ophthalmologists in the public sector servicing a country of 10 million. This makes access to eye health services difficult for over 70% of Haitiâ&#x20AC;&#x2122;s population. For children like Ralph (pictured), this can significantly reduce their ability to do well at school.
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RIGHT NOW WH AT’S
DECEMBER NEW PRODUCTS
M A S T E R F U L M AT E R I A L S It takes a highlighted detail to make a statement. Color, shape and size are commonly the factors used to make a conventional look into an extraordinary one, but foreign and unusual materials are becoming the standard when it comes to eyewear standing out in the crowd. Frames are being crafted and embellished with wood, leather, denim, crystals and carbon fiber. The more outlandish the combination,, the better. —Victoria Garcia
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1. SIRONA from WooDone Eyewear 2. JIMMY CHOO Nita from Sáfilo 3. KAOS 367 from Area98 4. X-IDE Nespola from Villa Eyewear 5. CHOPARD B24S from De Rigo Vision 6. EMILIO PUCCI 5005 from Marcolin USA 7. NOAM from FLEYE
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December 2015 20/20 • 73
WHAT’S NEW NEW LAUNCHES
MARCHON: Flexon Evolution I-Squared Series STRUCTURED AND SLEEK
M
archon Eyewear introduces the launch of the Flexon Evolution I-Squared Series. This collection of readers is targeted toward today’s modern male. The durable rimless eyeglasses have a dual-compression mounting system combined with Flexon bridges and temples. Inspired by architectural form with an airy feel, the line intends to look sleek, minimalistic and lightweight. Featuring two styles with four color options each, the Evolution I-Squared Series has a structured and masculine look. The design is softened by a swaged temple, but the contoured endpieces bring back the architectural feel. —Jillian Urcelay
IN
PHILOSOPHY: “The Flexon Evolution I-Squared Series unites technology with color to create a functional, lightweight design that’s practical for everyday wear,” says Fred Capossela, Marchon director of product development of global collections. “Created as a modern half-eye for the presbyopic man who isn’t willing to settle for basic reading specs, the Flexon I-Squared Series combines scientifically advanced materials without sacrificing style.” MARKETING: Merchandising materials include countercards, logo plaque, eight-
place display, board plaque, one-place lenticular display and Flexon logo banner. PRICE POINT: $$$ CONTACT: For additional information, contact Marchon Eyewear, (800) 645-1300; website: www.marchon.com
SIGHT
Flexon is well-known for creating a special memory metal which always returns back to its original shape after being bent.
FLEXON I-SQUARED E1101
FLEXON I-SQUARED E1100
FLEXON I-SQUARED E1100
74 • December 2015 20/20
WHAT’S NEW NEW LAUNCHES
KINGSLEY ROWE: Sunwear Collection H O L LY W O O D G L A M
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esigned and founded in Los Angeles, Kingsley Rowe Eyewear introduces its debut unisex collection. Featuring both sunwear styles (previewed here) and optical styles previewed in January, the collection includes rich colors such as black, tortoise, olive, silver and rose gold. All styles are created with Italian Mazzucchelli acetates and stainless steel metals for a quality and avant-garde design. All shapes represent the brand’s modern look and include CatEye, square, round and rectangle. Each frame features a signature hexnut detail, found on the frame fronts and temple tips, drawing inspiration from vintage and current influences. The precise and equal points of the hexnut detail KINGSLEY ROWE represent the symbolic balance Sierra 010 between Kingsley Rowe’s classic heritage craftsmanship and modern contemporary style. —Victoria Garcia
IN
SIGHT
Los Angeles-based photographer Mark Squires and Milk Studios helped capture the brand’s lookbook. Creative entrepreneurs and influencers will be showcased in the upcoming campaign.
KINGSLEY ROWE Hex 008
PHILOSOPHY:
“Our debut collection is designed by myself and Blake Kuwahara, who has also designed eyewear for well-known brands such as John Varvatos and Carolina Herrera, to name a few,” says Kingsley Rowe creative director and designer Romy Kurlansky. MARKETING: Merchandising materials
include a black leather case, logoembossed cleaning cloth, brand brochure, black leather logo plaque, frame display and 8-by-8 or 6-by-6 countercards.
KINGSLEY ROWE Phoenix 009
PRICE POINT: $$$$ CONTACT: For additional information, contact Kingsley Rowe, (858) 790-6801; website: www.kingsleyrowe.com
December 2015 20/20 • 75
WHAT’S NEW NEW LAUNCHES
GRAMERCY EYEWEAR: Veronika Wildgruber Eyewear D E L I C AT E LY D E S I G N E D
D
esigner Veronika Wildgruber describes her work as “simple and surprising.” She approaches her design through materials and is inspired by the craftsmanship and manufacturing process. After the success of her first eyewear pieces in 2010, Wildgruber established the Veronika Wildgruber collection, where her own ideas of products and interior design are present in the style of each frame. Distributed in the U.S. by Gramercy Eyewear and in Italy by Jacques Durand
Occhiali, Veronika Wildgruber Eyewear brings an artistic and glamorous approach to eyewear. The collection consists of acetate and metal frames, and is characterized by zealous colors, strong material combinations and surface changes. The acetate collection uses special-made laminations that accentuate the shine and colors of each frame, while the metal collection creates new shapes with crossing outlines. Interspaces within the frames create defining, artistic filigree in both the sun and —Victoria Garcia optical styles.
VERONIKA WILDGRUBER Empty
IN
VERONIKA WILDGRUBER Moby
PHILOSOPHY: “I am not aiming to design a fashionable item,” says Veronika Wildgruber. “I want to transmit an artistic approach.” MARKETING: Merchandising materials include a
Veronika Wildgruber mirror, sign and display tray. PRICE POINT: $$$$$ CONTACT: For additional information,
contact Gramercy Eyewear, (917) 855-8235; website: www.gramercyeyewear.com; www.veronikawildgruber.com/eyewear
76 • December 2015 20/20
SIGHT
As the art director of Jacques Durand Occhiali and the head of Veronika Wildgruber Eyewear, Wildgruber was awarded the Silmo d’Or in 2010 for one of her first eyewear styles and the IF Product Design Award in 2011 for her wardrobe pieces.
VERONIKA WILDGRUBER Harry
PARTNER
AWARD WINNING AVIATOR 800-522-8572 www.artoptic.co
WHAT’S NEW NEW LAUNCHES
COCO AND BREEZY T W I N N I N G C O M B I N AT I O N
T
win sisters Corianna and Brianna Dotson introduce Coco and Breezy, their debut collection of cutting-edge sunglasses. The twins, who go by their nicknames, founded their selftitled line in New York City in 2009, designing the eyewear in their Brooklyn studio. The collection features avant-garde styles with hard angles and geometric shapes. Targeted toward cool and confident personality types and not specific genders, the collection comprises 20 bold styles that are each available in two to four colors. With an architectural inspiration infused throughout the collection, each design is distinctly different. Many of the styles are made with their signature of mixed materials and cutout shapes on the temples. The eclectic designs also have a seemingly high-fashion influence with a multitude of shapes, translucent frames and colorful mirrored lenses. —Jillian Urcelay
PHILOSOPHY: “Our eyewear is the outfit and your clothes are the accessory,” says Coco and Breezy. “We feel that our eyewear is so bold that it creates your full look. We like to say that you don’t have to be fashionable to wear our eyewear; our eyewear makes you fashionable.” MARKETING: Merchandising materials include countercards. PRICE POINT: $$ to $$$ CONTACT: For additional information, contact Coco and Breezy; website: www.cocoandbreezy.com
COCO AND BREEZY Mikey
COCO AND BREEZY Dynamic
IN COCO AND BREEZY Zesiro
78 • December 2015 20/20
SIGHT
The identical twins were bullied growing up in the suburbs of Minnesota for their out-of-the-box style. They wore sunglasses as a shield of protection, giving them the confidence they needed. Coco and Breezy’s sunglasses are now worn by celebrity style icons such as Beyoncé, Rihanna, Kelly Osbourne and Nicki Minaj.
