SPECTR Issue 20 by Monday Publishing GmbH

SILENT STRENGTH – THE BIG RIMLESS SPECIAL ANDY WOLF, GÖT TI, LINDBERG, LUNOR, SILHOUET TE TREND SHOOTS IN NEW YORK, CAPE TOWN, PARIS, MUNICH, FRANKFURT, ... COLLECTION SHOOTS ALIUM, EYEVAN 7285, KBL, TAVAT, REIZ OPTITEKTUR & MORE ARTISTS’ WORDS ARTHUR ARBESSER, ARMEN DJERRAHIAN, ELIZAVETA PORODINA, JAN-MICHAEL QUAMMIE

GERMAN ENGLISH Nr 20 – II / 2017 EURO 15

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ANDY WOLF »E ps t e in«

EDITORIAL

A RT

THE

ANSWER?

photo CARO ROS S , re touch GL AMT OU CH Is art the key to everything in life? Can art achieve world peace, bring an end to suffering, unite the people on our planet? In face of current world events, it’s looking less and less likely that art has any such power of changing our current trajectory. The world is in a state of uproar. We are witnessing wars, power struggles, refugee crises, sealed borders, and a resurgence of nationalistic tendencies. At the heart of it all is an intensifying competition for economic resources. Is there even room for art right now, or would it be best to go silent in face of our troubled times? That one’s a definite “no!” Art must never be silent and needs to continue to shake up, awaken, unite, and inspire with its messages. Much like street artist Banksy with his Flower Thrower signals, “throw flowers, not rocks.” Although we here at SPECTR meddle less in the world of high art – and more in artfully designed products – we also feel strongly about the role of art in society. That’s why we’re looking at the bigger picture a bit more in this issue. While our magazine usually features profiles of famous eyewear designers, this time we’ve sat down with some artists and folks from the world of fashion. This issue’s list of special interviewees includes photographers Armen Djerrahian and Elizaveta Porodina, as well as Milan-based fashion designer Arthur Arbesser and InStyle Germany’s Fashion Director Jan Michael Quammie. The result is a refreshingly new perspective on eyewear and its role in fashion, art, and society. Speaking of a new perspective, we are especially proud of our 16-page special feature on rimless eyewear (Pages 101 – 116). At first sight, the sheer concept of building frames without any rims may appear limiting to designers. But that turns out to be far from the truth. Because glasses intended to fly beneath the radar of perception allow for extremely delicate accents as well as precise manufacturing craftsmanship. What we’re saying is, they require a certain kind of art – which brings us full circle to where we started. Art shines bright in this issue, which is why we have dedicated our cover to the latest state of the art in rimless frame designs, which holds the power to be this year’s major fashion trend for the summer. As with many other current developments, only time will tell. Enjoy this issue of SPECTR.

INSIGHT

“ C L ICK C L A C K”

EDISONGA Jana Gumprecht aka Edisonga was born in the middle of the night deep in the Uruguayan pampas, surrounded by lightning bugs and three sleeping gauchos. Jana chose her pseu-

They say a picture is worth a thousand words, and this

donym as a tribute to one of the last descendants of the Charrúa Indian tribe. And as the

issue of SPECTR magazine once again dedicates 230 full-

name suggests, she hails from an arts background, and studied painting and video, before

color pages to images. As our readers, you are treated to

she focused on photography. She also took on jobs as a stylist – a very useful skill for

a variety of different photographic styles and approaches.

working on a set – and continued to blend these different artistic into her work, also sup-

And our photographers play their part by taking control

plemented by music and writing. Jana likes to blur boundaries and open up new creative

of the entire composition, the entire process of crafting

spaces, thereby providing a new perspective of viewing people and objects. Her SPECTR

an image that will make an impact. From the models, to

shoot in Cape Town is a perfect example of bringing a product like eyewear to life with her

the styling, location, and overall mood – nothing is left

creative approach.

to chance when it comes to merging a variety of factors into a coherent whole. Once again, we have sent our photographers across the entire globe in search of perfect backdrops for stylish eyewear, from Cape Town to Paris to New York and Los Angeles. For a neat cross-section of the folks behind the lens, please meet Edisonga, Mert Dürümoglu, and Stephan Ziehen.

STEPHAN ZIEHEN Making his SPECTR debut in this issue, Stephan Ziehen did not have to travel across the entire globe for his shoot. All the Hamburg-based fashion photographer needed to do was board a train to Paris. It’s a welcome opportunity for the well-traveled photographer, who tends to call the City of Lights his second home (and London his third home, if we are correct). Stephan learned the photographer’s trade from luminaries such Reinhart Wolf in Hamburg and Claus Wickrath in Paris. Influences from the underground and youth culture abound in his work, although he admits to finding fashion “horrid” on most people. Quite an unusual statement for a fashion photographer, and the fact that he makes models sparkle with elegance is a true testament of his professional skills.

MERT DÜRÜMOGLU He’s back. We are super happy to welcome back Mert for a shoot in this issue. As one of our go-to photographers from day one – when SPECTR was still called EYEWEAR – he has really turned heads in the industry with his equally modern and powerful images, which have made a lasting impact on our visual style. In his younger days, Mert initially had plans of working as a cameraman. But after an apprenticeship as a photographer he got stuck with the job, and the rest is history. Although “stuck” is actually far from the truth, because Mert is spending so much time on the road these days that he only gets to spend about six weeks out of the year in his own apartment. Over the years, he has distilled the many influences from his travels into a signature style and approach. We have also adapted one cardinal rule from Mert’s playbook: Models are not supposed to smile, at least in front of the camera. Asked about what inspires him about photography, Mert pointed out that even complex ideas can be realized with a relatively small team, while doing the same in cinema would take far greater effort.

CONTENT

64 SHADES OF GREY

54 THE CAZAL JOB

SILHOUETTE X ARTHUR ARBESSER

1 3 4 E Y E VA N 7 2 8 5

Collab of the Issue

REIZ OPTITEKTUR Translucent Geometry

SHADES OF GREY By Edisonga

36, 206

SPECTR AWARD & sa lt . at copenhagen specs

va n n i

STOCKS & STOCKINGS By Heli Hinkel

101 SILENT STRENGTH

76, 118, 162, 180 ESSENTIALS

Frames, Accessories & Favorite P ieces

CHOPPER SHOPPER By Peter Godry

JAN-MICHAEL QUAMMIE Good St yle Comes from Within

TA V AT S O U P C A N 2 . 0 Same Same But Different

P L AY E R S O N LY

134 E Y E VA N 7 2 8 5

Subtle Elegance in Japanese Craftmanship

138

ESPRIT PETITE

Great St yles for Small Faces

By Mert Dürümoglu

Campaign Insight with A rmen Djerrahian

Savoir Vivre

THE CAZAL JOB

120

DANIEL HECHTER

101

SILENT STRENGTH The Big R imless Special

CAZAL 8037

CONTENT

190 WORK IT HARDER

148 OUT OF ORBIT

188

140

KBL PURE CLASSIC

LIEBESKIND BERLIN 24/7 Clip-On St yles

1 8 2 M E T R O P O L I TA N

190

Collection Check

144

150

Industry Insight with Boris Stolle

By Stephan Ziehen

146

165

From Gods to Glasses

By Stefan Dong us

NO END IN SIGHT

T H E T I TA N S

148

ØRGREEN OUT OF ORBIT Editor’s Choice

FRENCH ICONS

2 1 0 A L I U M : M E N O N LY

204

SIEGFRIED SCHLÖGL The Man Behind soa l r i s

WORK IT HARDER By Sacha Tassilo Höchstetter

208 FROM THE BLOG Jennifer Bitsche

WHITE NOISE

182

M E T R O P O L I TA N C A M PA I G N I N S I G H T The Approach of Elizaveta Porodina

186 W O O D O N E ’ S M E TA L WOODS Hybrids from South Tyrol

210

A L I U M : M E N O N LY Performance, Lightness, Comfort

218 LAST EXIT

By A ngelika Büttner

MASTHEAD EDITOR IN CHIEF

Stefan Dongus dongus@spectr-magazine.com m: +49.(0)151.14271817

L AYOUT

Caro Ross ross@spectr-magazine.com

EDITORIAL STAFF

Astrid Spiering spiering@spectr-magazine.com Dirk Vogel vogel@spectr-magazine.com

PROOFRE ADING Franca Rainer

TR ANSL ATION Dirk Vogel

ONLINE EDITOR

Astrid Spiering press@spectr-magazine.com

PHOTOGR APHERS

Angelika Buettner Claudio di Lucia Armen Djerrahian Stefan Dongus Mert Dürümoglu Edisonga Peter Godry Heli Hinkel Sacha Tassilo Höchstetter Stefan Kapfer Elizaveta Porodina Raphael Schmitz Valtin & Calisti Stephan Ziehen

PUBLISHER

Monday Publishing GmbH Kamekestraße 20-22 50672 Köln t: +49.(0)221.945267-11 f: +49.(0)221.945267-27 www.spectr-magazine.com www.facebook.com/spectrmagazine

CEOS

Stefan Dongus, Holger von Krosigk

DISTRIBUTION

DPV Network GmbH Postfach 570 412 22773 Hamburg dpv-network.de

LUNOR

F&W Mediencenter GmbH Holzhauser Feld 2 83361 Kienberg fw-medien.de

»Cl a ssic C omfor t Panto«

SPECTR is published three times per year.

SILENT STRENGTH – THE BIG RIMLESS SPECIAL

SILENT STRENGTH – THE BIG RIMLESS SPECIAL ANDY WOLF, GÖT TI, LINDBERG, LUNOR, SILHOUET TE

ANDY WOLF, GÖT TI, LINDBERG, LUNOR, SILHOUET TE

TREND SHOOTS IN

NEW YORK, CAPE TOWN, PARIS, MUNICH, FRANKFURT, ...

COLLECTION SHOOTS

COLLECTION SHOOTS ALIUM, EYEVAN 7285, KBL, TAVAT,

ALIUM, EYEVAN 7285, KBL, TAVAT, REIZ OPTITEKTUR & MORE

REIZ OPTITEKTUR & MORE

ARTISTS’ WORDS

ARTISTS’ WORDS ARTHUR ARBESSER, ARMEN DJERRAHIAN,

ARTHUR ARBESSER, ARMEN DJERRAHIAN,

ELIZAVETA PORODINA, JAN-MICHAEL QUAMMIE

co v e r photos ST E FA N D ON GUS a ss is t a nts C A R O R O SS & AS TRID S P IERIN G s t yl in g Y VE TTE JA C K h a ir & m a ke -up LAT IS HA N ICHOLS ON a t BLOS S OM MAN AGEMEN T mo d el s E K ATE R INA a t MOS T WAN TED MOD ELS & FRITZ a t MEGA MOD EL AGEN CY

DEUTSCH ENGLISCH Nr 20 – II / 2017 D 9,– € | AT 11,– € CH SFR 14,50

GERMAN ENGLISH Nr 20 – II / 2017 EURO 15

gl a ss e s

4 192153 509007

German version

English version

GÖT TI » P R 01« & A NDY WOLF » G a w e c k i «

This magazine and all its contents may not be re-used, distributed or stored in electronic databases in any way without prior written permission from the publishers. All inquiries regarding the usage of copyrighted materials, as well as the reproduction of excerpts in other formats must be directed to the publishers. The opinions reflected in this magazine do not necessarily reflect those of the publishers. All rights reserved.

M AT E R I A L W O R L D

R E IZ O PTITEKT UR Translucent Geometry photo R A P H A E L S C H M I T Z

»Ve ktor«

»Ellips e«

M AT E R I A L W O R L D

In 2016, reiz already turned heads with its bold Optitektur Collection: Celebrating the diverse interplay of geometric shapes, the German quality eyewear label transcended established conventions and overcame the boundaries between opposites such as square and rounded. Model names were also inspired by geometry, as they translated into »Axis«, »Ellipsis«, »Cube«, »Tangent«, and »Vector«. The campaign’s striking visual language transported viewers into a world of geometric shapes. This year – with near-invisible eyewear emerging as a major trend – select styles from the Optitektur Collection will also be available in transparent versions. The so-called Crystal Edition’s clear surfaces offer a glimpse into the technical interior of sophisticated eyewear designed in striking geometric shapes. While this is quite an evolution from last year, one thing remains the same: All pieces are made in Germany.

