SPECTR Issue 29

“New Reality”

INTERNATIONAL EYEWEAR FASHION MAGAZINE NO. 29 // MAY 2020 // ENGLISH // EUR 15,–

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» A nni e «

↑

blackfin one

» Ve ntura «

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BLACKFIN blackfin aura

» F l ori da B a y «

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43

44

FAVR DIGITAL STYLE ASSISTANT These Glasses Suit You Best

MORE THAN FAVRITES

BUTTERFLY IN THE EYE

By Florian Renner

SILHOUETTE Highlights For 2020

62

76

80

FOREVER AND EVER

EASE: A STATEMENT IN THE FACE

MASUNAGA

By Ulrich Hartmann

Interview With MARKUS T

The Art Of Paying Attention To Detail

86

96

108

PLASTIC FANTASTIC

BROTHER FROM ANOTHER MOTHER

OUT INTO THE WORLD

By Estelle Klawitter

By William Ferchichi

BLACKFIN’s Play Of Colours

116

118

120

BIG CITY LIFE

FROM A LAND DOWN UNDER

PLAYING WITH CONTRASTS

Through The Urban Jungle With AD LIB

LE SPECS Label Update

PORSCHE DESIGN Fusion Collection

S P E C T R // C O N T E N T

54

124

130

134

SPHERE COLLECTION

STAY PURIST, BECOME METROPOLITAN

THE GIRRRL GANG

News From STARCK BIOTECH PARIS

Interview With NIRVAN JAVAN

By Rachel Jiam

146

158

164

THIS LAND IS YOURS

SPECTACLE JEWELLERY

NO LOOSE SREWS!

By Narènte // Lucio Aru + Franco Erre

OR SPECTACULAR ART

KOBERG’S Reinterpretation

The Metamorphosis of FACE Á FACE

Of Its Trademark

182

184

COOL ON THE ROCKS

A LEGEND IN THE GLASS

SILENT GLASSES FOR EVERY

By Andrea Kadler

Siegfried Gin Meets Eyewear

OCCASION

170

MEXX 2020 Highlights

186

192

194

THE DIGITAL WAVE

FROM AMSTERDAM WITH LOVE

NOT CHECKERED AT ALL

How the Eyewear Industry Responds

SCOTCH & SODA Launches

By Estelle Klawitter

Eyewear Collection

206 I DID IT MY WAY

By Sabine Liewald

36

S P E C T R // C O N T E N T

IMPRINT EDITOR IN CHIEF

STEFAN DONGUS [Cologne] dongus@spectr-magazine.com m: +49.(0)151.14271817

LAYOUT

CARO ROSS [Cologne] ross@spectr-magazine.com

EDITORIAL STAFF

SANDRA GAWLOWSKI [Cologne] press@spectr-magazine.com HOLGER VON KROSIGK [Cologne] krosigk@spectr-magazine.com DIRK VOGEL [Chicago] vogel@spectr-magazine.com

PROOFREADING

INSA MUTH [Dortmund] PETER ASHFORD [London] FRANCA RAINER [Berlin]

TRANSLATION

DIRK VOGEL [Chicago]

ONLINE EDITOR

FRANCA RAINER [Berlin] online@spectr-magazine.com

BLACKFIN blackfin one

» Ly nn H av en « s hirt SELECTED s kirt ESSENTIEL ANTWERP s o c ks CALZEDONIA

“Out Into The World”

by Ulrich Hartmann (pages 108 – 114)

PHOTOGRAPHERS/PRODUCERS

EDA CALISTI [Munich] STEFAN DONGUS [Cologne] WILLIAM FERCHICHI [London] ULRICH HARTMANN [Berlin] SACHA TASSILO HÖCHSTETTER [Munich] RACHEL JIAM [Berlin] ANDREA KADLER [Cape Town] ESTELLE KLAWITTER [Dusseldorf] KATJA KUHL [Dusseldorf] SABINE LIEWALD [Zurich] NARÈNTE // LUCIO ARU + FRANCO ERRE [Sardinia] FLORIAN RENNER [London] RAPHAEL SCHMITZ [Dusseldorf] OLIVER SPIES [Munich]

PUBLISHER

MONDAY PUBLISHING GMBH t: +49.(0)221.945267-11 f: +49.(0)221.945267-27 www.spectr-magazine.com www.facebook.com/spectrmagazine OFFICE ADDRESS Kamekestraße 20-22 50672 Köln, Germany STUDIO ADDRESS Lichtstraße 28 50825 Köln, Germany www.mondaymedia.cc