WHAT’S NEW NEW LAUNCHES
A&A OPTICAL: Seventy one M I L L E N N I A L M AV E N S
A
&A Optical introduces Seventy one, an eyewear collection targeted toward the Millennial generation. Featuring organic color variations, timeless shapes and mixed materials and textures, Seventy one is an ode to indie-prep style. The collection features both metal and acetate frames, all with bold colors and detailed accents. Metal frames are constructed with distinctive color stories such as colorblocking and color fades, while acetate frames feature small bold metal accents on temples. —Victoria Garcia
PHILOSOPHY: “The Seventy one collection recognizes the
need for fashion and function,” says Seventy one eyewear’s design team. “Modified modern shapes are finished in organic color palettes, which are perfectly on trend.” MARKETING: Merchandising materials include a one-
place highlighter display, countercards, banner, cleaning cloth and collapsible case. PRICE POINT: $$ CONTACT: For additional information, contact A&A Optical, (800) 492-4465; website: www.aaopticalco.com
SEVENTY ONE Fairfield
SEVENTY ONE Albany
SEVENTY ONE Longwood
December 2015 20/20 • 79
WHAT’S NEXT NEW LINES
KAENON: KLR C O L O R T H E WAY
KAENON Stinson
Kaenon introduces KLR, a limited edition series featuring four of the brand’s newest and best-selling sunglass frames. The unisex styles include Clarke, Montecito, S-Kore and Stinson. Each style features a smooth textured graphite frame that is contrasted with a vibrant color on the Kaenon icon. Each KLR frame icon is available in yellow, blue, orange, green and pink, allowing wearers to express their personal style and features black mirror polarized gray lenses. The California-based sunglass brand’s emphasis on quality and frame construction adds to the KLR value with a proprietary polarized SR-91 lens technology. —Victoria Garcia
PHILOSOPHY: “One of the most enjoyable elements of my job is my relationship with our athletes,” says Steve Rosenberg, Kaenon co-founder. “Their feedback inspires many of our design innovations. KLR is a direct result of athlete-issue colorways. Their styling cues have solicited demand from our customers and making these pieces available to our customers was an easy decision.” MARKETING: Merchandising materials include a branded card case and a custom KLR designed microfiber bag that doubles as a storage pouch and cleaning cloth. A limited edition Kaenon KLR logo trucker hat is also included as a gift with purchase. PRICE POINT: $$$$ CONTACT: For additional information, contact Kaenon,
KAENON S-Kore
(866) 523-6661; website: www.kaenon.com
WHAT’S NEXT NEW LINES
OGI EYEWEAR: Bon Vivant FRENCH FLAIR
Ogi Eyewear extends its Bon Vivant collection with the release of new styles for the fall. Featuring four new frames inspired by countless French muses, art pieces and architecture, the designs have a quintessential French flair. New designs added to the collection include Felicite, Fleur, Sabine and Zoe. These Italian acetate frames are covered in vibrant patterns, precise details and Bon Vivant’s signature metal hinge accent. The collection’s rich and BON VIVANT deep autumnal color Fleur palette includes shades of caramel, navy, eggplant and burgundy. Sophisticated patterns are etched along the brow and temples, giving the frames an ornate look. BON VIVANT Sabine —Jillian Urcelay 80 • December 2015 20/20
PHILOSOPHY: “The Bon Vivant design team has created these new styles in response to consumers’ demand for choices that are smaller, yet have the prominent style, precise detail and rich color the line is known for,” says Katy Dajnowski, creative team manager at Ogi Eyewear. “This new release captures the essence of couture style and gives the wearer a feeling of carefree confidence— truly portraying what it means to live well.” MARKETING: Merchandising materials include
countercards, pillowtop display, banners and a gold picture frame. PRICE POINT: $$$$ CONTACT: For additional information, contact Ogi Eyewear, (888) 560-1060; website: www.ogieyewear.com
WHAT’S NEXT NEW LINES
MARCHON: Nike Vision Kevin Durant Optical Collection NIKE 37KD
SPORTY STYLE
Marchon Eyewear and Nike Vision continue its collaboration with NBA basketball star Kevin Durant. After a successful debut last year, Nike Vision has added six new eyewear models to the KD Optical collection, comprised of three adult and three children’s styles. Bright and playful colors are used throughout the collection, which was inspired by Durant’s previous shoe and apparel lines. Each style is available in two to three different color options, and most of the styles are made with acetate materials. The famous Nike swoosh is embedded on the temples of every piece, and Durant’s signature appears on the inner temple tips. This collection is targeted toward men, women and young athletes. —Jillian Urcelay PHILOSOPHY: “We’re thrilled to partner with
Kevin again, to not only produce another collection, but to elevate it to another level,” says Steve Tripi, marketing director at Marchon. “We’re certainly breathing new life into this partnership by offering something special for KD fans.”
NIKE 3KD
MARKETING: Merchandising materials include countercards, posters and a highlighter display featuring Kevin Durant. PRICE POINT: (Kids) $$$; (Adults) $$$$ CONTACT: For additional information, contact Marchon Eyewear, (800) 645-1300; website: www.marchon.com
WHAT’S NEXT NEW LINES
MATCH EYEWEAR: Helium C L A S S I C A L LY C O O L
Match Eyewear extends its Helium men’s eyewear collection with the addition of five new styles. Created for today’s modern man, the collection emulates the “Athleisure” trend, which styles casual-cool clothing in both leisurely and work settings. The metal frames, available in full rim and slim semi-rimless styles, are sleek and clean for a masculine look. Three acetate models complete the collection with a classic charm and neutral color palette of black, navy, gray and tortoise. These frames are available in classic square profiles and a clubmaster style. A laser-cut metal flange décor and an intricate debossed herringbone pattern complete the designs. —Jillian Urcelay
HELIUM 4290
PHILOSOPHY: “The success of the Helium optical collection hinges on its ability to reflect the trends that are happening in fashion at an accessible price point,” says Ethan Goodman, president of Match Eyewear. “Quality materials, on-trend styling and affordable pricing has been the formula for the Helium collection and is the reason why it is our best sell-through brand.” MARKETING: Merchandising materials include a three-place trifold countertop display,
Lucite logo block and new image countercards. PRICE POINT: $$$ HELIUM 4288
CONTACT: For additional information, contact Match Eyewear, (877) 88-MATCH; website: www.matcheyewear.com
December 2015 20/20 • 81
WHAT’S NEXT NEW LINES
TURA: Ted Baker Universal Fit C O M F O R TA B L E A N D C A P T I VAT I N G
Tura presents the Ted Baker Universal Fit collection, a new line of eyewear that delivers a comfortable fit for Asian women and men. Featuring eight frames, four men’s and four women’s, specifically designed for Asian facial structures, the designers have developed colors that specifically complement Asian skin tones. Structured plastic bridges were also created with deeper nosepads, and two pairs in the collection are offered with adjustable nosepads. Frames include a 4-base curve frame front, proper screw-to-screw width and bowed temples. These sleek, new easy-to-wear styles are available in shades of black, brown, deep purple and gray. —Jillian Urcelay PHILOSOPHY: “We developed this collection
specifically for Asians as a response to the large demand from our customers,” says Crystal Throneburg, product manager for the Ted Baker collection. “Through our research, we learned that the specific fits required for Asian features also flatter many other
TED BAKER B879
TED BAKER B728
ethnicities with lower bridges, flatter face form and higher cheekbones.” PRICE POINT: $$$ CONTACT: For additional information, contact Tura, (800) 242-8872; website: www.tura.com
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NEW PRODUCTS
CERTAINLY SQUARE
Oversized retro shapes are undoubtedly causing a stir in eyewear designs. But nothing beats a simple square or rectangle shape that incorporate ome p various materials and color options. Some prefer less bold styles and opt for classic ettes that complement almost aanyy face ace sshape. ape. —Victoria Victoria Garcia silhouettes 2 0/20 I N S I G H T :
PLAN “B” EYEWEAR: St Staag Spectacles S Maddox A stunning brown fade emerges from this oversized square shape encompassing hand-finished Mazzucchelli Italian acetate and five-barrel hinges. Size: 50/20 (140) Pricing: $$$$ (888) 399-7742/www.planbeyewear.com
SILVER DOLLAR OPTICAL: NRG R579 With multiple layers of brightly colored laminated zyl, this feminine frame exudes colorful and vibrant hues for those in search of a fun square-shaped style. Size: 50/17 (135) Pricing: $$ (800) 962-3200/www.silverdollaroptical.com
MODERN OPTICAL INTERNATIONAL: GVX549 Designed for men in need of a frame that can seamlessly transition from day to night, this TR90 frame features a blue and black dual color option with a matte finish. Size: 53/17 (140) Pricing: $$$ (800) 323-2409/www.modernoptical.com
CLARITI EYEWEAR: Konishi 3655
CHARMANT GROUP: ELLE 13401
A dark-hued, lightweight frame that emits a timeless simplicity with a subtle hinge detail and minimal design.