»K u gel«

»Oval«

SPECTR AWARD

»R E -M A STER B Y

SUN«

VANNI

Winner in the Category ‘Sunglasses’ photo RAP HAE L S C HM I T Z

VANNI »R e -Ma s t e r Sun«

For the first time in the history of our magazine, we handed out the spectr Awards this year during copenhagen specs tradeshow. Over 90 candidates in two categories have applied, and choosing the winning sunglasses and optical glasses was no small feat. Our independent jury, consisting of fashion expert Heidi Kincaid, optician Claas Witzel of specs berlin and our online editor Astrid Spiering spent several days debating and evaluating the contenders. When all was said and done, the award in the sunglasses category went to VANNI for the »Re-Master Sun« while SALT. scooped up top honors in optical frames with the »Anela« (take a look at page 206). For over 27 years, Italian brand vanni has been dazzling the industry

the 1980s classic, the frame features layers of black and transparent

with their unique and fashionable frame designs. Aside from their en-

acetate in a harmonious blend of rounded and angled shapes courtesy

tirely regional manufacturing backbone, the key to long-term success

of the Nico-Design Style Department. The result is a contemporary

has consisted of using a custom blend of acetate.

unisex frame that’s guaranteed to be an eye catcher – and a perfect

What earned vanni the 2017 SPECTR Award in the sunglasses

choice for taking top honors in this category. Congratulations!

category was their current »Re-Master Sun« model: A modern take on 36

@myjfrey

S TO C K S

S TO C K I N G S BY HELI HINKEL s t ylin g JILL K RAM E R a t 2 1 A G EN C Y h a ir & m a ke - up S AB R I N A S C H E UE R a t 2 1 A G EN C Y mo d els E ST HE R L OM B & A N N A H A F T E N B E R G ER a t V IV IENNE MODEL S lo ca tion s cout i n g & orga n isa t ion A G EN T UR R E G I NA KACZMAREK s p e c ial t h a n ks to SIG N G R A F I K D ES I G N K O N ZEP T I O N KOMMU NIKAT ION GMBH & E1 5 DES IGN sk ylin e photo C ARL D O M B R O W lo ca tion FRAN K F U RT A M M A I N

ESPRIT » E T 1752 7«

ov e rall P REVIE W

» E T 1753 0 « dre ss COS

I-SPA X »A l f re d «

p ants T IGER OF SWE DE N jacke t & t ur tle ne ck VIVIE NNE UISCHNE R

I M AG O U LT R A L I G H T » Pl u t o «

ja c ke t H EA RT, p a nt s C O S , s car f B E N E T T O N

MODO »70 02«

blou s e HU GO BOS S , p ants V IV IENNE U IS CHNER, s hoe s GU ES S

MODO »70 02«

jacke t VI VIE N N E U IS C HN E R , p a nt s C O S

MUNIC » 8 91-3 «

dre ss ASOS

KOMONO »T h e C lo v i s «

ja c ke t & p a nt s A S O S , s hoe s CL ARKS

ÖGA » 82 74 0 «

ja c ke t ASOS, s ki r t M A R C C A I N

ÖGA » 826 8 0 «

blou s e T IGER OF SWE DE N, s ki r t AS OS , s hoe s CLARKS

MAKELLOS.POTSDAM » M E -3 0 02«

jacke t T IGER OF SWE DE N p ants IV Y & OAK

MAKELLOS.POTSDAM » M E - 9 0 42«

ja c ke t IVY & O A K

EINSTOFFEN » S c h n a p s b re n n e r «

blou s e V IVIE N N E U IS C H N ER

EINSTOFFEN »Mag nat« top UNIQLO

C A M PA I G N I N S I G H T

ARMEN DJERRAHIA N is Doing the CAZAL Job

por tra i t D AVID L S

Armen Djerrahian is no stranger to legendary eyewear: “THE CAZAL JOB” marks the photographer’s fifth shoot for the iconic label from Passau, Germany. What’s more, the Brooklyn-based photographer has been a passionate CAZAL fan and collector for several decades at this point – and it shows in his work. Thanks to the personal connection to the brand – and his background in hip-hop and street culture – Armen Djerrahian’s images capture the CAZAL vibe like no other. spectr sat down with the well-traveled pro to learn about his creative process. 54

C A M PA I G N I N S I G H T

„The Lord“ alias Michael McLeer wearing the »987« and „The Don“ alias Max Casella, wearing the »968«, gambling to win the popular »002«.

Hi Armen, please give us a short introduction of who you are and where

Later on you moved to Brooklyn, another hip-hop hotbed. How did that

you’re from.

happen?

I grew up and spent most of my life in Paris and I consider myself

Yes, I moved in 2006. I needed a change in my life and NYC always

as a product of the ‘80s. Meaning that we had the best influential

had that special place in my heart where I felt I would move one

movements ever, from music to culture. The early ‘80s brought so

day. My career in France reached a point where I couldn’t see any

much into my life, as I embraced hip-hop culture around 1982-83.

evolution and I needed to reposition myself. Working mostly in

I was a b-boy and graffiti writer and also rode freestyle BMX. These

the urban music industry had closed many doors to my career as a

two movements really made me who I am today. After school, I

photographer and director. What attracted you to photography and how did you get started?

used to either go and ride or join my friends and dance until my body would ask me to stop. Sometimes on the weekends I did

Well, I started photography as a total autodidact. Never took any

both, riding in the afternoon and dancing at night. Hip-hop was

classes, never been an assistant, which had me starting my career

predominant in my teenage years and I was fortunate to live next

with a lot of shortcomings. I was lucky enough since at the time,

to the 19th district of Paris where everything happened.

I was writing articles for a French BMX magazine called Bicross 55

C A M PA I G N I N S I G H T

»987« & »968«

“Lo Mato” alias Crazy Legs in movement with the »663«.

Magazine. The publishing company gave me all the rolls of film

of consideration comes with time, when your images are conside-

that I needed and I did not have to pay for anything in terms of film

red as “iconic”. What’s the most inspiring thing for you in terms of photography?

development and prints. I started photography in 1991 and a few months after that I already had my first photos published in inter-

Life, people, and aesthetics. I love to consider myself as a witness,

national BMX magazines. Around 1994, music became predomi-

a sort of “voyeur.” Behind each human being there is a story to tell

nant in my professional career and I started concentrating my work

which is why I love portraits. But also behind each human there

on shooting artists for the press and album covers.

is an environment which why I also gravitate towards “lifestyle”

What characterizes your specific approach as a photographer?

photography. You can tell so many things in one image. And what’s the worst thing about this profession?

It’s hard to define my approach, but I often say that your eye is what makes your image different. You can have all the best cameras on the planet, but that won’t make you a good photographer. It

I would say being a freelance photographer and not knowing if you’ll have a job tomorrow. But that’s also an amazing challenge.

is your interpretation of the subject that makes you different. It’s

The current campaign “The CAZAL Job” marks your fifth shoot for cazal,

about focusing on creating your own style and your trademark

doesn‘t it? I’ve actually shot more than that because I’ve shot their “optical/

through your work. But that takes time. What is photography to you – art or craft?

prescription” lookbooks as well. Our collaboration started in 2013

Passion! I am totally grateful for having the luxury of doing a job

when I was asked to shoot the entire Legends collection. I then did

that I’m passionate about. Of course it is a form of art, but that kind

the shoot with Spike Lee, the one in Miami, Paris and this one.

C A M PA I G N I N S I G H T

»745«

»987«, »8037« & »909«

The one and only Armen having a dance competition with Crazy Lags.

In which way are you personally connected to cazal?

Not really, but it is definitely a plus. I’m shooting photos and cam-

I’ve been collecting cazal since the late 1980s when I picked up

paigns for other brands, but I’ll always have something special for

my first pair: a brown »607« that a friend brought me back from

cazal. Once I had the chance to visit the headquarters in Passau

and that’s when they realized how much I knew about the brand.

New York. To make a long story short, I ended up losing them

How did the idea behind the “The CAZAL Job” come about?

during a dance battle. I was so pissed off. Then one day, I earned enough money to start collecting them and own that brown pair

The way we work with cazal is mainly based on communication,

again. Most of my cazal frames are made in West Germany, which

which isn’t simple since everyone is based in Germany and I am in

tells you more about what I own. To me personally, cazal was part

NYC. We brainstorm a lot with the staff, most specifically Beate

of the hip-hop culture. I grew up watching artists wearing them.

Obersteiner and Sven Christ. They’re coming up with hundreds

So it has always been associated with the culture until I learned

of ideas and directions and I’m the one who shakes everything up

more about the brand and Cari Zalloni’s work.

until we find the one strong concept. Sven brings in creative and I

And how did you end up being their “campaign photographer”?

come up with the vision and details.

I don’t know! I believe we have a great relationship. It’s really hard

But what remains the most important is how to respect and

to earn their trust, but I guess, they all know how much I love the

continue to build what Cari Zalloni would have eventually

brand and have trust in my vision. It is a humbling experience to me.

envisioned. That’s the main challenge. So whenever possible, we

Do you think it’s important that a photographer has a personal connection

subtly pay homage to some of the old campaigns. The concept

to the products he shoots?

of the “CAZAL Job” came from a meeting with legendary b-boy 57

C A M PA I G N I N S I G H T

»987«, »968«

»987«, »909«, »8036«

“The Unpredictable“ and “The Handsome Guy” wearing the styles »9066« and »8036«.

Crazy Legs from the Rock Steady Crew. I believe he had a meeting

posters.

with one of cazal’s US reps who ended up posting a photo on his

Tell us something about the setting. Why did you shoot in a studio instead

Instagram. Sven and I immediately responded to it. The challenge

of an outside location?

was to create a story without falling into a sort of cliché that would

Since I already shot several lookbooks in the streets of New York,

bring back that “Old School” imagery that often sticks the brand.

I did not want to go back and repeat myself. Instead, I wanted to

cazal is still a current eyewear company that has grown with times.

bring the New York vibe in a studio by bringing a few iconic

The title sounds a bit like “The Italian Job.” What’s the story behind the

elements on set.

campaign photo shoot?

Could you go into more detail?

The pitch was to play around the »002«. The staff has found a

I grew up watching many movies from West Side Story, to Once

certain number of unseen sketches drawn by Cari. Unreleased and

Upon a Time in America, to Flashdance and all the series that were

never seen before models that the actual staff decided to put into

shot in NYC in the 1970s and ‘80s. The main element that came

production in limited quantities. The »001« came out last year

to my mind right away was the fence with the barbed wire on top.

and »002« should come out in 2017. Since we already had Crazy

You can see them all over the city. The fire hydrant of course and

Legs as part of the cast, Sven brought the idea of asking my friend

since we couldn’t have Crazy Legs not busting moves, we had to

Michael “Kaves” McLeer to be part of the shoot. Kaves is an iconic

get that classic linoleum floor and I also added my personal Sharp

graffiti writer and artist from the early ‘80s. He is also the originator

GF-777 boom box. So the Rolls Royce is yours as well?

of the successful rap group Lordz of Brooklyn. And since they are carrying this Brooklyn Italian heritage with them, it immediately

Yes of course! (Laughs) Nah, I wish it was mine...

made sense to Sven to come out with this Italian mafia-style type

To wrap things up, here’s what may be a redundant question: What’s your

of story. The pitch was simple: Crazy Legs hires a beautiful female

personal favorite eyewear label?

model to steal some super secret frames – the »002« – from the

cazal, of course. I’m a huge fan of the 600 series that I’ve been coll-

Italian mob. The concept of this photo shoot was definitely inspired

ecting for the past 18 years. My personal collection is somehow really

by New York culture while keeping the visuals slick and chic.

rare since I’ve been concentrating on getting mostly small sizes. Back

Since we needed strong characters, Kaves thought about asking

then, each model came in at least two sizes. I have a pretty small face,

his friend and famous actor Max Casella to be part of the shoot. He

so many of my favorite models looked really big on me. I have a special

accepted right away, motivated by the love for cazal. And second

affection for the »642« in a mottled grey color. I really like Cartier as

because he was an old-school b-boy back in the days, so the entire

well and recently got a crush on Hilton, a vintage Italian brand that

adventure was amusing to him. I have to say that we had a lot of

I’ve discovered through my friend Corey Shapiro. But cazal remains

fun on the set. These guys were hilarious. I also chose to bring two

my favorite. Thanks for the interview, Armen.