CEOS

STEFAN DONGUS, HOLGER VON KROSIGK

PRINT

F&W MEDIENCENTER GMBH Holzhauser Feld 2 83361 Kienberg fw-medien.de SPECTR is published three times per year.

cove r p ho t o s ULRICH HARTMANN sty lin g DAVOR JELUSIC h air & ma k e-up MELANIE HOPPE mode ls THERESA GENTH & NICK FALKE a t MODELWERK assistan t MOMO RADHI p ost p r od uc t io n MARKO PERAK

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.

Obsessed with detail.

See our new Spring/Summer models at ic-berlin.de

NEW REALITY

DIGITALIZATION TO GO

The global pandemic caused by the coronavirus (COVID-19) has taken the entire world hostage in Spring 2020. Every single one of us has been affected on different levels, including the SPECTR team. The social distancing directive has impacted our workflow practically overnight. Fortunately, we were able to finish our photo shoots for the issue right before the full lockdown hit, also including far away locations such as Brazil and South Africa. Our partner photographers, stylists, make-up artists, models… all participants in these elaborate shoots worked closely together. Physical contact was inevitable. A mere two weeks later, this style of close-quarters collaboration had become a thing of the past. So the remainder of our production schedule had to be implemented under strict safety guidelines as one-on-one shoots. On that note, we would like to thank all our creative contributors for being so flexible and accommodating in this historic situation.

Right now, the main question on everyone’s mind is: When will we be able to get back to our life the way it used to be? Until an effective vaccine against COVID-19 becomes widely available, that won’t be the case. The even more interesting question is: What will our world even look like once the pandemic has passed? Are we going to go back to the pre-coronavirus situation? Experts and visionaries are already quite certain that this will not be the case. Much rather, the crisis will most likely act as a catalyst and accelerant for pre-existing processes of change. Work processes are going to change, so will everyday social life, and political decision-making. Like a business consultant friend of ours said only one day into the lockdown: “Not one stone will be left upon another.” And he’s probably right, although the full extent of the pandemic’s consequences remains to be seen.

Right now everyone’s driving with their fog lights on to the best of their abilities…

Asked about the impact of the pandemic on our society, politicians like to resort to the term ‘new reality’. Much of what used to be considered normal in previous years has ceased to be normal – and we need to accept the fact that a return to ‘business as usual’ will be very difficult in the future; probably impossible. Every aspect of our business is being recalibrated and reevaluated. Independent eyewear brands and opticians also need to explore ways in which they can adapt their business models to the new reality, the current context. As a major disadvantage, many of these players are not occupying a steady role in consumers’ digital inspiration and product discovery processes. This becomes fatal as soon as the brick-and-mortar stores are forced into inactivity by social curbs. For this reason, the current crisis will most likely benefit the big players and chain stores in our industry; businesses that have embraced full-on digital strategies for years now. Starting on page 186, we talk to four industry insiders about the consequences of the crisis and the demands on our ecosystem. At the same time, a silver lining of the crisis consists of the fact that it could lead consumers to place more emphasis on sustainable and value-adding products. This can also coincide with solidarity for small, independent and individually minded retailers, which includes optical stores.

Nevertheless, the ongoing crisis will strongly accelerate processes that have been on the horizon for years and will drastically open up new technological possibilities. COVID-19 is an unprecedented challenge for the entire optical industry. We are committed to meeting these challenges head-on, because at the end of the day, the future is more exciting than ever. #SUPPORTYOURLOCALOPTICIAN

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SPECTR // EDITORIAL

SD

FAVR DIGITAL STYLE ASSISTANT

TELL US WHO YOU ARE AND WE WILL TELL YOU WHICH GLASSES SUIT YOU BEST.

Optical glasses

favrspecs.com

Sunglasses

favrspecs.com

Follow the code to meet your perfect eyeglasses.

The eyewear industry offers a rich selection of eyeglasses, but the

While reading our print edition of SPECTR magazine, we offer you

amount of choices can be overwhelming for consumers. When it

a direct connection into a unique digital experience via QR codes.

comes to finding the perfect pair of glasses, the selection in statio-

Whenever you encounter a QR code in our mag, a quick scan will

nary retail tends to be limited and also different from optician to

lead you to a virtual try-on of the featured eyeglasses, replete with

optician. In online retail, consumers are hard pressed to find a

information about the nearest premium optician selling these glasses

reliable overview (at least in the premium segment). That’s why

in your area.