A delicate, slender design perfect for women in search of a metal frame with soft curves and an elongated cutout detail on the temples that create an elegant touch.
Size: 51/18 (140) Pricing: $$$
Size: 51/16 (135) Pricing: $$$
(800) 372-6372/www.claritieyewear.com
(800) 645-2121/www.charmant.com
84 • December 2015 20/20
E-9115-236
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WESTGROUPE USA | EAST COAST 855-455-0042 | WESTGROUPE.COM
CLASSIQUE EYEWEAR | WEST COAST 866-604-5700 | CLASSIQUE-EYEWEAR.COM
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NEW PRODUCTS
SENSATIONAL SPECS
Bring on the drama. Large shapes, bold colors and exotic materials create an out-of-this-world combination that undoubtedly strive to catch as much attention as possible. Add specific design details and unique inspirations to create a unique and eye-catching look. —Victoria Garcia 2 0/20 I N S I G H T :
VILLA EYEWEAR: Rye & Lye Carracci
DAAS LUXURY OPTICS: Tavat SoupCan
Covered in authentic slate from the Italian Marmolada Mountains, this stainless steel frame features a round, retro shape ideal for those in search of a distinctive style.
A truly unique style, the SoupCan sunglass features blue lenses with a metal design that is created in northern Italy by detailed Italian craftsmen.
Size: 47/24 (145) Pricing: $$$$$
Size: 49/23 (148) Pricing: $$$$$
(877) 889-0399/www.villaeyewear.com
(619) 500-3227/en.tavat-eyewear.com
ØRGREEN OPTICS: Blonde on Blonde An ode to the retro era, this feminine CatEye combines beta-titanium and 100 percent pure titanium to create a daring pink color for women in search of a flashy sunglass style. Size: 52/18 (137) Pricing: $$$$$ (844) 796-4623/www.orgreenoptics.com
MARCHON EYEWEAR: Chloe 120S Carlina Embodying the true Chloe spirit, this oversized circular frame features concentric metal circles, lightweight materials and transparent plastic parts for a graceful and elegant look. Size: 58/23 (135) Pricing: $$$$$ (800) 645-1300/www.marchon.com
SHAUN’S CALIFORNIA: Luss With a distinct combination of materials, including Mazzucchelli Italian acetate and a distinct Maya blue tortoise shell, this round frame creates a stunning yet wearable style. Size: 48/20 (145) Pricing: $$$$$ www.shaunscalifornia.com
86 • December 2015 20/2 20/20 0 0
NEW PRODUCTS
1 VIZUAL EDGE PERFORMANCE TRAINER (VEPT) Developer: Vizual Edge Description: The Vizual Edge Performance Trainer (VEPT) is an economical,
non-medical, Internet-based program designed to evaluate and train an athlete’s visual skills. Launching on Jan. 1, an upgraded version of the VEPT program will allow usage on iPads and Android tablets. Features: Visual training is a small, but critical component contributing to success in sports, academics and rehabilitation of concussions. The program allows for consistency, reproducibility and accessibility. It is available anywhere worldwide where there is Internet access. Since it creates metrics, the VEPT program can be used to reliably measure the
2 DRIVESAFE LENSES
most important visual skills and create a database of user scores.