professional models, as we needed a beautiful face for the female character and this young edgy contemporary type of guy for the 58

COLLAB OF THE ISSUE

S I L H O U E T T E A RT HU R

ARBESSER

photos ST E FAN D O N G US , s t il l s R A P H A E L S C H M I T Z

We have already shown the collaboration between SILHOUETTE and Austrian fashion designer Arthur Arbesser on the pages of this magazine. But we never gave you the inside story on how the brand worked with the Italy-based designer on creating exclusive eyewear in characteristic SILHOUETTE lightness and high-end quality. The gorgeous special edition model surprises with unexpected lens color combinations; probably the first frameless pair of shades to implement two colors in one lens. We found out the how and why in our interview with the 34-year-old designer at his Milan studio, where he was deeply engaged in creative processes (featuring Absolut vodka and Vibram FiveFingers). Hereâ&#x20AC;&#x2DC;s what Arthur had to say before jet-setting off to Paris. 61

COLLAB OF THE ISSUE

Why ... ... Arthur Arbesser? Because that’s how my parents named me. At 100% a real name. ... fashion design? Because fashion design has always been a dream of mine. I ended up coming into it via opera and the theater, where I first realized the tremendous power behind a costume and clothing in general. ... Milan? Since I’ve spent seven years working in the design team at Giorgio Armani right after graduating and before going independent. So I kind of got „stuck“ in my new home town. ... women‘s fashion? Because I’ve studied women‘s wear in London and exclusively worked on designing women‘s fashion at Armani. But with Arthur Arbesser I would also welcome the chance to work on men‘s fashion – and finally design some things for myself. ... eyewear collaborations? Because glasses are small, yet extremely effective accessories – and immensely important. That was the attraction. ... work with silhouette? Because silhouette, much like myself, hail from Austria – so that was a beautiful combination. silhouette also stands for utmost quality, unbeatable in terms of technology. Working with such know-how was really appealing to me. ... design and color? Because strong colors, simple and geometric lines, plus graphical prints really reflect my personal fashion DNA. And it also informed this collaboration. But I was also inspired by the shape of Arthur Miller‘s glasses and the color combination of glasses from the Vienna‘s Workshop art collective around the year 1900. 62

SHA D E S OF

G R E Y

BY EDISONGA s t ylin g C ARIIN C OWA L S C I I a t B L O S S O M M A N A G E MENT h a ir & m a ke - up J AN E J A K O B I a t B L O S S O M M A N AGEMENT mo d els TAN A BOS HO F F a t F UL L C I R C L E C A P E T O W N & M ARN O T HE ART a t B O S S M O D EL S C A P E T O W N p ro d uc t ion / ca s t i n g 1 S T P R O D UC T I O N S C A P E T O W N re touch BL U E BU N NY lo ca tion C AP E T OWN

J . F. R E Y » J F 2 752«

coa t MAS S COB L A COR UÑA

» J F 2 751 «

coa t MAS S COB L A COR UÑA

ROL F SPEC TACL E S » C a p r i 92«

s ki r t &OT HE R S T O R I ES , k imono N O B I TA L A I

ROL F SPEC TACL E S »F i re d o m e 95 «

coulott e s S EE BY CHL OÉ, kimono NOBI TALAI

LINDBERG » 9 8 31«

p ants RICHERT BEIL , jump e r &OTHE R STORIE S

LINDBERG » H a r l e y 43 «

p a nt s R I C H ERT BEIL , pullov e r DANIEL E F IES OL I ITAL IA

TAVAT » Pa n t o s | C 2 . 0 «

p a nt s N O B I TAL AI, jump e r V L ADIMIR KARAL EEV

» S i e r ra «

p ants & top NOBI TAL AI

TAVAT »F o l i u m | A «

t u r t le ne c k & g ile t H & M

HOF F M A NN N AT U R A L E Y E W E A R »2 251«

d re ss &OT H ER S T O R I E S

HOF F M A NN N AT U R A L E Y E W E A R »2 2 02«

top 7 CHIC AV ENU E, p ants HENRIK V IBS KOV

»2 2 24 «

dre ss 7 CHIC AV ENU E

COBLENS » Spoiler sun «

p a nt s V L A D I MIR KARAL EEV, s hi r t & jacke t RICHERT BEIL

»Sonnenblende sun«

p a nt s NOBI TAL AI, blou s e RICHERT BEIL

ESSENTIALS

sh a v in g c re a m & d eo dora nt S A . A L & C O sh a v e soa p C RABT RE E & E V E LY N smo ot hie FROOS H b ra cele t RIS F J E LL S S A M ES L Ö J D po cke t kn if e LAGU IOL E li gh t e r VINTAGE

EINSTOFFEN »De k an«

M R .

DE KA N

photo RAP HAE L S C HM I T Z

He is a laid-back guy with old-school manners, a tendency towards minimalism and a penchant for functionality.

PLAYE R S ONLY BY MERT DÜRÜMOGLU s t ylin g ROL F BU C K h a ir & m a ke - up T IN A TA I I S C H M O L L a t N I N A K L EIN.COM wi th NU MERIC P ROOF & N AD INE T HOM A a t N I N A K L E I N . C O M w it h D I O R & DAV INES DEU T S CHL AND mo d el s VAN E S S A HA EN I S C H a t V I VA M O D EL S B E R L IN, LEA SOPHIE BE HOL Z a t M O D E L M A N A G E M EN T & J EAN- MICHEL a t EV ERYDAY P EOP L E lo ca t ion D U SSE L D OR F

LIEBESKIND BERLIN »11012«

s hi r t J OHANNA K., p ants WE E KDAY

LIEBESKIND BERLIN »11019 «

pullo v e r C ARHART T, bl a z e r ST YLIST’S OWN

MARTIN & MARTIN »Herber t«

s hi r t L EV I’ S

MARTIN & MARTIN »Mick«

s hi r t CARHART T

CAZAL » 6 013 «

polo s hi r t ORIGINAL P ENGU IN

CAZAL » 8 03 6 «

dre ss KAREN MIL L EN

YO H J I YA M A M O T O »Y Y 70 0 8 «

blou s e & pullov e r COS

YO H J I YA M A M O T O »Y Y 103 0 «

p olo s hi r t BU RBERRY

SILHOUETTE » 8142«

s hi r t L ACOS T E

SILHOUETTE » 55 0 0 «

top KAREN MIL L EN

INVU »T 2 710 «

s hi r t MOL LY BRACKEN

French Chic & Classic Elegance All sunglasses styles are RXable

daniel-hechter-eyewear.com

FASHION VIEW

G O OD C O M E S

STYLE FROM

WIT HIN

Instyle Fashion Director Jan-Michael Quammie photo S T E FAN D ON GU S

Jan-Michael Quammie’s personal style is hard to pin down. It’s an eclectic mix of high fashion with street style, bright colors with understated elegance, statement pieces with quiet accessories. And it’s always up to date: As the fashion director of InStyle Magazine’s German edition, the native New Yorker spends her days deeply immersed in the latest trends. This makes her a perfect candidate for our Fashion Direction segment, where we’re inviting fashion professionals – naturally some of the best-dressed people out there – to speak out on what’s keeping them inspired. In this spectr exclusive, JanMichael Quammie explains the stylistic influences behind her outfits and the role of eyewear in putting it all together. 90

Your first name “Jan-Michael” sounds like your parents rather wanted to have a son than a daughter. Well, “Jan” is a woman’s name in America, not a man’s name. And Michael is my dad’s first name and he just wanted to name me after him. Where do are you from in the U.S.? I’m from Brooklyn, New York. As the fashion director at InStyle Germany, is it important to have a strong

personal commitment to fashion?

Yes, for sure. Being a fashion director means that you spend your entire life surrounded by fashion. You’re supposed to look at every little corner for inspiration and turn these things into stories and material for the magazine. We’re a monthly magazine, so my turnover is very quick and there’s a lot to see. And it’s also my personal commitment to be inspired by fashion. How did you get into the fashion business, initially? I’ve always been interested in fashion. At 13 or 14 I used to sketch my own fashion designs and went to a fashion design school. Back then, the only thing I wanted to do was be a model or a fashion designer. I tried both, and decided I wanted to be behind the scenes

FASHION VIEW

ANDY WOLF

same message: What you need to wear and how you need to style it.

»L isa H .«

But you’re exposed to fashion every single day, doesn’t that get boring? I don’t get bored, because I’m interested in it. And I’m thankful to be here because I know there are a million people that would kill for my job. I’m really grateful, even when I’m tired and traveling. It keeps me inspired, which is important since I have a team of seven people that look at me for that sparkle in the eye. Speaking of sparkle, what is the most exciting part of the fashion business for you? It’s when I get to create in any realm. When I’m out styling and shooting, that’s the most exciting part. When I start something from the beginning and develop it into a huge production. In my styling work, everything comes from me: I pick the models, the photographer, the location, so I create the entire mood. And to see it come to life is the most rewarding thing. Because it comes from my brain and materializes into something bigger. That’s the most exciting part, actually for everyone who worked on it. Because at the end of the day, making it a reality is really a team effort. From your vantage point, what are the biggest fashion trends today right now? Actually, SS17 is a bit repetitive. It’s all about over-sized, very voluminous blouses, and destruction of clothing. It’s all about masculine styles for women, inspired by men’s suiting and men’s denim. Sneakers are very strong. You’re seeing a big influence of old-school OG Nike and adidas. It’s all about mixing street with high fashion, like Louis Vuitton and Supreme did. Also mixing sporty with high-end, like wearing a track suit with high heels, just

more. I didn’t know there were other roles you could have in

bringing that technical vibe into your wardrobe.

fashion, until I got older. Once I realized there was something like

Based on your extensive background, which designers inspire you?

a “fashion buyer”, which is even more behind the scenes, I decided

Céline is a huge favorite for me. I love what J.W. Anderson is doing

that was a good fit.

at Loewe. As far as newcomers go, Y/Project is really fresh and

What’s the required skill set for a fashion buyer?

modern. I also admire Maison Margiela, Dries Van Noten and ACNE

I’m pretty good with math and have a good eye for trends and

which are long-time favorites of mine. And which styles and labels catch your attention in eyewear?

forecasting new up-and-coming designers. So I took a job at Saks Fifth Avenue as an assistant buyer ten years ago, where I learned

I’m a fan of oversized frames and cat eyes. I really love some of the styles by Céline – sadly, they are no longer producing them.

the skill set of a corporate buyer. That’s what I did for most of my career, hopping around between wholesale and retail, seeing every

Big question to wrap things up: What is your personal definition of good

aspect of the fashion business. I did buying at Christian Dior,

style?

Saks, Mytheresa, and Net-a-Porter in China. Later I started styling

Good style is whatever you feel like. Good style comes from

because my friends worked for awesome magazines in China and

within, it’s not something you can create. It’s not something you

in New York. They liked my personal sense of style and invited me

can be taught. If you have style, you have it. If you don’t, you don’t.

on their sets to style looks for Vogue China or Elle China. It kind of

Style also exudes in your attitude, your confidence. People with

fell in my lap, and I started creating a book that became my portfolio,

style don’t need to do much. They can just wear a white T-shirt

which got me even more styling projects.

with jeans and a blazer, and pull it off because they just look so

How does that background translate into your current position?

confident. People with no style feel like they have to do a lot, and

My current job as fashion director is really a combination between styling and fashion buying, because both are telling the reader the 91

just look horrible. Style is like a sixth sense. I believe it’s a skill. Thanks for the interview, Jan-Michael.

COLLECTION SHOOT

TAVAT SOU PCAN

2 .0

Same Same but Different photos VA LT I N & C A L I S T I

Let’s be honest: Who out there knows – without looking up on Google – what a palindrome is? If you do, please give yourself some trivia points because a palindrome is one of the most fascinating stylistic devices out there. A palindrome is a word or sentence that can be read forwards as much as backwards – for instance names like Bob, Hannah, or Otto. Or how about eyewear brand TAVAT, created by design aficionados Jeremy Baines and Norman Schureman? The two founders even took the palindrome to a visual level, by rendering the company logo in symmetrical typeface so it reads the same as a reflection in the mirror (also a smart play on the company’s penchant for reflective lenses). Let’s take a closer look at the story behind the brand and some of the models in the award-winning return of the SoupCan Collection.