FAVR – PREMIUM EYEWEAR FINDER offers consumers a digital style assistant feature. The motto: Tell us who you are, and we will tell you

#supportyourlocaloptician

which glasses suit you best.

S P E C T R / / FAV R F E AT U R E

43

MARKUS T » Ti tan Aura T3374«

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44

SPECTR

T

FA V

TRY-ON

MORE H AN photography FLORIAN RENNER [London]

m o d els HUYEN at IZAIO MANAGEMENT, LENNY MUELLER a t MODELWERK, LAIDE AYEGBENI at IZAIO MANAGEMENT, AZHAR S at KULT MODELS & ANGIE TUTLEWSKI at VIVA MODELS

R I TE S

From printed paper into virtual reality: You can access all eyewear models shown here by quickly scanning a QR code for a virtual try-on session on the favrspecs.com platform. And while you’re at it, we’ll also point you towards the nearest opticians selling these glasses in your area.

Welcome to the future.

METROPOLITAN »8 0 5 8 . 0 «

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SPECTR

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MASSADA » Te s h i m a «

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SPECTR

SALT. »A u d r e y «

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SPECTR

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MODO »303«

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SPECTR

NIRVAN JAVAN » L o n don 01:06«

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SPECTR

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MAKELLOS » M E 5058 Azabu«

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SPECTR

GÖTTI »Ro g a r «

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BLACKFIN » Z ab risk ie«

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52

SPECTR

BE ICONIC.

MOD.

BE

888

.

WEARABLE BUTTERFLY

THE REINTERPRETATION OF SILHOUETTE’S “ACCENT SHADES”

p h ot og r ap h y SACHA TASSILO HÖCHSTETTER [ Sã o Pa u l o ] s t y l i n g GI MACEDO as s i st e d b y ZEDU CARVALHO h ai r & mak e -u p BRANCA MOURA a ssi st e d b y MILA FRATTA mode l s JULIA BREGALDA a t JOY MODELS & LAURA MIRANDA at MEGA MODELS

For over 55 years, Austrian premium eyewear label SILHOUETTE has not only made a reputation for positioning eyewear as a fashion accessory, but also pursued the creation of the world’s most lightweight optical frames.

Especially known for its rimless models, the brand represents innovation, quality and timeless design. What’s more, SILHOUETTE is dedicated to a conscious and sustainable use of our planet’s resources. In a current countermovement to ‘fast fashion’, the brand is reinterpreting its line of Accent Shades that have been inspired by the wings of the Peruvian butterfly known as morpho didius. The edgy new butterfly and panto shapes are prime examples of timeless style and real eye catchers thanks to their cut-out construction in full-rim silhouettes. They also prove once again that cosmopolitan chic and safety are not mutually exclusive, as the frames not only offer high-end design but also premium UV-protection. The best part: All sunglasses can be fitted with prescription strength lenses thanks to the company’s Lens Lab and Silhouette Vision Sensation technology. The process involves calculating the optimal lens measurements all the way to the very edges based on the customer’s chosen lens shape and prescription levels. What more could anyone ask for?

Our photographer Sacha Tassilo Höchstetter flew all the way to São Paulo to shoot the current Accent Shades sunglasses collection with two models in provocative poses and extravagant styling. But you won’t have to travel such great lengths to experience SILHOUETTE, just ask your local optician. www.silhouette.com

54

SPECTR // COLLECTION SHOOT

SILHOUETTE » Accen t Sh ades 8177« -

dress GLORIA COELHO skirt LUCAS LEAO tigh ts LUPO sh oes SCHUTZ SPECTR // COLLECTION SHOOT