Manufacturer: Zeiss
“The program offers valuable information and insight to athletes, students, coaches, OTs and researchers,” says Barry Seiller, MD, an ophthalmologist who developed the program. “Our third-party research substantiates on-field transference as well as improving academic skills. As an example, 10 MLB teams now use the program for scouting of draft choices and player development.” Eye doctors may consider adding this technology performance training as a non-insurance covered service profit center. www.vizualedge.com; www.facebook.com/vizualedge; (312) 8-VIZUAL
Description: DriveSafe lenses are designed to help drivers see better in poor visual conditions. Available in progressive and single vision designs, DriveSafe lenses offer excellent all-day performance, according to Zeiss. “Every winter, more than 1.3 million people search the Internet for topics like night driving and driving in the rain,” says Jens Boy, Zeiss Vision Care’s president, North America. “This suggests that many people are experiencing problems in these situations and actively seeking a solution. Zeiss DriveSafe makes it easy for ECPs to address this significant patient need.” Features: Zeiss DriveSafe lenses are the product of extensive research into the visual challenges of driving. The lens maker worked with a leading headlight manufacturer to determine the best coating to reduce glare from modern headlights, resulting in DuraVision DriveSafe AR coating. The coating specifically targets the wavelengths of Xenon and LED headlights that cause blurred vision and discomfort in night driving. DriveSafe lenses feature Zeiss Luminance Design technology, a new lens calculation technology based on pupil size in low light conditions that results in clearer, more natural vision at twilight and on cloudy days. www.zeiss.com/lenses; (800) 358-8258
3 #8000 SERIES MICROTOOLS Manufacturer: WOS Description: #8000 Series “MicroTools” are designed for professionals “on-the-go.” The average length of each tool is 5 inches. Although small in size, they are big on function. Complies with TSA regulations and can be carried aboard an aircraft. Features: MicroTools come in five different configurations: double Delrin jaw plier, combination round and Delrin jaw plier, chain nose plier, nosepad adjusting plier, pantoscopic tilt plier, nosepad popping plier and nosepad inserting plier. The tools are affordably priced. A live e demonstration of MicroTools can be viewed on the Western Optical al website. www.westernoptical.com; w.westernoptical.com; (800) 423-3294
88 • December 2015 20/20
NEW PRODUCTS
4 MULTI-FLEX Manufacturer: Satisloh Description: The automated Multi-Flex soft tool polisher offers high through--
put and innovative design. It uses a single tool for all standard processes, eliminating process steps and complexity. The tool features a lifetime of up to o 14.000 sec. The standard tool covers working ranges of 0 to 4 diopters and d 55 to 85 mm diameters (optionally up to 18 dpt.; 48 to 90 mm diameters). Features: With three independently-controlled polishing chambers, three lenses enses can be polished simultaneously, regardless of geometric or material differences. rences. Because every polishing chamber has two tool spindles, customers can choose oose how to utilize them: for a second polishing step or for doubling the time between tween tool exchanges (when using both tool receptions for the standard process). ). Working ranges:
•Base curve concave: 0 to 14 dpt •Cylinder: 0 to 6 dpt. •Lens diameter: 55 to 85 mm •Option packages: 16 dpts and above, diameters down to 48 mm •Lens materials: all organic lens materials •Dimensions: 1724 (width) x 2108 (depth) x 1995 mm (height)/68 x 83 x 79 inches; includes conveyor
•Weight: approximately 1050 kg/2315 lb www.satisloh.com; (800) 866-5640
5 SUNRX POLARIZED POLYCARBONATE SFSV 75MM BLUE LENSES
6 KOLOR UP
Manufacturer: Vision Ease
Description: Essilor Sun Solution,
Description: Vision Ease recommends its new SunRx Polarized Polycarbonate
SFSV 75mm blue lenses for active consumers looking to enhance visibility for tennis and golf, and improve vision in hazy and snowy conditions. “Consumers want more color options so they can personalize their look while still protecting their eyes from the sun’s harmful rays,” says Jeff McCurrach, vice president product management for Vision Ease. “Our new blue SunRx lenses respond to this demand for fresh color options in polarized lenses.” Features: SunRx blue lenses are available in 4.00, 6.25 and 8.50 base curves. The full SunRx SFSV line also includes gray, brown and classic green colors in a variety of base curves. All SunRx lenses feature 100 percent protection from UV rays while eliminating 99 percent of all reflected glare. www.visionease.com; (800) 328-3449
Manufacturer: Essilor Sun Solution
the Essilor Group division dedicated to nonprescription lenses, is introducing Kolor Up, a new lens collection featuring an exclusive color enhancement technology for improved vision with the latest Mazzucchelli acetate material for frames. Kolor Up lenses have been developed with the new Mazzucchelli acetate materials in four specific collections: Rio, Stripy, Monocolors and M49 Tokyo. There are five nuances of acetate for every collection, presented together with five sun lenses in new, on-trend colors. Features: Kolor Up plano lenses are created using a proprietary technology which avoids the overlapping of colors and increases the brightness of primary colors recognized by the eyes. The lenses are available in PPG’s CR39 monomer, APX (nylon), as well as NXT and polycarbonate. Essilor says that the collaboration with Mazzucchelli offers sunglass manufacturers and designers a “lens-acetate” package to create eyewear collections which are both fashionable and high quality. “Kolor Up will help creative and aspirational brands to fulfill their vision for the brand. Kolor Up will help their consumers to become the brand’s lovers and advocates,” says Christophe Mayet of Essilor Sun Solution. www.essilor-sunsolution.com
December 2015 20/20 • 89
BASICS
LAVISH LUXURY The word luxury produces various connotations. From expensive and flashy to exclusive and superior, the luxury market emits all of these ideas. When it comes to eyewear, luxury and boutique brands consist of all these qualities, but undoubtedly bring superior craftsmanship to the forefront. There’s no doubt your customers will want high-quality and well-made eyewear that steps up their style. Show them what luxury and boutique eyewear is all about with these 20/20 Basics.
20/20 BASICS By Victoria Garcia
u
BE A STORYTELLER Many luxury and boutique brands have lux an interesting or unique heritage to share. share Learn about where the product is made, mad the production process and the BLAKE specific ifi design details of each frame. The KUWAHARA more specific the better. Be sure to share this knowledge Ando with your employees so all your customers are aware of the one-of-a-kind features luxury eyewear has to offer. PRESENTATION TIME v A lavish and eye-catching display
INDEPENDENT y EYEWEAR Many luxury and
paired with luxury eyewear is an unbeatable combination. Include bright lights that feature velvet or wooden trays to present luxury frames to your customers. A luxurious display will radiate the prominence of these products.
boutique brands fall under the independent eyewear category and may not be well-known to your customers. Explain the significance of independent lines and how their expertise in eyewear is evident in all their products.
TRUNK SHOWS Present w boutique brands to your customers
PRICE POINTS Luxury z frames may not always be in the
by hosting trunk shows or special events. Include special services at these trunk shows such as personal fittings and adjustments.
price range of all of your customers. Stock frames from collections that have various price points and appeal to everyone. Those in search of the best frame might be willing to spend more. Show customers the exquisite details of each frame so they know what their money is going toward.
PACKAGED GOODS x Many luxury frames include highend packaging. For the full deluxe experience, show customers how frames are packaged with extravagant cases, pouches and or boxes. When presenting customers with their newly purchased frame, be sure to use distinctive shopping bags and include cleaning cloths and cleaning products to ensure their new purchase stays top-notch. 90 • December 2015 20/20
FOREVER EXCLUSIVE { Nothing beats the appeal of exclusivity. Stock small luxury and boutique brands that are exclusive to your area. Explain to customers that each frame is a one-of-a-kind piece and is not sold at surrounding shops.
GUIDE
new products in this issue COVER Ogi Eyewear, Bon Vivant Henriette HIGH! pp. 41-52 Alain Mikli, Alain Mikli A03051, p. 41 Bevel Specs, Mad Mensch 3675, p. 42 Blake Kuwahara, Hawksmoor, p. 48 Cutler and Gross, Cutler and Gross 1213, p. 43 De Rigo Vision, Lanvin 062, p. 52 Gramercy Eyewear, Jacques Durand Levant, p. 43 Kirk and Kirk, Victor, p. 46 Luxottica, Prada VPR 25S, p. 48 Marchon Eyewear, Salvatore Ferragamo 787S, p. 50 Marcolin USA, Balenciaga 5042, p. 46 Sàfilo, Fendi 0137/S, p. 44 SALT. Optics, Winslett, p. 50 THE GENEYEVIEW: LUXURY, pp. 54-60 Aspex Eyewear, BMW 6512, p. 54 Base Curve/A Luxury Divison of Rem Eyewear, John Varvatos 153, p. 60 Cutler and Gross, Cutler and Gross 1202, p. 56 Design Gallery/A Division of Match Eyewear, Vanni 3717, p. 59 Eastern States Eyewear, Cazal 4219, p. 59 Götti Switzerland, Tanda, p. 58 Lafont, Rosita, p. 59 Leisure Society, Monte Carlo, p. 55 Marcolin USA, Balenciaga 49 63B, p. 56 Modo, Derek Lam Samara, p. 56 Morel, OGA 77870, p. 60 Norman Childs Eyewear, Jibbers, p. 58 ProDesign Denmark, Zense 7908, p. 60 Sàfilo, Christian Dior Abstract, p. 55 SALT. Optics, Eleanor, p. 59 Ultra Palm Optical, Cazal 4219, p. 59 Vuarnet, Vuarnet VL1508, p. 54 MARKETPULSE: Living
Luxuriously, pp. 62-63 Barton Perreira, Meyer Matsuda Eyewear, Matsuda 3047SG Moscot, SM X MOS 001 WHAT’S RIGHT NOW Masterful Materials, p. 73 Area98, Kaos 367 De Rigo Vision, Chopard B24S Fleye, Noam Marcolin USA, Pucci 5005 Sáfilo, Jimmy Choo Nita Villa Eyewear, X-IDE Nespola WooDone, Sirona WHAT’S NEW, pp. 74-79 A&A Optical, Seventy one Coco and Breezy Gramercy Eyewear, Veronika Wildgruber Kingsley Rowe, Sunwear Marchon Eyewear, Flexon I-Squared Series WHAT’S NEXT, pp. 80-82 Kaenon, KLR Marchon Eyewear, Nike Vision Kevin Durant Optical Collection Match Eyewear, Helium Ogi Eyewear, Bon Vivant Tura, Ted Baker Universal Fit NEW PRODUCTS, pp. 84-86 Charmant Group, ELLE 13401 Clariti Eyewear, Konishi 3655 Daas Luxury Optics, Tavat SoupCan Marchon Eyewear, Chloe 120S Carlina Modern Optical International, GVX549 Ørgreen Optics, Blonde on Blonde Plan “B” Eyewear, Staag Spectacles Maddox Shaun’s California, Luss Silver Dollar Optical, NRG R579 Villa Eyewear, Rye & Lye Carracci L&T NEW PRODUCTS, pp. 88-89 Essilor Sun Solution, Kolor Up Plano Sun Lenses Satisloh, Multi-Flex Vision Ease, SunRx Polarized Polycarbonate SFSV 75mm Blue Lenses Vizual Edge, Vizual Edge Performance Trainer (VEPT) WOS, #8000 Series Microtools Zeiss, DriveSafe Lenses
DON’T DROP THE BALL ON CE. LAST CHANCE FOR 2015 COURSES!