Established in 2010, tavat ranges among the relatively young brands

process behind new collections takes place in Pasadena, close to Los

in the eyewear business. Then again, their professional brand positio-

Angeles, all designs are manufactured in the Dolomite mountains

ning and product output suggest that they’ve always been around.

in Northern Italy with a time-honored manual process that aims at

The company’s special approach consists of blending Italian eye-

creating a masterpiece with every frame. One of the most defining moments in tavat’s history has been the

wear craftsmanship with California-style design. While the creative 92

COLLECTION SHOOT

TAVAT »Pantos R e c t an gul ar (C)«

»R oun d (C)«

»Pantos (C)«

Have your pick: The “Combinations“ models are available in »Round«, »Pantos« and »Pantos Rectangular«.

COLLECTION SHOOT

The sandwich construction is especially visible in the “Combination” Series, which blends a variety of materials.

The SoupCan Collection’s signature hinge screws have been modeled on a Swisswatch-crown.

All nosepads are flexible and adjustable to the individual wearer.

launch of the SoupCan Collection. At a time when brand-new eyewear

thought lingered in his mind, the designer not only came up with

designs are hard to come by, designer Norman Schureman drew in-

an entirely new way of making frames, but also created the SoupCan

spiration from an old poster featuring airplane pilots from the 1930s.

Collection. All frames were crafted with a unique “sandwich” cons-

Upon seeing the relatively crude goggles worn by these pilots, Schu-

truction, in which technology visibly comes to life in an industrial,

reman imagined them having been cut out of metal soup cans. As the

technical-looking design.

COLLECTION SHOOT

TAVAT »R oun d (M)«

“All-Metals”: Bold style statements, shown here in expressive styles »Round« and »Pantos«.

»Pantos (M)«

The recently launched SoupCan 2.0 Collection marks the return

with an ultra-scratched metallic surface finish. The comparatively

of popular shapes from the first run, but with a 25% reduction in

understated Combination series is more suitable for everyday wear,

weight. Models such as »Round«, »Pantos« and »Pantos Rectangular«

featuring frames with all-acetate temples for easy adjustments. The

are available in a variety of color and material combinations. The most

material has been stripped down for a more refined look and clean

striking pieces in the new line are undoubtedly the All-Metal versions

aesthetic. The nosepads are freely adjustable while the frames can be

COLLECTION SHOOT

A special kind of cool: The Pantos »Blinker« is a special edition in a league of its own.

TAVAT »B linke r«

»Folium (A)« Meet the “Acetates”: A reductionist take on the SoupCan line, shown here in »Folium« and »Cinque«.

»Cin q ue (A)«

transformed into sunnies via clip-ons with melanin lenses. Suitable

the line consists of the models »Cinque«, »Folium« and »Round« that are

for men and women, the frames have already won several honors,

rendered in classical Mazzuchelli material for a warm, comfortable wear.

including Gold at the International Design Awards (IDA).

Watch out for the entire SoupCan 2.0 Collection this season as a

Another material variation of the SoupCan family is the Acetate

diverse and expressive continuation of the tavat design philosophy,

Collection: Reduced even further to achieve a purist design language,

as the legend lives on. 96

BRAND PROFILE

Designer Daniel Hechter has built a reputation for infusing his work with classic elegance and distinctly French style. Hechter is best-known for ushering in a paradigm shift by bringing designer fashion into everyday wardrobes in 1962. At the time, the idea that coveted pieces from Paris fashion runway shows could be affordable to everyone was nothing short of revolutionary. The driving force behind Hechter’s aesthetic was what the French call “Savoir-Vivre”, which roughly translates into “knowing how to live.” This quintessentially French attitude is marked by getting the best out of life, embracing creativity, open-mindedness, impeccable taste, cosmopolitan living, and elegance – all of which also run deep in daniel hechter’s design DNA. With roots in Paris, one of the world’s fashion capitals, the brand has been an advocate and global ambassador of Savoir-Vivre for decades. Since 2009, designer Bernhard Schwarzbauer has been tasked with distilling the underlying aesthetic into daniel hechter’s

W H Y

W E

FR E NCH

NEED IN

OUR

Le ‘Savoir Vivre’ avec Daniel Hechter photo VALT IN & C ALI S T I , t e x t A S T R I D S P I E R I N G

LIV ES

BRAND PROFILE

eyewear collections. Over the years, the brand’s eyewear has been driven by quality, lifestyle, and influences from fashion. In the bigger picture, the emphasis lies on fashion that is, most of all, wearable in an everyday context, true to the brand’s roots in Prêt-à-Porter instead of avant-garde. “In a world of fast-paced change, the daniel hechter brand offers the certainty of always being well dressed. This makes the brand authentic. Fashion from daniel hechter offers strong trends rather than short-lived superficial hype,” says the brand philosophy. Models in daniel hechter’s 2017 eyewear collection combine carefully appointed styling with comfortable wear. Thin-framed, delicate acetate and metals – including the material TR 90 – support exact lines and curvatures in extremely lightweight frames. Almost all of the collection’s models feature hinges “Made in Austria“ by Redtenbacher, which can also be replaced individually. All sunglasses are equipped with super anti-reflective back coating to reduce glare and irritation. As a special feature, all sunglasses frames can also be fitted with prescription lenses. And while we are on the subject, this season’s optical collection dazzles with classic styles in luxe colorways such as Honey Havanna, Smoky Jade, Mango, and Indian Red. Meanwhile, the shapes are equally inspired by the classics, transferred into the here-and-now with that extra dose of Savoir-Vivre.

JULY 4 â&#x20AC;&#x201C; 6, BERLIN

Station-Berlin www.premiumexhibitions.com

RIMLESS

GÖTTI »S M01« in B l a ck

sh ir t RAL P H L AU R E N B L A C K L A B E L p a nt s P OL O RAL P H L A UR E N

ANDY WOLF »G a w e cki« in C olor D sh ir t Z ARA ST U D IO

SI LENT STRENGT H It’s Time for Rimless

photos ST E FAN D O N G US a ss i s t a nt AS T RID S P I E R I N G d i g i t a l op e ra t i n g C A R O R O S S s t yli n g YVE T T E JA C K h a ir & m a ke - up L AT I S C H A N I C H O L S O N re touch GL AM T OUC H mo d els F RIT Z a t M E G A M O D E L S & EK AT E RIN A a t M OS T WA N T ED s til ls RAP HAE L S C H M I T Z 101

RIMLESS

ANDY WOLF »G a w e cki« in C olor D

s w e a t e r H& M p a nt s P OL O R A L P H L A UR E N

LUNOR »Cl a ssic C omfor t Panto« in Anti k G ol d top S AN D RO d e n i m JBRA N D

GÖTTI »C Y01« in B l a ck 102

RIMLESS

ANDY WOLF »Ign a c io« in C olor D

blou s e M A J E

Are you watching closely? As we head into summer 2017, rimless eyewear has all the makings of a hot season trend. After bold frames and expressive materializations have dominated the scene for years, delicate frame designs are stealing the spotlight as of late. This includes not only metal frames, but also acetate versions. The leap from going thin-framed to losing the rim altogether is, then, a logical evolution of this trend. But let’s be honest: Rimless frames are not the most obvious candidate for a trend phenomenon. They have been around for decades and offer wearers a sense of lightweight utility – but not so much in the style department. Until now, their most striking characteristic was their ability to take a step back, and never draw too much attention to themselves. But we are now witnessing a new generation of rimless frames that are bolder, younger, and more fashionable than ever before. To shine a light on this trend, here’s our special segment featuring proven classics from brands such as lunor, lindberg, and silhouette next to rimless newcomers including götti and andy wolf, which are both mostly known for their bold eyewear designs. But as the models featured in this shoot will demonstrate, going rimless does not equal losing any style appeal. Just the opposite – each brand finds ways to make a statement, for instance via new technologies, innovative color combinations, modern lens shapes or barely visible bridges, hinges and temples. Watch closely as rimless frames step out of the shadows and take center stage in our 16-page rimless eyewear special.

SILHOUETTE »Dyn amics C olor wa v e« in R uthe nium Oce an t- s hi r t COS

103

RIMLESS

LINDBERG » S t r i p3p t i t a n i u m «

104

RIMLESS

SILHOUETTE »TMA Mu s t« in In d i go B lue

ov e r s i z e top S T U DIO IV ORY

LUNOR »Cl a ssic An a tomic Med ium« in Anti k G ol d lon g s hi r t COS

GÖTTI »RR01« in G ol d

top CHL OE 105

RIMLESS

LINDBERG »Spir it tit anium« »Spir it tit anium« »Str ip3p tit anium« »Spir it tit anium«

LINDBERG 2000 SPIRIT Design Classics from Denmark Going big on the new trend, the 2000 Spirit Collection by lindberg is one of the most comprehensive rimless collections on the market. The frames are solely composed of titanium, titanium wire, and acetate. In the absence of rims, all temples and hinges in the 2000 Spirit Collection become more visible and enhance the Danish brand’s fashion-forward style. Never known to compromise functionality for aesthetics, the designer brand offers its lightweight frames – as low as 1.9 grams – in a modular concept that allows for customizing each pair to the wearer’s specifications. All frames can be fitted in the entire lindberg titanium color palette, which has recently been expanded with new colorways. Drawing from an extensive collection of shapes and color options, rimless frames can be packed full of style, any way you like it.

106

RIMLESS

GÖTTI PERSPECTIVE Swiss-Made Technical Innovation Rimless newcomer götti has actually been quietly perfecting their rimless version for ten years. But although it took until 2017 for the project to go public, the industry is paying close attention now that götti is dropping its hat into the rimless arena.

Behind the rimless collection lies an entirely new götti technology, in which the frames are assembled entirely without screws, soldering or glues. The lenses basically never touch metal, but are mounted on a polymer connective element – created via 3D-printing – that also holds the stainless steel temples and nose bridge. Starting things off, GÖTTI is releasing the rimless collection in six shapes and three lens sizes, with options for opticians to add their own twist to the shapes. While all of this is breaking new ground in a major way, götti is keeping it classic by paring down color choices to Black, Silver, andGold. That‘s all you need.

GÖTTI »C Y01« in B l a ck »PR01« in Sil v e r »RR01« in G ol d »S M01« in B l a ck

107

RIMLESS

GÖTTI »PR01« in Sil v e r lon g s lee v e C OS

108

RIMLESS

LINDBERG »Spir it t itanium«

lon g s lee v e COS

LUNOR »Cl a ssic An a tomic Med ium« in Anti k G ol d s hi r t ZARA S T U DIO 109

RIMLESS

SILHOUETTE Rimless Brand Evolution For Austrian brand silhouette, rimless frames are a continuation of their brand DNA. True to its name, silhouette has set out to create a strong form language that places an emphasis on the resulting outline, which matters far more than drawing attention to its high-end materials and finishes. With that in mind, rimless eyewear is a logical fit for the overall line-up. silhouette has dedicated not one, but several collections

to playing with rimless frame styles: The Racing Collection is dedicated to timeless, athletic classics for men. The Titan Minimal Art Collection offers a larger degree of freedom to create a personal style via exclusive color variations and an array of fashionable lens shapes, ranging from ovals to cat eyes all the way to butterfly shapes. Finally, the Dynamics Colorwave Collection boasts colorways encompassing glowing exotic variations and dominant topcoat hues. Rimless wearers looking for a creative form language will welcome choices such as silhouette’s rimless take on the aviator style with a double bridge. The latter is an equally unconventional and brilliant model that’s bound to become an eye catcher this summer season. All frames in these collections are available in two sizes.

SILHOUETTE »TMA Mu s t« in In d i go B lue »TMA Mu s t« in Ma u v e Sh a dow Shiny »Dyn amics C olor wa v e« in R uthe nium Oce an »R a ce C olle c tion« in Da y ton a G re y R ed

110

RIMLESS

ANDY WOLF »E ps t e in« in C olor A »Ign a c io« in C olor D »Far i a« in C olor C »G a w e cki« in C olor D

ANDY WOLF Revolutionizing Rimless Style Over the past ten years, the Austrian brand has excelled at creating an equally colorful and recognizable design universe that stands out from the rest of the pack. The keen sense for fashionable designs is only surpassed by the commitment to traditional craftsmanship. andy wolf eyewear achieves its high standards by offering quality

100% “Made in Europe” at production sites in Austria and France. Then again, tradition is an ongoing process, as andy wolf sets its scopes on rimless frames. The basic philosophy behind their line is the contrast between visible and concealed elements. Inspired by architecture, the frames are crafted from metal, acetate and glass in a purist, lightweight balance that rests on a new nose bridge design created for the collection. This nose bridge is surprisingly pronounced, but never looks out of place, as it adds character to the rimless line. The middle section and temples are adorned with highlights in color-matched nickel silver. The resulting collection says no to rims, but yes to continuing andy wolf’s unmistakable design language.