55

SILHOUETTE » A ccent Shades 8177« dress WOLFORD coat ALUF shoes SCHUTZ

56

SPECTR // COLLECTION SHOOT

SILHOUETTE »Accent Shades 8724« te d d y & co a t ALUF sa nd a ls THE ROOM

SILHOUETTE »Accent Sha de s 8 7 2 4 « dre s s ALUF

SPECTR // COLLECTION SHOOT

57

SILHOUETTE » T M A Fu t u ra 407 7 « -

dress MODEM to p MINHA AVO TINHA und e rw ear INTIMISSIMI

SILHOUETTE » A c c e nt S ha de s 8 7 2 4« -

d r e ss GLORIA COELHO 58

SPECTR // COLLECTION SHOOT

SILHOUETTE » A c c e nt S h a d e s 8 7 2 4 « -

t e d d y ALUF b o o t s GLORIA COELHO

SPECTR // COLLECTION SHOOT

59

SILHOUETTE » A c c ent Shad e s 8 1 7 7 « coat GLORIA COELHO

60

SPECTR // COLLECTION SHOOT

E V a ssista nt MOMO RADHI

E CAZAL »887« -

n e c k l ac e s URBAN CLASSICS, l e a t h e r v e st LAST HEIRS 62

SPECTR

FOR

photography ULRICH HARTMANN [Berlin]

ER R

s t yling OLIVIER MOHRIŃGE

CAZAL »887« e a r c u f f THOMAS SABO, j a c ke t LAST HEIRS, b e l t s CARHARTT

AND

h ai r & mak e -u p CLAUDIA FISCHER

VER

model s DIETER @ de vi l s p r e t t y boi , TIL @ t e r r i b l e t i l , MOUNIR @n k _ far i d & KEVIN @bl ac k s h e e p w h i t e t e e t h

SPECTR

63

ETNIA BARCELONA »Mobay« jewelle r y PILGRIM, p l e at e d t op 032C

64

SPECTR

ETNIA BARCELONA » Moba y « -

n e c kl a c e s HATTON LABS SPECTR

65

PORSCHE DESIGN » P’8 6 8 4 « -

e ar r i n g RECLAIMED VINTAGE, v i n y l j a c ke t MARCEL OSTERTAG 66

SPECTR

PORSCHE DESIGN

RODENSTOCK

»P’8692«

»R1431«

ring THOMAS SABO, l e at h e r j ac k e t RAEY

l e a t h e r j a c ke t TIGHA

-

-

SPECTR

67

EINSTOFFEN » A ge nti n« -

s h i r t TOM TAILOR, e ar r i n g RECLAIMED VINTAGE, si l v e r c h a i n n e c kl a c e THOMAS SABO 68

SPECTR

EINSTOFFEN » R ol l bre ttfa hre r« SPECTR

69

LE SPECS »Chri sti a n Cowa n x H B I C« -

e ar r i n g RECLAIMED VINTAGE, c h e st h a r n e ss BAG AMIRI 70

SPECTR

LE SPECS »Chri st i a n Cowa n x SHEEO« -

LE SPECS

necklac e RECLAIMED VINTAGE

»Christian Cow an x TH E C ALABASAS«

SPECTR

71

vi n y l t r e n c h c oa t MARCEL OSTERTAG

72

SPECTR

BOGNER »671 0 1 « silver earr i n g s PILGRIM, leath er jac k e t RAEY, vinyl pan ts MARCEL OSTERTAG

BOGNER »67201« j e we l l e r y PILGRIM l e at h e r j ac k e t TIGHA SPECTR

73

INVU » T1 0 0 5 « t o p SUPER SHIELD

74

SPECTR

The delicate, lightweight and screwless hinge on the EASE line combines a multitude of high-end technical details in a miniscule format.

Scan to try on MARKUS T favrspecs.com

EASE: A STATEMENT ON THE FACE

INTERVIEW WITH MARKUS T

p h ot os EDA CALISTI

The incredible lightness of seeing. A fitting title for the new EASE Collection by German eyewear designer brand MARKUS T: After building more than 20 years of expertise in the optical design field and a tireless pursuit of crafting the perfect rimless frames, the label now presents its most ambitious offering to date. The new EASE Collection represents minimalism at its finest, reduced to the max, slimmed down to the core, and with new perspective on time-honored details. Meanwhile, the frames also leave a great bit of free expression for wearers’ individual styles.

For the inside scoop on the impressive collection that has already been honored with the 2020 German Design Award, we talk shop with founder and namesake Markus Temming.

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S P E C T R // I N T E R V I E W

MARKUS T »A 10 2 5 «

» A 1 03 0 «

»A1017«

» A 1 03 1 «

What are the standout features of the 22 new models in the EASE Collection?