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Awareness of Contemporary Contact Lenses, Materials and Their Uses [1 CE CREDIT] By Linda Conlin, ABOC, NCLEC
LEARNING OBJECTIVES: Upon completion of this program, the participant should be able to: 1. Understand the development of current contact lens materials through a review of the history of contact lenses. 2. Learn about the properties of current contact lens materials. 3. Know more about the uses for different contact lens materials. With over 30 years of experience and licensed in Connecticut, Massachusetts and Rhode Island, Linda Conlin is a writer and lecturer for regional and national meetings. She is chair of the Connecticut Board of Examiners for Opticians and is a manager for OptiCare Eye Health and Vision Centers, a multidisciplinary ophthalmic practice in Connecticut. CREDIT: This course is approved for one (1) hour of CE credit by the National Contact Lens Examiners (NCLE). General Knowledge Course CJHI046 This CE is also available online at www.2020mag.com
92 • December 2015 20/20
IN THE BEGINNING What were the first contact lenses made of? Water! In the early 16th century, Leonardo da Vinci instructed a visually-impaired man to open his eyes in a bowl of water. Suddenly, the man saw clearly. Buoyed by the success, da Vinci attempted to make a device that held water and could be placed directly on the eye. Unfortunately, he could not master a practical design. Even though da Vinci was working on the contact lens concept before the development of glass and plastic lenses, he was on to something, which only came about a half a millennia after his initial investigation. Water! It continues to be an important component in contact lens materials. Thomas Young tried to improve on da Vinci’s idea in 1801. He made a crude set of contact lenses—tiny bowls filled with water—and attached them to his eyes with wax. The water neutralized his refractive error, and he added a pair of lenses for acuity. Of course, while innovative in concept, this idea proved impractical and uncomfortable. While the concept of a corrective lens that rested directly on the eye was not abandoned, practical applications eluded developers. It was not until 1887 that F. A. Mueller used glass to make the first actual contact lenses. They were scleral lenses, which extended past the corneal limbus to rest on the sclera, but
had no refractive power. A year later, Eugen Fick was able to use Mueller’s idea to make a glass scleral lens that had refractive power. Unfortunately, they were difficult to make and heavy, making them difficult to wear. In 1937, optometrist William Feinbloom developed a scleral contact lens with a glass center and rigid plastic skirt. This first use of plastics had a profound impact on contact lens development. Following on the heels of Feinbloom’s innovation, Theodore Obrig created scleral contact lenses made entirely of polymethylmethacrylate (PMMA) in 1938. As we will see, PMMA contact lenses are still in use today.
SOFT LENSES ARRIVE ON THE SCENE While PMMA scleral lenses were a great leap in contact lens technology, they were difficult to use and could not be worn for long periods. Not only were the size and rigid material uncomfortable, but the scleral lenses did not allow enough tear flow behind the lens to maintain corneal health. Sometimes the lenses were fenestrated to improve oxygen flow, but they still could not be worn for more than a few hours at a time. Kevin Tuohy developed a rigid corneal lens in 1947 that increased tear flow behind the lens and was healthier and more comfortable. Later, grooves were added
to the back of the lens to further increase tear flow. Even with these smaller lenses and design improvements, however, eyecare professionals began to realize the necessity of providing still more oxygen to the cornea. In 1951, chemist Otto Wichterle developed hydroxyethylmethacrylate, a hydrophilic (affinity for water), hydrogel polymer now known as HEMA. Remember Leonardo? While da Vinci was more interested in the refractive power of water, his idea had an unforeseen benefit. The hydrophilic lenses’ affinity for water allowed oxygen to pass through the material to the cornea, resulting in better health and more comfort. Contact lenses were first made from this new material in 1958. They came from molds, but the rough lens edges had to be smoothed by hand. Wichterle persisted, and in 1961 created a spin casting machine out of parts from an Erector set, a bicycle and a doorbell. In 1965, Bausch & Lomb began its first venture into contact lenses when it used Wichterle’s process and became the primary mass producer of contact lenses. As researchers began to understand the importance of a contact lens that allowed oxygen to pass to the cornea, and with the wide availability of soft contact lenses, the use of PMMA lenses diminished. Still, the applications for rigid lenses, such as for correcting astigmatism and in keratoconus, remained and research continued. Wöhlk-ContactLinsen introduced a rigid gas permeable lens (RGP) that was softer and more pliable than PMMA, made from cellulose acetate butyrate (CAB) in 1977. In 1980, Syntex launched the Polycon lens, made of highly gas permeable silicone acrylate. The PMMA-Silicone Polycon II lens followed shortly after. At the same time, the search for better soft lens materials continued with a push for higher water content. In the early 1970s, the Bionite Naturalens was in production. Bionite, at about 60 percent water, is twice as permeable to oxygen as HEMA. Even today, 60 percent is considered to be a high water content lens. Higher water content contact lenses had a
drawback, however. Although they provided more oxygen to the cornea than the earlier materials, they dehydrated in dry conditions and after long wearing times. And so the search continued for even better materials. Syntex produced CSI, the first use of silicone in a contact lens, in 1978. Although the crofilcon material was only 38 percent water content, it had high oxygen permeability without the dehydration issues associated with high water content lenses. The explosion of silicone use in contact lenses began. Along with silicone, the original hydrogel polymers continue to evolve as well. There are about 27 hydrogel materials currently available, as compared with about 10 silicone polymers. While the lenses in both groups vary in water content and oxygen permeability, in general, hydrogels have a higher water content, and silicone polymers have higher oxygen permeability.