111

RIMLESS

SILHOUETTE »R a ce C olle c tion« in Da y ton a G re y R ed

s hi r t H&M

GÖTTI »C Y01« in B l a ck

blou s e MAJ E, d e ni m ZARA 112

RIMLESS

LUNOR »Cl a ssic »Cl a ssic »Cl a ssic »Cl a ssic

C omfor t Panto« in Anti k G ol d R un d« in Anti k Silbe r Panto« in G ol d An a tomic Med ium« in Anti k G ol d

LUNOR CLASSIC COLLECTION The Perfect Understatement One of the true trailblazers of rimless designer frames, lunor counts among the major players in this segment.

Eyewear crafted by the German company not only became a favorite of prominent international figures such as Steve Jobs, but have also built a loyal following among consumers over the years. lunor created a special screw system to equally

distribute pressure across the lens surface, thereby reducing the risk of breakage. All frames are crafted by hand, using proprietary hinges at workshops in Germany, as well as a specialized titanium manufacturing outfit in Japan. All of lunor’s rimless models share a minimalist, ultra-delicate aesthetic. lunor offers a wide variety of styles that flatter a variety of different faces, including panto, square, anatomic, and rounded designs.

113

RIMLESS

GÖTTI PERSPECTIVE

And now it’s here, the rimless frame by götti, the Perspective Collection.

Despite the fact that you have a reputation for visible frame designs and

Glasses for a Rimless Avant-Garde

high-grade materials. Next to our classic manufacturing methods, we have also spent the past few years working on new and innovative ideas. And we do not want to be limited by a certain material or production process. We are more interested in learning which kind of concepts are compatible with our design language. There’s room for everything in our

photos RAPHAE L S C H M I T Z

universe, from acetate to titanium all the way to 3D-printing. Compared to the rest of your line-up, the design and manufacturing of

Rimless eyewear is having a renaissance in fashion right now, and we’re staying ahead of the curve with our 16-page feature in this issue.

rimless frames seems a bit less involving, at least at first sight.

Swiss eyewear vanguards götti – otherwise known for their bold

Yeah, but only at first sight. In the frameless arena, you can’t just

and expressive frame designs – are also innovating in this category.

dust off any old design and put it back on the shelf. You need to live

For their interpretation of rimless frames, the Perspective Collection,

up to the same standards in terms of design and implementation as all other kinds of frames.

götti even created an entirely new manufacturing process. We sat

What exactly do you mean by that?

down with founder and designer Sven Götti for the full story.

Our DNA consists of fully formed designs from high-grade materials. Much like frames from all other materials that we work with,

Sven, why the sudden hype about rimless glasses? They’ve really been

our frameless models reflect the same commitment to creating

around forever ... The hype surrounding more delicate metal frames has been buil-

understated and modern designs. Combined with real innovations,

ding for some time now. So rimless frame designs are taking that to

the result is an authentic product that reflects our DNA in an even

the extreme.

more refined manner.

Is there a new avant-garde customer demanding these frames? Or is demand more driven by technical features such as lightness, comfort, and unimpeded field of vision?

What exactly are these rimless innovations? Our goal right from the start has been to not just develop another screw-based, rimless frame. We wanted an entirely new system, entirely independent of screws, soldering, or glues. At this point I

Right now they are actually kind of the new nerd glasses. Some people find them ultra cool, while others regard it as an old hat. I find it super interesting that the fashion avant-garde has discovered rimless glasses. But I think that rimless frames embody the larger trend towards more delicate glasses, so they’ll be having a revival. Is that also the reason why you have chosen to jump on the bandwagon now? Oh no, we’ve been working on this area for quite some time. Believe it or not, our rimless project already started ten years ago, in 2007.

GÖTTI »RR S01« in G ol d 114

RIMLESS

can attest that it’s a pretty ambitious goal and really an example of major league eyewear design. Without screws and other fixtures, how did götti succeed in connecting the So frameless götti glasses can be customized individually?

lenses to, say, the nose bridge and temples? After countless variations and experiments, we decided to create the

Theoretically, yes.

connecting element via 3D-printing. Thereby we ended up finding

What is your choice of temples material and what color options are

the perfect material characteristics for our system. The connecting

available?

element is inserted into the drilling hole and adjusted in length

The frame itself is crafted from stainless steel in order to achieve

depending on lens thickness. Our temples and nose bridges are

utmost flexibility. The components are bent into shape via a pro-

pressure-joined with the connecting element via a proprietary clava-

prietary tool and then coated with PVD. Right now, the frames are

lus, creating a long-lasting connection.

available in Silver, Black, and Gold colorways. So “only” three colors?

What are the advantages of your technology? There is far less strain on the lenses, since they have no contact

But the most important ones! And thanks to the fact that all compo-

whatsoever with metal, only with the polymer connecting element.

nents are modular, we can offer color changes or combinations. For

Let’s talk about the design in more detail. Rimless glasses are meant to

instance, you can connect silver temples to black hinges.

practically disappear. Is it hard for a designer to still lend a signature to

What kind of customers do you wish to attract with the collection’s theme

such a product? How did you pull it off?

of being “radically minimalist”?

Although rimless frames tend to be rather unassuming, there is

These glasses are more about a personality type than an age group.

no such thing as the typical rimless glasses. Every rimless system

They are people with an interest in design, who understand the

has its own character and represents a certain style. Driven by our

appeal of a systematically reductionist concept. Are there other aspects of the Perspective Collection you would like to

“form follows function” philosophy and unique lens mounting principle, we have create a unique product with with an indepen-

emphasize?

All processes behind this project were developed in-house and many

dent identity. As part of this philosophy, you are also emphasizing a “freedom of

are implemented right here in Switzerland. We have also created

choice” in terms of lens shapes. Can customers order any shape they like

a win-win situation by continuing the working relationship with

in these frames?

an organization that trains and supports adolescents with learning

We offer a set of six lens shapes, each available in three sizes. But

disabilities. All of this has allowed us to create a high-end product,

the opticians are free to modify these shapes or come up with their

“Made in Switzerland”. Thanks for the interview!

own versions. 115

RIMLESS

LINDBERG »Spir it tit anium«

blou s e & skir t 120% LINE N

SILHOUETTE »R a ce C olle c tion« in Da y ton a G re y R ed

s hi r t & p ants POLO RALPH LAURE N

116

Kitsilano CLHV Photography by Biel Capllonch. Vintage Collection

ESSENTIALS

MRS.Y photo RAP HAEL S CHMIT Z

Life has to be lived. That’s her motto. And to overcome all obstacles encountered along the way, Mrs. X knows how to treat herself – from the inside and the outside.

Y O H J I YA M A M O T O »YY7009«

p e n & ca r t r i d ge s K AW EC O f a c ia l s e r u m & c re a m T E A M D R J O S EP H je w elr y APRIC OT ROO M t e a LØ V ORGAN IC

118

C HO P P E R S HO P P E R BY GODRY PHOTOGRAPHY conce pt & s t yli n g MA RT I N A N EL L ES h a ir & m a ke - up C LA UD I A C R EUL S w it h C H A N E L & T OM F ORD mo d el s HAN N AH K a t P L A C E M O D E L S & F I N N B R O CK a t NOT OYS d i git al s upp or t K RIS T I N A H A D E R pos tp ro d uc t ion WIE S EN S T UD I O s p e c ia l t h a n ks to HE L I N R W lo ca tion HE L I N R W

GÖTTI » D a rc y «

s ui t S T RENES S E, s hi r t CAR U SO, s hoe s HEINRICH DINKEL ACKER, wa tch ROLE X

»Dante«

dre ss T ED BAKER, s hoe s MAI P IU SE NZ A

GLCO »Se ville«

bl a z e r & p ants AKRIS , b ra HANRO

GLCO »Va n B u re n C o m b o «

sh ir t PAT R I Z I A P EP E, coa t T IGER OF S W EDEN, wa tch ROL EX V INTAGE

GERMANO GAMBINI »GG89«

p a nts U N IQL O, coa t H UG O , w e s t T ED B A K E R , s hi r t U N IQL O, shoe s S H O E PA S S I O N

GERMANO GAMBINI » G G 92«

blou s e U NIQLO, p ants HUGO, coa t IV Y & OAK, shoe s URSULA MASCARO

ØRGREEN »A f t e rg lo w 6 81«

p ants S AMS OE& S AMS OE, jacke t TIGE R OF SWE DE N, s hi r t CAR U S O, s hoe s V EJ A, wa tch ROLE X VINTAGE

ØRGREEN »Shimmer 466«

dre ss AKRIS , coa t S T EF F EN S CHRAU T

» G ra n t 6 3 8 «

s hi r t CAR U S O, coa t S T RENES S E

S A LT. » Pa ra g o n « dre ss HU GO

S A LT. »Ta v i t a «

dre ss AKRIS , s hoe s MANGO

KBL »To p G u n «

p a nt s UN I Q L O , shoe s V EJ A, s hi r t U NIQL O, jacke t S AMS OE& S AMS OE

»Upper East«

sk ir t T E D BAKER, blou s e VAL ENT INE GAU T HIER

COBLENS » S t ra h l t r i e b w e r k «

s ui t & pullov e r T ED BAKER

Dynamics Colorwave Mod. 5500 BG 9140

BECAUSE YOU ARE UNIQUE www.silhouette.com

L A B E L U P D AT E

E Y E VAN 7285 Subtle Elegance in Japanese Craftsmanship photos VA LT I N & C A L I S T I

Whatâ&#x20AC;&#x2DC;s behind the mysterious name EYEVAN 7285? We have already shed some light on this upcoming label last year, when the Japanese brand was still an inside scoop in Europe. Since then, EYEVAN 7285 has been a constant presence on the optical tradeshow circuit, finding its way into more and more eyewear stores all over the world along the way. With top-shelf quality and a solid value proposition, the brand has earned a Label Update. Because as it turns out, the newcomers have deep roots dating back all the way to 1972. Hereâ&#x20AC;&#x2122;s the story.

Japanese craftsmanship at its best. 134

L A B E L U P D AT E

EYEVAN 7285 »148«

»147«

Frame »147« in an octagon shape and frame »148« in the classical P3 design.

Let‘s briefly rewind the tape to the brand’s beginnings in the late 20th century: The year 1972 marks the production of the first frames under the eyevan label. It’s the start of a great Japanese eyewear tradition, but only with a regional reach, initially. The brand finally breaks through on an international level in 1985, when jet-setting stars such as Madonna embrace eyevan glasses. But the great boom is followed by a long quiet period, until 2013 brings a re-launch: This time, the brand name is expanded to include two significant milestones in history, namely the years 1972 and 1985. eyevan 7285 sets out to continue the long tradition for exclusive designs and meticulous craftsmanship. This includes inspiration from classic design sketches found in the eyevan archives, which are refined into contemporary classics true to the initial brand DNA. 135

L A B E L U P D AT E

EYEVAN 7285 »147«

»148«

EYEVAN 7285 – sublte elegance.

The delicate gold colored metal frames set a subtle contrast.

Speaking of DNA, all eyevan frames have always carried a distinct design signature. At first sight, the new eyevan 7285 seems to be picking up the current trend towards understated, thin-framed metal glasses. But actually, we need to keep in mind that this tradition was also largely shaped by their earlier models, which are now being evolved into current editions. Pictured here, two models from the current collection take a bold step towards “rimless” frames with their lightweight, half-rimmed constructions. The almost rounded »148« features a balanced P3-shape while the »147« model strikes a bolder note with its rounded octagon geometry. Both models share eyevan 7285’s ongoing mission to combine gorgeous designs with trusted craftsmanship. And no matter where current trends are headed, that combination is forever. 136

MY PERFECT FIT

ESPR IT

Until recently, women with rather petite heads and delicate facial

PETITE

aimed at women with small faces. The collection features two models,

features could have a hard time finding bold and expressive frames. It‘s a fickle balance, because larger frames easily end up looking, well, too large. That‘s why the new Petite Collection from esprit is specifically both inspired by current fashion trends. The »ET 17535« frames hints at a rectangular shape, crafted from ultra-light and flexible Ultem® material. The matted colorways such as Red, Black, Blue, and Havana contrast

photo RAPHAE L S C HM I T Z

nicely with the shiny temple tips. Crafted from TR90, the »ET 17536« is a Boston-style frame with a rounded front section. It is available in trending colors such as Black, Purple, Petrol, and Havana and adds subtle flair via triangular metal rivets on the side. Petite – and so sweet.

»E T17536«

»E T17535«

138

MY PERFECT FIT

»E T17536«

»E T17535«

139

COLLECTION CHECK

KBL »T he G rant«

140

COLLECTION CHECK

P U RE B Y

CLASSIC

KBL

The Kind of Bohemian Lifestyle goes Classy photos R A P H A E L S C H M I T Z t e x t AS T R I D S P I ER I N G

KBL »T he Pe ck«

»St e v e«

Founded in 2009, New York-based eyewear label KBL – short for “Kind of Bohemian Lifestyle” – has been drawing inspiration from the finer things in life. This includes vintage eyewear frames, interesting architecture, everyday objects such as watches and shoes, as well as classic cars like the 1964 Ford Mustang. Anyone with a penchant for cars knows that this model is not your run-of-the-mill vehicle: Upon its release in 1964, the Mustang pioneered the rise of Pony Cars and paved the way for a new generation of muscular rides. For its latest Pure Classic collection, KBL is paying homage to Hollywood films and pop culture icons of the 1970s and 1980s. Replete with names such as »Eastwood«, »Newman«, »The Grant« and »Lancaster«, the new models embody the effortless masculine chic of leading men like Clint Eastwood, Paul Newman, Cary 141

COLLECTION CHECK

KBL »L anca s t e r«

»E a s t wood«

»Ne wm an«

Grant, and Burt Lancaster. The timeless elegance of performances in films such as Charade, His Girl Friday, and Dirty Harry looms large in the KBL Pure Classic collection. Overall, the collection comprises six prescription models and four sunglasses, all designed with an eye for detail. The frames, crossbars and nose bridges have all been crafted from pure titanium. Keeping things 100% titanium, KBL even removed the classic acetate or silicone coating at the temple tips – which actually speaks to the high level of quality and enhances comfort. The titanium frames also feature another intricate design feature, namely a PDV-covered and colored notch. The coating not only ensures a robust coloring but also protects from outer influences. And keeping in mind the initial reference to classic muscle cars – guess where the inspiration for the model’s parallel lines comes from? That’s right, the 1964 Ford Mustang! 142

INDUSTRY INSIGHT

Some folks out there are just more passionate about what they do than the average person. They radiate a passion for their work that shines through everything they do. One of those people is Boris Stolle, who has been part of the eyewear business since 1999 and out on the frontlines every single day as a road rep since 2007. Through it all, the native of Cologne, Germany, has retained his youthful enthusiasm – probably because he loves what he sells – and is committed to offering opticians the best products and sales tools available. In our Industry Insights segment, the seasoned vet shares some secrets of the trade.

B O RIS ST O LLE No End in Sight photo S T E FAN D ON GU S

Boris, what brought you into the eyewear business, initially?

overall quality of life. You are also engaging with a receptive client

Either fate or pure chance. At the age of 17 I had no clue what I was

base when you’re selling independent labels. Up until last year, I

doing, so I applied at an optical store. They hired me and that was

was moonlighting at an optical store where I would always point

the starting point.

customers towards the premium product segment. That was the

What made you decide to make the switch and become a “road rep” ten years ago?

most fun – for myself and the customers. Really, you had a side-gig working for an optician?

I had always been fascinated by the reps that came to our store.

Yes, mostly for fun, but also not to lose touch with opticians’ needs

They were always in a chipper mood, always had some exciting

and wants. And my experiences with end consumers are really

stories, and they traveled all the time. I was mulling it over for a

paying off in my current work. I’ve always tremendously enjoyed

long time before things fell into place rather quickly around the

the job. Choosing the right glasses together with the customer is

end of 2006.

just the best. After all, we are selling an emotion and a way of life,

Which labels were in your portfolio at the outset?

and the better we do our job, the more grateful the customers will

A good friend connected me to Wolfgang Proksch, ByWP, and

be when they get complimented on their glasses that also offer

Martin&Martin. The rest happened almost instantly: Three phone

them a perfect vision. That also creates trust in a relationship,

calls, job interviews, quick trial period – and I was fully onboard.

which was always important to me. But right now you can’t be found behind the counter, right?

All involved gave me amazing support. And what happened next?

No, right now I don’t really have the time. Why?

Next it was all about knocking on a lot of doors and building a contact network. Logging a lot of miles and getting a feel for the

I’m currently out on the road with the KBL and Lunor collections

market. You know, I was making a huge switch from an optical

in (German) postal codes starting with a 4 and 5, so it’s not getting

store in a rural area into the great wide world of eyewear. Aside

boring anytime soon.

from those collections mentioned above, I’ve also had a quick peek

Do these collections fit together?

into the price-driven category. But I quickly realized that’s not my

Yes, by all means. Actually, my trunk is almost too small for both

cup of tea.

collections but the combination is unbeatable.

So you’ve made a conscious commitment to indie labels?

How come?

Yes, I couldn’t really imagine selling anything else. Personally, I‘m

Both collections don’t clash in terms of design but speak to the

a big admirer of quality in all parts of life. And whenever there’s a

same kind of optician. Of course I’m always trying to keep an eye

fascinating story behind a great product and not some big corpo-

on the bigger picture. I’m still young and still have a lot ahead of

ration, it just adds so much value. For me it really improves the

me, and there’s a lot of work to be done. Generally, you should 144

INDUSTRY INSIGHT

the ordinary sales game is not my thing. I’m more interested in building an ongoing relationship with my clients. They can always count on me, but I know I can also count on them – it’s a cooperation at eye level. That philosophy is the foundation on which I’m building my network and makes it the most fun for everyone. I’ve actually build great friendships with some of my clients, which I really appreciate as an extra perk. Which opticians do you find impressive? The ones just doing their own thing and really living their job. The ones who stand out from the pack and stay informed on the latest developments and never stop learning. Those who put their passion and individuality into their work every single day – that’s a solid foundation for long-term success. Customers can sense in an instant whether someone loves what they do or not. And passion for your job is a great business card, as word tends to get around. Looking ahead, what are the challenges for opticians to stand their ground in the market? That’s a complex question. I have my own personal perspective on it: I say, let’s leave mass-products and “just selling” to others. What counts for premium opticians is service, good customer consultation, no fear of high prices and a clear market position. And in face of the many competitors in the growing online business, it’s essential that opticians communicate to customers what it means to buy their glasses from them. And why things cost as much as they do. The operative word is transparency. There will always be folks selling for cheap online or offline. But every optician needs to make the personal decision of what works best for them. But I’m also clearly convinced that the way people purchase eyewear is not going to change anytime soon. End customers have become increasingly sensitive and fortunately, many of them appreciate the services of a quality optician and are ready to invest more into quality. You are always out there in a smart-looking suit, which is rather outside the norm nowadays. Hey, thanks for the compliment, but what really is the “norm” nowadays? Tattoos, beards, rimless or acetate? The way I see it, always stay on the ball and keep up to date on the latest develop-

anything is allowed. It just has to be a good fit and make you feel

ments. Our industry is constantly evolving and we should be doing

comfortable. The whole suit thing happened a few years ago for no

the same.

apparent reason. And somehow, it stuck.

You’re a pretty energetic individual. Does that come from a certain work ethic?

And what about your hair? People should have become used to my hairdo at this point. It hap-

I want to offer my customers more than a good product, but also

pened much like the suit. I really wanted a top knot at some point

outstanding service and my entire expertise. I really don’t see myself

and just started growing my hair out. That was three years ago –

as a salesman, but more as a consultant or good friend. Just doing

and there’s no end in sight. 145

THEME SHOOT

T H E T I TA NS From Gods to Glasses

Over 35 years have gone by since the world’s first titanium frames were introduced at an optical tradeshow in Fukui City, Japan, in 1982. Much has happened in this segment since then, as rising brand such as markus t, fleye, and their peers continue to demonstrate with their artfully implemented titanium frames. With a single or double bridge, matted or shiny – titanium always makes a flattering impression. Which is surprising because the material, at least for a few years, enjoyed a reputation of being “complicated” and difficult to master. At this point, the craftsmanship in our industry has grown by leaps and bounds, and the elaborate and cost-intensive manufacturing processes for titanium help create outstanding eyewear. Titanium frames are in a league of their own not only in terms of aesthetics, but also due to their light weight, robustness, temperature-control, and allergy-friendly properties. As a historic side note,

photo RAP HAE L S C HM I T Z

the metal was initially discovered in Wales as early as 1791. The name “titanium” was bestowed four years later by a German chemist, who named the metal after the legendary gods from Greek mythology. It’s proven strong foundation for what has become a strong tradition in our industry. Meet the Titans.

COBLENS »L an d ebahn« Embrace bold shapes!

MUNIC »414« Classic, minimalistic, and gorgeous frame design.

FLEYE »Ollie« Contemporary interpretation of a classic aviator frame with bold edges and double bridge.

146

THEME SHOOT

MARKUS T »T3361« An interesting take on the double bridge achieved through negative space in the frame. The technique is also repeated in the temples.

GÖTTI »L ee n« Textbook mastery of surface distribution with an upscale finish.

KBL »T he G rant« Stylish combination between a double bridge and panto shape.

BLACKFIN »W heele r« Embrace bold rims!

147

EDITOR’S CHOICE

O UT O F

O R B IT

and Down to Earth

ØRGREEN »R ook«

»Ta ur u s«

photo VALT IN & C ALI S T I , il l u s t ra t ion E L I S A P E T H

P RES S _L IZ, t e x t AS T RID S P IERING

Casting a pale silver light across the heavens, the moon has inspired

– aptly named »Rook« and »Taurus« – offer coloring and surface

countless legends ever since the dawn of mankind. The Mayas and

finish inspired by lunar rock formations. The special kind of finish

Aztecs worshipped the moon as a god, while it is equated with egg

is the most recognizable feature of OOO styles, next to their double

whites in Finland, and large parts of Asia speak of a rabbit inside the

nose bridges. With its rectangular lens shape, the »Rook« derives its

moon. In 1969, the first human set foot on the moon (no rabbits,

moniker from Montes Rook, a 900 kilometer ring-shaped mountain

bummer). As history has it, a small step for a man at the time, but a

range on the moon. In the same vane, the »Taurus« model is a tribute

major leap for mankind. And although the moon has officially been

to the Taurus-Littrow valley, where the Apollo 17 mission touched

conquered, it still retains its mystery aura today. Danish brand

down in 1972. It remains the last manned lunar expedition to date.