SILICONE HYDROGELS HEMA lenses offered comfort and convenience, and patients wanted to wear them for longer periods of time. In the early 1980s, J. de Carle developed the Permalens, a hydrogel with 71 percent water content, which the Food and Drug Administration subsequently approved for 30-day continuous wear. It wasn’t long, however, before researchers found that even high water content lenses could not deliver enough oxygen to the cornea for continuous wear. Because the water in the high water content lenses decreased the refractive index of the lens, thicker lenses were needed. Thicker lenses offset some of the oxygen delivery benefit of having higher water content. The contact lens industry needed a material that could deliver oxygen better than HEMA. Oxygen is highly soluble in silicone, which made silicone appear to be a good choice. The original lenses, made of silicone elastomer, contained no water and therefore had a tendency to adhere to the cornea. What’s more, they had poor edge shape, liquids did not disperse across the surface well, and the material attracted deposits. Researchers had
to look for something else. It was then that researchers thought to combine the best features of hydrogel lenses with the benefits of silicone. The idea of silicone hydrogels was born, combining the oxygen permeability of silicone with the water permeability of hydrogels. The work of the Toyo Contact Lens Company, which received a patent for a silicone hydrogel copolymer that could be used for contact lenses in 1979, attracted attention. Making that copolymer, however, required a complex process that slowed widespread production of the material. Researchers, scientists and chemists from around the world collaborated to make the idea of silicone hydrogel contact lenses a reality. In 1999, CIBA Vision, one of the collaborators, introduced Focus Night & Day lenses made of the silicone hydrogel lotrafilcon A. In 2001, the FDA approved the lenses for 30-day continuous wear. At the same time, Bausch & Lomb launched PureVision as a daily wear silicone hydrogel lens. Subsequently, the FDA approved those lenses for 30-day continuous wear as well. Since then, advancements in silicone hydrogel lenses, called Sihy, have gone beyond the continuous wear application to daily wear and disposables. Research continues to improve comfort and reduce dryness, incorporating surface treatments and wetting agents. The ultimate goal is to make a contact lens that mimics the cornea itself. That way, wearing contact lenses should have zero negative impact on ocular health.
DK—DIFFUSION AND SOLUBILITY How is it that different materials with different water contents allow oxygen to pass through to the cornea? The answer is through diffusion and solubility. Diffusion is defined as “the movement of ions or molecules from an area of higher concentration to an area of lower concentration.” Solubility is defined as “the amount of a substance (oxygen) that can be dissolved in a given amount of solvent (water)” Thus, various materials having different combinations of diffusion December 2015 20/20 • 93
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and solubility can allow similar oxygen permeability values. We measure this permeability with the term Dk, where D represents diffusion and k represents solubility. The value of Dk is the quantity of oxygen that passes through a contact lens over a specific time period and pressure difference between the front and back of the lens. Going a step further is Dk/t, which takes into account the thickness of the lens. The combination of diffusion and solubility allows for contact lenses made of very different materials such as hydrogels and gas permeables to have similar Dk values. The water content of hydrogels results in oxygen permeability mostly through solubility, that is, oxygen dissolved in water. In gas permeable lenses, oxygen permeability is primarily the result of diffusion, the movement of oxygen through the lens. In either case, the higher the Dk value, the greater the oxygen permeability.
WETTABILITY Tear film is as important to healthy contact lens wear as is oxygen permeability. With contact lenses available in both hydrophilic (affinity for water) and hydrophobic (water resistant) materials, how can both work in conjunction with tear film? The answer is wettability. Wettability is the way a liquid spreads across a surface. It is measured by what is called wetting angle, which is the angle formed when a drop of liquid is placed on a surface. A high wetting angle of more than 90 degrees indicates a surface with poor wettability, while a low wetting angle of less than 90 degrees indicates better dispersion of tear film across the lens surface. Although silicone hydrogels have high oxygen permeability and dehydrate more slowly than hydrogels, by nature, silicone is hydrophobic and tends to attract deposits which reduce permeability and can lead to infection and other complications. Contact lens manufacturers have found several ways to alleviate the problem. Innovations include designing the lens material so that the silicone is not on the surface of the lens, adding a wetting agent to the lens material, 94 • December 2015 20/20
and surface treatments including plasma, make the lenses more hydrophilic. An example of adding wetting agents to the lens material is Alcon’s Dailies Aqua Comfort Plus lenses, in which the wetting agents are released gradually over 20 hours to provide consistent lubrication. Alcon made another innovation with its Dailies Total1 lenses. The lenses have a silicone core with a 33 percent water content and a hydrophilic surface gel that approaches 100 percent water content. Another method to improve wettability is the use of lubricant drops and artificial tears, although it can be inconvenient for contact lens wearers who then may use the drops inconsistently. Other methods include the use of surfactant contact lens cleaners and solutions. Not only do the cleaners help remove protein deposits, they interact with the lens surface to make it more attractive to water. Therefore, not only are contact lens materials important in our fitting decisions, but cleaning and disinfecting solutions are as well.
LENS GROUPS In 1985, the FDA found it necessary to categorize the wide variety of contact lens materials into groups. Both soft and rigid lens materials were divided into four groups each, with silicone hydrogels representing a fifth group of soft lenses because of their unique material. Soft lenses are grouped according to water content and electrical charge, and rigid lenses by material. A quick rule of thumb is that the names of soft lens materials end with “falcon,” while the names of rigid lens materials end with “focon.” Electrical charge in a contact lens? Yes. Contact lens materials can carry an electrical charge, usually negative, or they can be neutral. Ionic lens materials carry a charge, while nonionic materials are neutral. The distinction is important because proteins found in tear film can carry a positive charge, and are therefore attracted to the negatively charged lens, resulting in deposits on the lens. As water content increases, so does the protein attraction. The four groups of hydrogels are: 1. Nonionic with less than 50 percent water. 2. Nonionic
with more than 50 percent water. 3. Ionic with less than 50 percent water, and 4. Ionic with more than 50 percent water. Silicone hydrogels comprise a fifth group. The four groups of rigid lenses are distinguished by silicone and fluorine content. The groups are: 1. Contain no silicone or fluorine. 2. Contain silicone but no fluorine. 3. Contain both silicone and fluorine, and 4. Contain fluorine but no silicone.
LENS GROUPS, MATERIALS AND USES Let’s take a closer look at the different types of lenses. PMMAs—Although they are still available, “hard” contact lenses have been replaced almost completely by rigid gas permeable lenses. PMMA lenses do not allow oxygen to pass through to the cornea, which makes the permeable RGP lenses preferable and more comfortable. The primary market for PMMA lenses today seems to be patients who “have always worn them” and are resistant to change. Patients also liked being able to use the same lenses for a year or more because scratches could be polished out, while RGP lenses should be replaced every 6 to 12 months, and polishing affects wettability. RGPs—Rigid lenses are a good option for patients with irregular corneas or keratoconus. They are custom made to specific base curves and diameters, and the tear film behind the lens masks the refractive error of the irregular cornea. RGPs are also available in scleral lenses, which are used when a medical condition such as keratoconus requires a lens that vaults the cornea. Current RGP contact lenses, with the exception of Menicon Z, are made of either Fluorosilicone Acrylate (Group 3) or Silicone Acrylate (Group 2) and are approved for seven-day wear. Dk values range from 12 to 125. Menicon Z lenses are made from FluoroSiloxanyl Styrene, have a Dk of 163 and are approved for 30-day wear. Fluorosilicone Acrylate and Silicone Acrylate brands include Boston, Fluoroperm, Paragon and Optimum.
Lenses in Group 1 are made from CAB and are rarely used because of the availability of higher Dk materials. Likewise, the lenses in Group 4, primarily fluorocarbons, have dropped out of use. Hybrid Lenses—Remember Feinbloom’s glass and plastic scleral lenses? Today’s hybrid lenses have a center of gas permeable material surrounded by a soft skirt to combine the comfort and oxygen permeability of both. After Feinbloom, it was not until 1983 that Precision-Cosmet made the Saturn II, the first true hybrid contact lens. Prior to the development of hybrid lenses, practitioners would fit a rigid lens on top of a soft lens, known as a “piggyback” fit for patients who needed the correction a rigid lens provided, as in keratoconus and other types of irregular corneas, but the comfort of a soft lens. Of course, working with two lenses, one on top of the other, was cumbersome for patients and limited oxygen permeability. The early hybrids had design and performance issues including low oxygen transmission and splitting between the rigid and soft materials. In 2005, after four years of development, SynergEyes received FDA approval for its hybrid lens. This lens was an improvement over its predecessors because it consisted of a high Dk gas permeable center with a low water, nonionic skirt and an improved bond between the two materials. Today, SynergEyes is the primary manufacturer of these lenses, available as single vision and multifocal in a broad range of powers and base curves. In addition to its namesake, other lenses are ClearKone, Duette and Ultrahealth. HEMA Group 1, Low Water, Nonionic— This group includes spherical, toric and multifocal lenses made of tefilcon, tetrafilcon A, helfilcon A and B, mafilcon, polymacon and hioxifilcon B. Water content ranges from 33 percent to 49 percent, with Dk values from 8.9 to 15. Because they are nonionic, these lenses tend to be stable and deposit-resistant. Low water content lenses dehydrate more slowly than higher water content lenses. These characteristics make Group 1 lenses a
consideration for patients who experience dry eye and/or heavy deposits. Brands representative of this group include: Preference, Alden, Menicon and Flexlens. HEMA Group 2, High Water, Nonionic— Spherical, toric, multifocal, dailies and soft lenses for keratoconus belong to this group. The materials are alfafilcon A, omafilcon A, hioxifilcon A and D, nelfilcon A, nesofilcon A, hilafilcon B, acofilcon A and samfilcon A. Water content ranges from 46 percent to 78 percent, with Dk values from 21 to 163. A number of the lenses in this group are designed for monthly replacement, a logical result of higher water content and deposit resistance. The higher water content also makes these lenses suitable for comfort in daily disposable lenses. Brands representative of this group include: Proclear, Extreme H2O, Focus Dailies and SofLens Daily. HEMA Group 3, Low Water, Ionic—Only one product, Metrosoft, fits in this category. These are custom soft lenses available in spherical, toric and multifocal designs. The material is deltafilcon A with a water content of 43 percent and a Dk of 10. The manufacturer, Metro-Optics, cites ease of handling and variety of parameters as reasons to consider this lens for custom soft lens fits. HEMA Group 4, High Water, Ionic—This large group includes spherical, toric, multifocal, dailies and colors. Materials are etafilcon A, focofilcon A, ocufilcon A, B, C, D and E, phemfilcon A, methafilcon A and B, and vilfilcon A. Water content ranges from 46 percent to 65 percent, and Dk values are 15 to 28. Although ionic lenses are more prone to deposits, the high water content of these lenses makes them comfortable for daily disposables, frequent replacement and flexible wear lenses. Brands in this group include Acuvue, Biomedics, Freshlook and Frequency. Silicone Hydrogels Group 5—Lenses in this group include spherical, toric, multifocal and dailies. They are subdivided into groups called generations. The generations differentiate lenses by material and treatment to make them more hydrophilic. First generation lenses have
surface treatments to make them more hydrophilic. Second generation lenses incorporate wetting agents into the lens material. Third generation lenses have neither surface treatments nor wetting agents, but are made from a more hydrophilic material. Lenses in the overall group are made from lotrafilcon A and B, narafilcon A, senofilcon A, comfilcon A, enfilcon A, balafilcon A, efrofilcon A, delefilcon A and somofilcon A. Water content ranges from 24 percent to 74 percent, with Dk values from 60 to 140. High oxygen permeability, low water content, comfort, ease of handling because they are a little less flexible than HEMA lenses and variety of lens types make silicone hydrogels a good choice for most contact lens patients. Brands in this group include Air Optix, PureVision, Biofinity and Clariti 1 Day.
CONCLUSION It has been more than 500 years from da Vinci’s modest start with a bowl of water. Each chapter in the history of contact lenses reinforces the demand for corrective lenses that could be worn on the eye with safety and comfort. The pioneers in contact lens development took advantage of new materials as they became available in addition to coming up with some of their own. This in turn spurred the development of new manufacturing methods to make the lenses more readily available. The variety of lens designs and materials available today can be daunting to the eyecare practitioner trying to find the best lens for a patient, but it shouldn’t be. The basic principles of contact lens fitting guide the practitioner to the best choice. First, the patient’s vision and eye health needs will indicate whether a rigid or soft lens is preferable. From there, the reason the patient wants contact lenses and how he or she will use them will narrow the field. Remembering the characteristics of the different lens groups leads to brand selection. The fitter’s experience with various brands is invaluable, but don’t be afraid to try something new. As we have seen, something new is always happening with contact lenses. ■ December 2015 20/20 • 95
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S E L F - A S S E S S M E N T E X A M I N AT I O N 1. Hydrophobic means the material has: a. High water content b. Low wetting angle c. Resistance to water d. Affinity for water
8. The first silicone polymer lens was: a. Menicon Z b. CSI c. Synergeyes d. Focus Night & Day
2. Wichterle created this new method to produce contact lenses in 1961: a. Lathe cutting b. Spin casting c. Molding d. Extruding
9. Dk stands for: a. Ionic b. Nonionic c. Diffusion and solubility d. Wettability
3. The Bionite Naturalens was a: a. High water content lens b. Low water content lens c. PMMA lens d. RGP lens 4. Hybrid lenses replaced: a. RGPs b. “Piggyback” fits c. Silicone hydrogels d. Hydrogel polymers 5. The first true contact lenses were made of glass in 1887 by: a. Mueller b. Feinbloom c. Wichterle d. Obrig 6. High water content lenses: a. Are always ionic b. Are rigid lenses c. Dehydrate more slowly d. Dehydrate more quickly 7. Soft lenses are grouped according to: a. Diameter b. Wettability c. Base curve d. Water content and electrical charge
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10. Ionic and nonionic refers to: a. The electrical charge of the lens b. Wettability c. Oxygen permeability d. Affinity for water 11. Da Vinci introduced the concept of a corrective lens that rested directly on the eye using: a. Glass b. Plastic c. Water d. Air 12. Hydrophilic means the material has: a. Positive electrical charge b. Affinity for water c. Negative electrical charge d. Water resistance 13. Wöhlk-Contact-Linsen introduced a lens made of CAB that was softer and more pliable than: a. HEMA b. RGP c. PMMA d. Silicone hydrogel 14. Rigid lenses are grouped according to: a. Silicone and fluorine content b. Wetting angle c. Electrical charge d. Diameter
15. The HEMA group containing only one product is: a. Group 1, Low Water, Nonionic b. Group 2, High Water, Nonionic c. Group 3, Low Water, Ionic d. Group 4, High Water, Ionic 16. A lens having a rigid center with a soft skirt is: a. Impossible to manufacture b. Called a hybrid lens c. Not recommended for daily use d. Difficult to fit 17. Low water content lenses: a. Dehydrate more slowly b. Dehydrate more quickly c. Are made of PMMA d. Cannot be ionic 18. Wetting angle is: a. Always more than 90 degrees b. Always less than 90 degrees c. Tear film behind the lens d. Angle formed between a drop of liquid and a surface 19. Silicone hydrogel lenses belong to Group: a. 5 b. 4 c. 3 d. 2 20. In 1938, Obrig developed a scleral contact lens made of: a. HEMA b. CAB c. RGP d. PMMA
Examination Answer Sheet 1 hour of CE credit by the National Contact Lens Examiners ~ Valid for credit through October 16, 2017 This exam can be taken online at www.2020mag.com. Upon passing the exam, you can view your results immediately. You can also view your test history at any time from the Web site. Awareness of Contemporary Contact Lenses, Materials and Their Uses Directions: Select one answer for each question in the exam and completely darken the appropriate circle. A minimum score of 80% is required to obtain a certificate. Mail to: Jobson OptSC, PO Box 488, Canal Street Station, New York, NY 10013. Payment: Remit $14.99 with this exam. Check is enclosed (payable to Jobson Publishing). Charge my: American Express Mastercard Visa Name on card: _________________________________________________________________________________________ Credit card #: __________________________________________________________________________________________ Expiration date: _________________________________________________________________________________________ Signature: _________________________________________________________________________________
1. A
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1=Excellent
2=Very Good
3=Good
4=Fair
5=Poor
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In questions 21-23 please rate the effectiveness of each activity:
3. A
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21. Met the stated learning objectives?