ørgreen taps into the legend and takes customers on a moon walk

But hey, you can still dream, for instance with these gorgeous moon-

with their special Out of Orbit (OOO) Collection. The two styles

inspired frames. 148

Valerie+dani

NEUBAU-EYEWEAR.COM/SEEANDDOGOOD

FREN C H ICO N S BY STEPHAN ZIEHEN s t ylin g OLIVE R M OHR & D AV I D S TA N I EW I C Z a t PA R IS ER BÜ RO h a ir AN GE LIK A E BE LE S E D E R for W EL L A P R O F E S S I O NAL m a ke - up FRAU K E BE R G EM A N N -G O R S K I w it h C H A NEL & MAC re touch E L E K T RON IS C H E S C H Ö N H EI T mo d el s SOPHIE a t M E G A M O D E L A G E N C Y & D E I R D RA a t W OMEN lo ca tion PARIS

LEISURE SOCIETY »Saville«

sui t , blou s e & belt ZADIG+ V OLTAIRE

»Gambier«

dre ss ZADIG+ V OLTAIRE

BARTON PERREIRA »W i n e t t e «

jumps ui t MART IN GRANT

BARTON PERREIRA »Nikk i«

dre ss MART IN GRANT

NEUBAU »Va l e r i e «

dre ss MART IN GRANT

NEUBAU »F r i d a «

ca p e & jumps ui t EL IE S AAB

ME T ROP OLITA N » 824 9 «

blou s e L EONARD

ME T ROP OLITA N » 8 03 8 «

dre ss IRO

REIZ »We l l e «

pullov e r ZADIG+ V OLTAIRE

REIZ »Ve c t o r «

coa t GU Y L AROCHE

OLIVER GOLDSMITH »London«

su it A . F. VA N D ER V O R ST, blou s e IS ABEL MARRANT, s hoe s P IERRE HARDY

ESSENTIALS

p e n & ca t r i d ge s K AW EC O h a n d c re a m C RABT R E E & E V E LY N cle a ns i n g eli xi r RE T R O UV É f a c ia l moi s t u r i z e r R E T R O UV É t e a LØ V ORGAN IC cho col a t e b a r s N U C A O

FLEYE »L ica«

M I S S

L ICA

photo RAP HAE L S C HM I T Z

She knows what’s good for her brain, skin and mind. She calls it her „soul thing“; mainly consisting of soul food, drinks and creams. And well, for her soulful thoughts to manifest, she always keeps her Kaweco pen ready at hand. 162

W H I T E N OI SE B Y S T E FA N D O N G U S a ss i s t ant AS T RID S P IERING d i gi t al op e ra ti n g CARO ROS S s t yli n g J U L IA S AT T L ER h ai r & m ake - up MARIA TAV RIDOU p os tp roduc tion P X2 & CARO ROS S mod els MARIA, ANNA & F IL IZ a t MOS T WANT ED MODELS loca tion MU NICH, OP T I

A L LIED ME TA L WORK S

ANDY WOLF

E YE VAN 728 5

»A 2 0 0 «

» 4733 «

»13 9 «

d re ss E QU IPM E N T, ja c ke t Z A R A

dre ss W HYRED

blou s e GES T U Z, s kir t Z ARA, ne ckl ace COS

DANIEL HECHTER » DH S 10 6 «

d re ss & belt COMMA, s hoe s ZIGNS T U DIO

» DH P 55 0 «

ju mps ui t IRACEMA S CHARF, ne ckl ace H& M

KARMOIE »St udent«

dre ss COMMA,

»Captain«

je a n s D I M I T RI, blou s e 1 8 6 3 BY ET ERNA, s hoe s GES T U Z

E YE VAN 728 5 »74 9 «

d re ss COMMA, jacke t DIMIT RI, s hoe s ACNE

»147«

jacke t BET T Y & CO

A L LIED ME TA L WORK S »A 0 9 0 «

sh ir t & sk ir t BENCH, J ACKET PAIGE, e ar r i n g s H& M

»A 0 9 0 «

sh ir t PA I G E , je a n s G E S T UZ , jacke t HU NT ER, s heos & OT HERS T ORIES , e ar r i n g s H& M

ANDY WOLF »To b i a s «

sh ir t & s ki r t BENCH, s hoe s ZARA, e ar r i n g s H& M

»F ra n c o «

blou s e DIMIT RI

BLACKFIN » D o ra n «

sh ir t PAIGE, je ans GES T U Z, e ar r i n g s H& M

»Oyster Bay«

sh ir t C UR R E N T / E L L I O T T, s ki r t F INDERS KEEP ERS , s hoe s S T YL IS T ’ S OW N

FLEYE »Ewers«

pullov e r PAIGE, p ants & s hoe s ZARA

» Pa r n e l l «

s hi r t S EIDENS T ICKER, p ants COS

ESSENTIALS

MISS

GLOO M

photo RAP HAEL S CHMIT Z

ØRGREEN »G loom«

Well, it‘s obvious that Miss Gloom styles herself as a green bird. She would never be caught leaving her home without her beloved essentials – which match her beloved sunnies quite well.

clo ck VINTAGE smo ot hie FROOS H f a c ia l c re a m s a n d ton ic s H EJ O R G A N I C je w elr y APRIC OT ROO M

180

w w w.wagner-k uehner.de

C A M PA I G N I N S I G H T

p or trai t J OS EF BEYER

As a young and upcoming photographer, Elizaveta Porodina has already developed a highly recognizable visual style. The Moscow native who has made Munich her base of operations likes to engage in a close dialogue with her subjects, creating an intimate atmosphere in her shoots. This caught the eye of German eyewear label METROPOLITAN, who tapped Elizaveta for their latest campaign. We caught up with her in Munich to learn about her close involvement in the campaign‘s genesis and her overall style.

M E TROPOLITAN C AMPAIGN

INSIGH T

The Photographic Approach of Elizaveta Porodina Elizaveta, your name sounds like you hail from the Eastern part of the

ted my engagement and ability to take the initiative. At the same

hemisphere?

time, I wasn’t communicating well with my peers. We weren’t

That’s right. I was born in Moscow and lived there until my 13th

on the same page and our interests and priorities were completely

birthday.

different. So I ended up spending most of the time during my early

What exactly brought you to Munich?

years in Germany by myself. That was also the time when I began

My mother’s new job at the German optical company Rodenstock and better professional prospects for myself.

to draw, paint, and write – to better capture and reflect on my experience.

Was it easy as a Russian youth to find your footing in Germany?

Was this early creative blossoming also the start of your photography career?

It was easier than I expected because I have a talent for languages and had quite an easy time learning German. I was also soon

After spending years getting deeper into illustrating and painting,

getting the hang of all the subjects at school. The teachers apprecia-

I discovered photography as another visual medium through

182

C A M PA I G N I N S I G H T

M E T R O P O L I TA N »8243« & »8035«

dying this field and applying myself on multiple layers in this profession, which I also consider as a trade and an art form, has really benefited me in many ways. During my studies I was able to learn a lot about communications, the processes behind human behavior and human experiences and people in general. I see it as an essential foundation for my work as a photographer. That kind of depth really resonates in your images. What inspires you the most about photography? And what tends to be the most unpleasant aspect about it? a friend of mine. I still don’t feel a strong difference between

I’m inspired by the challenge to engage in photographic and social

drawing and photography in many cases, especially my rather

situations and tough constellations – difficult weather conditions,

concept-based works. It’s all about the “right” composition, the

complicated locations and constellation of muses – in which I have

fitting expression and several very subtle layers of meaning, and

never been before. And then mastering them. That is the most

less about the medium of choice.

fascinating and, at times, unpleasant part of my process.

But despite these creative tendencies, you ended up getting a degree in a different field, right?

How would you describe the philosophy behind your photography? 50 percent planning, 50 percept experimentation, 100 percent

Yes, I‘ve earned my degree in psychology with a focus on clinical

authenticity.

psychology and depth psychology. During the early days of my

Despite your young age, you have already developed a strong visual lan-

photography career I’ve also worked in a few psychotherapeutic

guage. Did that happen by chance, or is it an intentional process?

and psychiatric institutions as a therapist in training. Overall, stu183

It’s definitely not a matter of chance, but also not fully calculated.

C A M PA I G N I N S I G H T

M E T R O P O L I TA N »8245«

I think that when you are honest to yourself and your work, always

ted to their work. They inspire me and are ready to push through

remain pure in your messages and continue to take on more and more

their own boundaries for the sake of art. Their physiognomy, their

projects that suit your tastes, the more your “own” voice will crystal-

manner of movement, and their inner expressiveness – all that

lize. And it gets more clear and pronounced with growing experience.

often speaks in that idiosyncratic, inimitable language that always

In my case, this voice – and my visual language – is determined by exploring the emotions and the depth of (emotional) human experience. I also don’t force any scenarios on my muses, which they may not be able to identify

Available Light or Flash Light?

Let’s talk about eyewear, and the challen-

Focused or unfocused?

approach this product-related field?

„Unfocused.“

My ambition is not only to shoot engag-

Digital or analog?

„For reasons of costs and flexibility, mostly digital. Although we also own a few analog cameras and continue to experiment with them on some projects over the years.“

Canon or Nikon?

bringing them to the surface and emphasizing and enhancing

and my subjects.“

Photoshop nerd or natural purist?

But speaking of your muses, that

ing images of eyewear, but also to capture authentic shots of magic moments. In my opinion, a successful campaign is always about capturing a fantasy, a dream image.

„The Nikon D800 / D810 has been my constant companion for years now. I am most comfortable with this camera’s focus, look, and handling. It feels the most like there’s nothing between myself

lities of my muses. It’s all about

ly or multiplied.

ges of capturing it in images. How do you

„Available and Natural Light.“

authentic emotions and exposing

them, sometimes even grotesque-

unique human nature can be.

„Both, of course.“

with. I much rather focus on the facets behind the persona-

reminds me of how contradictory and

Photos or movies?

But you must not neglect the technical and formal aspects, because a wellexecuted campaign also has to be able to present a product in the best possible

„Natural purist with Photoshop skills.“

light. That means for instance the lenses, material properties, and the proportions

also requires a certain type of model, right?

of a frame on the wearer’s face. Aligning these two ambitions is the

Yes, I prefer to work with people who are interested in more than

great challenge behind eyewear photography for me. You have also recently shot the current metropolitan campaign, which

just modeling. I call them “muses” because they are fully commit184

C A M PA I G N I N S I G H T

M E T R O P O L I TA N »8244«

phic mood, marked by soft backlighting, dynamic movements, and analogstyle black and white. It was my special goal not to have the protagonists pose for pictures, but move about freely, dancing and laughing. I followed them around with my camera and hit the shutter whenever moments of special magic unfolded between us. You’ve mentioned your involvement in the casting process. How did that go? Casting is an aspect that is really close to my heart. I’m always hesitant to cast new and different models and would much rather work with friends and muses, with whom I’ve established relationships over several months or years. This special approach carries over into my work – also including the metropolitan campaign, where I’ve

worked with some of my friends. Alexander Wolf has been a strong inspiration for some of my best projects over strongly bears your signature style. Were you also involved in creating the

the years, and Nika Rusakova has now been part of five projects in

concept?

different countries.

metropolitan approached me with the guideline to shoot the

In how far did you adjust the mood and styling behind the images to suit

campaign in an open, urban atmosphere. They also encouraged me

the eyewear?

to become strongly involved in all other aspects such as casting,

That question seems to imply that I’ve made some strategic decis-

special locations, the styling concept, as well as the appearance and

ions in advance, but that’s not really how I would define my work.

constellation of the models

I work rather intuitively. In many cases, I end up making decisions

How would you describe the concept in detail?

right while I’m shooting, following my gut on choosing locations,

We were aiming for images that express a certain sense of timeless-

poses or certain modes of expression. After the initial planning I

ness and lightness, but also exhibit a certain spatial and symbolic

tend to strongly trust and rely on my instincts.

depth. That’s why I’ve opted for a rather documentarian photogra185

We can really see that in your photos. Thank you kindly, Elizaveta.