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22. Avoided commercial bias/influence?
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23. How would you rate the overall quality of the material presented?
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24. How were you directed to this course? A 2020mag.com D Ohio Opticians Website
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B OAA Website
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C NYSSO Website
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20. A
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E Other
25. Please describe the office in which you work. A Independent Optician
C Chain retail
B Independent Optometry
D HMO/Military/Other
Comments on this course: ____________________________________________________________________ Future Topics: ______________________________________________________________________________
Please retain a copy for your records. Please print clearly.
First Name Last Name E-Mail The following is your:
Home Address
Business Address
Business Name Address City
State Fax
Telephone # Profession:
Zip
Optician
Contact Lens Fitter
Other
By submitting this answer sheet, I certify that I have read the lesson in its entirety and completed the self-assessment exam personally based on the material presented. I have not obtained the answers to this exam by any fraudulent or improper means.
â&#x153;&#x201A;
Signature _________________________________________________________________________
Lesson 112013
Date ________________________
CJHI046
December 2015 20/20 â&#x20AC;˘ 97
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CNS Frame Displays Premier manufacturer of optical displays and furniture. More than 2000 type of products in stock for immediate shipment. Complimentary dispensary design services. 877-274-9300 • FAX: 703-435-3180 E-Mail: INFO@FRAMEDISPLAYS.COM Website: www.framedisplays.com
Looking for Sales Reps? Contact us today for classified advertising: Toll free: 888.498.1460 E-mail: sales@kerhgroup.com
For classified advertising call 1-888-498-1460 or e-mail us at sales@kerhgroup.com
ad index 20/20 CE
91 2020mag.com/ce
A&A OpƟcal
104 aaopƟcalco.com
800-492-4465 Ad Index
103
Altair Eyewear
31
800-505-5557
altaireyewear.com
ArtopƟc
24,77
800-522-8572
artopƟc.co
Athena CosmeƟcs
17
877-909-5274
athenacosmeƟcs.com
Avalon Eyewear
83
888-767-0383
avaloneyewear.com
Cafe BouƟque
45
800-962-3200
silverdollaropƟcal.com
Carl Zeiss Vision
9
800-358-8258
zeiss.com/lenses
Classifieds
98
ClearVision OpƟcal
10
800-645-3733
cvopƟcal.com
De Rigo Vision USA
23
877-606-7852
derigovision.com
Essilor USA
26
800-essilor
essilorusa.com
Europa InternaƟonal
65A
800-621-4108
europaeye.com
Fashion OpƟcal Display 800-824-4106 iMatrix 855-466-5848 Jobson InteracƟve 203-557-0839 Kenmark OpƟcal 877-545-5963 Lafont
37
fashionopƟcal.com 35 imatrix.com 71 jobsoninteracƟve.com 18 kenmarkopƟcal.com lafont.com
Local Eye Site
87 localeyesite.com
800-422-2020 Luzerne OpƟcal 800-233-9637 Mad Vision 888-961-4675
28 Luxoƫca.com 69 luzerneopƟcal.com Cv2 madvision.com
Spine,4,6,33
800-645-1300
marchon.com
Marcolin Eyewear
21
888-marcolin
marcolinusa.com
Match Eyewear
40
877-88match
matcheyewear.com
MyEyeStore
82
952-463-1200
myeyestore.com
Nanofilm
22
800-883-6266
nanofilmusa.com
Ogi Eyewear 888-560-1060
ogiframes.com
Optometry Giving Sight 888-ogs-give 888-275-2335
72 givingsight.org
Prodesign Eyewear
61
prodesigndenmark.com
RevoluƟon Eyewear 800-986-0010
Cv3
revoluƟoneyewear.com
Safilo USA 800-631-1188
2 safilo.com
Shamir 877-shamir1 SilhoueƩe OpƟcal
shamirlens.com 53
800-223-0180
silhoueƩe.com
Teka Eyewear
20
877-teka-eye
tekaeyewear.com
TransiƟons OpƟcal 800-848-1506 Ultra Palm OpƟcal 800-327-5185 VSP OpƟcs
49
800-832-8233
Luxoƫca Group
Marchon Eyewear
Cv4 transiƟons.com 57 ultrapalm.com 67 vspopƟcsgroup.com
Walman OpƟcal
25
800-414-7656
walman.com
West Groupe
85
855-455-0042
westgroupe.com
Wiley X 800-776-7842 Younger OpƟcs 800-366-5367
14 wileyx.com 12 youngeropƟcs.com
PA R T I N G GLANCE
2015 @20/20 GenEYE took cover position in July of this 20/20 year dedicated to all things Millennial, and it looks like that generational agenda will continue to play a powerful spot in all of our lives, as this particular demographic basically takes control of a variety of pop culture arenas including our cherished opti-arena. —JJS
ICONIC… EYECONIC
Looks like GenEYE is Taylor-Made when it comes to picking their eyewear icon. With a blast of 30-plus votes, Taylor Swift takes the top spot in this little generational game of opti-POPularity we’ve been hosting on this Parting Glance page these last few months. Distracted only by a few misguided nominations for ZZ Top and Bob Dylan, Millennials strongly supported Swift and numerous responders literally referred to this picture of her in Swarovski shades from Marcolin USA as one of her best walks on the sunny side, appearing to enormous “like” and comment success on the 2020mag FaceBook page and in our Upfront Hall of Frames page in the July issue. She does truly wear it well, and her talent abounds. Eye wonder if Dylan or ZZ Top have ever considered covering one of her tunes, much like rocker Ryan Adams did recently in tribute to her whole “1989” CD?! —James J. Spina
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LEARN MORE AT SHAMIR.COM Transitions and the swirl are registered trademarks and Transitions Signature and Chromea7 are trademarks of Transitions Optical, Inc., used under license by Transitions Optical Limited. ©2015 Transitions Optical, Inc. Photochromic performance is influenced by temperature, UV exposure and lens material.