M AT E R I A L W O R L D

»K aro«

W O O DONE’S M ETALW OOD Hybrids from South Tyrol »K a thi«

photo RAP HAE L S C HM I T Z

At this point, South Tyrolean eyewear label woodone no longer requires an introduction. True to its name, the brand has been a driving force behind establishing wooden eyewear as a quality product category. And they’ve been defining their own style with a blend of German precision and Italian design playgrounds. In 2017 woodone expands its creative horizons, all the while remaining

true to its brand DNA of turning trees into eyewear. As the next step, the brand is blending wood and metal in the versatile Metal Wood Collection. The styles »Karo« and »Kathi« are both available in sunglasses or RX-versions. While »Karo« comes dressed to impress with a bold double bridge and masculine styling, the »Kathi« flatters fashionable ladies with its retro take on a classic panto shape. So far, the response has been amazing and woodone has already announced five more Metal Wood models as the story of wooden eyewear continues. 186

Model: YY7010 002

www.brandoeyewear.com sales@brandoeyewear.com

F E AT U R E C R E AT U R E

LIEBESKIND BERLIN »11019«

»11018«

L I E BE SKI ND B ER L IN 24/7 Clip-On Styles photos VALT IN & C AL I S T I German fashion label liebeskind berlin has been making a name for itself with innovative fashion pieces since 2003. The common theme: The dazzling creativity, diversity and atmosphere of the German capital – a place unlike any other in the world. Since 2015, liebeskind berlin has been featuring eyewear in its line-up, also with a forward-

looking aesthetic. Models in the eyewear line continue the prints and colorways of the brand’s apparel and bag collections in unmistakable Berlin style. As the latest addition to its eyewear collection, liebeskind berlin is releasing three prescription frames with a twist: They can be rendered into sunglasses in a snap, thanks to included clip-ons. This timehonored technique is a great fit with the collection’s overall aesthetic of carefully appointed shapes and colors. And clip-ons are a great way to make the transition from inside to outside, or between night and day – as Berlin tends to require. 188

C H A R M A N T. D E | E S P R I T. C O M / E Y E W E A R | E T 1 7 5 2 9

WO R K

I T

HAR D E R B Y S A C H A TA S S I L O H Ã&#x2013; C H S T E T T E R

s t ylin g T RAN G C AO a t FA M E A G E N C Y h a ir & m a ke - up LE NA G EH R I G a t FA M E A G E N C Y w i th CHANEL & REDKEN 5 T H AV ENU E mo d el s L E E S IM ON a t L O UI S A M O D E L S & E M M A G ROEP ER a t T IGERS MGMT lo ca tion M U N IC H

FACE À FACE » S t a t e 1«

ba ths ui t L A P ERL A, p ants U NIQL O, b racele t S AS KI A DIE Z

» D i v i n e 1«

ba ths ui t L A P ERL A, s hor ts L EV I’ S , choke r AS OS , b racele t SASKIA DIE Z

ETNIA BARCELONA »F e r l a n d i n a «

b a t hs u i t E R ES , soc k s A D I D A S , g lov e s R O E CKL , choke r S AS KIA DIEZ, b racele t & OT HERS T ORIES , ba g 5 PRE VIE W

ETNIA BARCELONA » 826 8 0 «

b a t h su it C A L Z ED O NIA, d e ni mjacke t RICH& ROYAL , s car v e s PAS S IGAT T I

SOL SOL ITO » 031 B C «

s hi r t 5 P RE V I EW skir t G IGI HAD ID X T O M M Y H I L F I G ER je w elle r y SAS K I A D I E Z so c ks FA L K E

MIU MIU »SMU 50S«

b i k in itop C A LV I N K L E I N , sk ir t ADIDAS , s hoe s DR.MART ENS , socks FAL KE, backp ack L ACOSTE

ADRIAN MARWITZ »Universu s No. 5« ba ths ui t T EZENIS jacke t RICH& ROYAL socks ADIDAS s hoe s KMB wa tch CAS IO

FHONE » Pa r i s «

b i k ini top CAL ZEDONIA d e ni m RICH& ROYAL belt S ET g lov e s ROECKL

BURBERRY » R 4243 «

b a t hs u i t C ALV IN K L E I N ne t t i g ht s C AL Z E D O N I A b ra cele t S AS K IA D I E Z

MICHAEL KORS » D i v i n e 1«

d re ss K ARL L AGE R F EL D b i kini b ot tom AN D RE S S A R D A s ho e s D R. M ART EN S b ra cele t SASK IA D I EZ b a g red 5 P RE V I E W b a g bl a c k K ARL L AG ER F EL D

EINSTOFFEN »A e ro n a u t «

b i kin itop T O M M Y H I L F I G E R , p a nts KARL L AGERF EL D, belt COS , ba g L ONGCHAMP, b racele t JUICY COUTURE

LEISURE SOCIETY » C e y lo n «

jumps ui t L ONGCHAMP pullov e r NIL & MON s hoe s S U P ERGA socks AS OS ba g Sw ee t DEL U XE

BLACKFIN » S lo t «

bi kini PROTE ST

»Oyster Bay«

d e ni m jacke t LE VI’S bi ki ni bot tom ANDRE S SARDA shoe s PUMA sock s CALZ E DONIA s car f MISTE R*LADY b rooch SWE E T DE LUXE

L E N S

T E C H N O L O G Y

COLLECTORS

DIOR »Monsie ur 2229«

Eyewear collector Siegfried Schlögl is a bona vide expert when it comes to vintage eyewear. The Austrian who divides his time between Vienna and Linz has also been an amazing supporter of our Vintage Exhibition at opti tradeshow, for which he put some of his most treasured pieces on display twice already. With his mind constantly revolving around eyewear, Siegfried needs a creative outlet, which has found in his web-project solaris. Here’s his take in collecting and all that comes with it. Siegfried, since when have you been spending money on old metal and acetate? For about 15 years now. And why? The defining moment was when I spotted the Carrera Boeing Collection in a glass case at a London vintage shop. That’s exactly when I became hooked on the whole thingt. What’s the attraction to vintage eyewear? I’m really interested in the designers and the stories behind indivi-

S I E GFRIED

dual products. What can eyewear deliver that other products can’t do? Hide bags under your eyes. And I don’t have any wrinkles. We wouldn’t be able to see them anyhow. With solaris you started your

S C H LÖGL

own vintage eyewear blog with a lot of pictures. Is that a way to reflect on your experiences? Yes, and to network with other crazies. Who are the visitors of solaris? I can’t exactly tell you what type of person, but there are about

The Man Behind solaris

4,000-5,000 every month. Every other of your Facebook posts shows an empty subway station. What’s the deal with that?

photo ST E FAN D ON GU S

Pretty strange, right? Probably because everyone just takes off running when they see me coming with my huge glasses. Speaking of glasses, what are your three personal faves. Carrera Boeing »5700«, Lacoste »101«, Christian Dior »2229 Monsieur«. Not the most diverse collection, but hey. And what is your go-to model for summer? The Dunhill London »6011« in Gold. 204

SPECTR AWARD

S A LT. »Anel a«

»A NE LA« B Y

S A LT.

Winner in the Category ‘Optical Glasses’ photo RAP HAE L S C HM I T Z

Colors and shapes found in nature have not only been a constant source

combination between teal and gold, Rose pointed out the coastline of

of inspiration for salt. but also a major part of the label’s success ever

the Hawaiian island of Oahu. The island’s famous North Shore with

since its founding in 2006. Their official entry for the SPECTR Award

its turbulent currents and clashing waves offers a spectacular variety

in Copenhagen consisted of the »Anela« model, a women’s prescrip-

of colors, which the designer distilled into this gorgeous frame. The

tion frame crafted from a blend of acetate and Japanese beta titanium.

resulting interplay of unique form language, quality craftsmanship

Designer David Rose applied his signature style to the frame, keeping

and combination of two contrasting materials makes this frame a

a close eye on fit, harmonious implementation of materials, and

modern classic. And also a winner of our first edition of the SPECTR

fashionable overall look. Asked about the inspiration behind the color

Awards. Congratulations!

206

SPECIAL

ANDY WOLF »5035«

J E NNY F R OM

THE

BLOG

and the Eyewear Business

ANDY WOLF »G ra s p«

photos ST E FAN D O N G US , t e x t A S T R I D S P I ER ING

Bloggers have become important voices in industries such as fashion,

a name for yourself takes persistence and a constant output of words

food, travel, and lifestyle. What originally started as a form of online

with a unique angle. “For me it’s always important to be able to feel

journal writing has long-since matured into a personalized variation

the history behind a brand. The philosophy, the people behind the

of content marketing, not to mention an attractive medium for sponsors.

company, and of course, the eyewear design. I’m trying to distil all of

Bloggers lend an air of authenticity to their subjects. They create a halo

this into my writing.”

of independent endorsement around products and communicate with their followers at eye level.

From Munich, Copenhagen, to New York, Jennifer has become a constant presence at all important tradeshow events in our industry.

As of late, the eyewear business has also seen the rise of bloggers

She can be found roaming the halls wielding her camera, laptop, and

who keep their fans abreast on the latest brands, designs, trends, and

smartphone, always keeping her followers informed about the latest

tradeshows. On our recent visit to opti tradeshow in Munich we made

scoop. Asked about the trends that will have a formative effect on

the acquaintance of Jennifer Bitsche, the Austrian blogger behind the

the eyewear industry in the near future, Jennifer sees strong growth

dedicated eyewear blog faceprint.at which has been online for about a

potential in the independent eyewear scene. And she also predicts

year now.

exciting changes in the use of materials. Keeping a hands-on approach

What started as a sheer hobby has now evolved into a part-time

to eyewear, she helps her husband and his dad in their optical shop

job for Jennifer, who has experienced the progression of blogging in

– her second part-time job – whenever she is not roaming the globe

the industry first-hand. Only a year ago, she says, most brands would

blogging for faceprint. To learn more about how Jennifer established

not cooperate with bloggers. Since then, the industry has opened up

her blog and built an audience – and her Top 3 favorite eyewear brands

and the importance of bloggers is increasing. Nevertheless, making

and current trend predictions – come visit our website. 208

EYEWEAR

COMANDANTE #4476

STRICTLY LIMITED EDITION EXCLUSIVELY AVAILABLE AT CAREFULLY SELECTED OPTICIANS E I N S TO F F E N .C H

COLLECTION SHOOT

B Y S T E FA N K A P F E R h a ir & m a ke - up C L A UD I A C R EUE L S . C O M s t ylin g J ILL K RAM E R a t 2 1 A G E N C Y. D E p ro d uc t ion H6 0 OF F ICE . C O M a ssis t e nt C ARL OS K R UG mo d el D AN IE L K RON E a t C O R E-M A N A G EM EN T. E U lo ca tion D U SSE L D OR F

A L I UM : M E N

ONLY

Performance | Lightness | Comfort In 2014, avant-garde eyewear brand face à face launched a bold men‘s only collection: alium. While face à face has built a following with their playful and feminine frame designs, alium champions purity and clean lines. As the brand name suggests, the majority of the collection is crafted from aluminum, but there‘s also room for models from Italian acetate while all frames feature mineral polarized lenses. A typical functional element of the French label‘s glasses consists of their flexible hinges as well as a special surface coating that lends a soft and warm touch to the aluminum frames. The brand‘s inspiration from tech design and fine architecture looms large over the sunglasses and prescription models in the line-up. Models in the current alium Y Collection are one-third lighter than previous frames thanks to a new minimal flex hinge system. Looking ahead, discerning gentlemen can look forward to new models in genuine horn and the first trials of 3D printing for customized eyewear of the future. In our Collection Shoot, photographer Stefan Kapfer captures the brand‘s essential DNA with model Daniel. The results are puristic, design-driven and ever so masculine. In other words, 100% alium. 210

ALIUM » S 2 95 7«

t ur tle ne ck EMIR MEDIC

COLLECTION SHOOT

ALIUM »Y 1 915 M «

pullov e r AS OS

212

ALIUM » K 2 9 4 45 «

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ALIUM » R a y 1 9 62 0 «

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COLLECTION SHOOT

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215

COLLECTION SHOOT

ALIUM »R ay 2 9404«

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216

F R A M E

Y O U R

P E R S O N A L I T Y

L E T Y O U R H E A R T B E Y O U R C O M P A S S

MARKUS T » S u n M e M 26 55 «

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» S u n T i t a n T 26 7 7«

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L A S T E X IT

BY ANGELIKA BÃ&#x153;TTNER s t yli n g ROD N OV O A h a ir & m a ke - up PA UL V EN O I T d i g i t a l a ss i s t a nt ZO R A N J E L EN I C mo d els BRE N D E N B EC K & S A C H A L E G R A N D a t S OU L ART IS T MANAGEMENT.COM NYC pos t p ro d uc t ion B E N E D I K T E M ES L I N cl a ss ic ca r s L OU I S C A R V EL L lo ca t ion N E W YOR K

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»3561«

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ALIUM » K 1 9128 «

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S P ECTR

MAGAZINE

Take that!

photo S TEFAN D ON GUS mod el EKATERIN A a t M OST WANTE D M ODE L S

TAKE THIS. Our model Ekaterina may not look the part, but she can actually dish it out with the best of them. We found that out when we flew her in from Milan for our Rimless Special photo shoot. We also didn’t dare to stop her from bagging our only French copy of SPECTR issue 18, where Ekaterina made her debut on the cover. Of course there are far more convenient ways to get your hands on SPECTR – without air travel or five-finger discounts. Just get a subscription. Once you fill out the form, every issue is headed your way as soon as it comes out, delivered freshly to your doorstep, neatly packaged, around the world. Subscribing to SPECTR magazine is like a real-life RSS-feed of everything new and exciting from the world’s leading brands and designers. Plus, a crew of models that pack a punch.

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