Aside from technical specifics such as

semi-rim and full-rim models. That’s an

crafted from acetate and wood left insuf-

enormous range of individual creative

ficient attention for products that focus on

expression.

reductionist design. On the other hand,

When and how did the pursuit of rimless frames become a focus?

rimless frames are the highest art of eye-

screwless design, flexible and colorful

Basically, I already knew 20 years ago

proving such a stripped-down product or

TMI-flex outline and insertable titanium

that there would be a rimless MARKUS T

even improving and reinventing it, that’s

add-ons, there is a major special feature:

collection at some point, as it’s a perfect

an enormous challenge. Our approach

Our fundamental concept for these

fit for our vision and philosophy. The

was to create a product that makes a

rimless glasses goes far beyond rimless

reason for waiting until presenting it

statement on the wearer’s face despite

glasses. With more than 30,000 different

today was, on one hand, the evolution of

its reductionist aesthetic. That also

combinations, we unlock a broad range

eyewear fashion. The major emphasis –

led us to the collection’s name: EASE.

of finishes from no rim all the way to

and literally, weight – placed on frames

Lightness put into action. As a lifestyle.

extremely small connective elements between lenses, almost no weight,

wear craftsmanship. When it comes to im-

S P E C T R // I N T E R V I E W

77

The connection between the refined elements and the lenses is created by two overlapping holes, drilled close to one another to create a figure eight shape.

Focus on essentials. And by essentials

each lens shape and size in order to lend

we also mean a sense of joy and beauty.

these frames a delicate full-rimmed look.

Although living a life of lightness can be

For this option, we are currently offering

hard in today’s current global situation,

two different widths (2.2mm/4.00mm). Our

it’s exactly what we need to preserve.

temples can also be enhanced by two

I think it was good that we waited this

Courage. Joy of life. Togetherness and

variations. Overall, this creates a total of

long to create EASE. This allowed us to

community. Everyone is starting to notice

30,000 combinations just within our EASE

step to this masterclass with 20 years of

these things on a micro and macro

Collection.

experience under our belt. We are now

level. So the concept of lightness gains importance. That’s why, for the past few weeks, we have been sharing our perso-

We offer eleven different colors ranging

nal moments of beauty, contemplation,

from an understated basic titanium color-

and vision with our community under the

way to green, blue, rose, and high-cont-

hashtag #coroNo.

rast black. But also 24-karat gold with a

Who did you have in mind while creating EASE? All those who love an eye for essentials.

Speaking of individuality: How can the frames be customized?

At the moment, the collection entails 22 different models. When it comes to the

PVD coating.

What would be the three catchwords to describe the collection?

Simple. Intelligent. Beautiful.

Compared to a massive horn frame, all EASE glasses are featherlight. How many grams does each of these pieces weigh?

During the design process, were you able to leverage experiences from previous eyewear collections?

fully convinced that this is the best collection we have ever created.

There are already a few brands in the eyewear universe specialized in rimless models. What sets your offering apart from these other brands?

There are only a select few brands whose philosophy is actually a match for the rimless concept. Our strength lies with going extremely deep into details. And that’s the fundamental key to a rimless collection. Reinventing reduced features in detail and improving them. Perhaps

shape of the lenses, opticians receive a

Depending on the individual customization,

it is this thoroughness that sets us apart

large degree of flexibility, which is in the

their weight starts at less than 2 grams.

from many others. And since we are able

nature of rimless frames. Many of our models can be fitted with titanium add-ons

78

On the subject of titanium add-ons, what kind of colorways are you offering?

sential MARKUS T at the same time.

What was the most fun aspect about creating the collection?

to implement every step from ideation to manufacturing to shipping right here at

in our titanium colorways. These include

We had tremendous fun with the deve-

our HQ in Gütersloh-Isselhorst, we are

clip-on top rims in a number of different

lopment of a rimless frame that is so

highly flexible and hands-on throughout

variations, turning EASE frames into semi-

much more than just a pair of glasses

rimmed glasses. As an alternative, every

without a rim. The collection practically

model can be outlined with TMi-Flex

matured due to its countless variations

outlines in colorful accents, adaptable to

and facets. Making it unique and quintes-

S P E C T R // I N T E R V I E W

the entire process.

Thank you for the detailed interview, Markus. www.markus-t.com

MASUNAGA

THE ART OF PAYING ATTENTION TO DETAIL

MASUNAGA »He rcule s «

» Je t«

»GM S - 1 1 7 «

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S P E C T R // D E T A I L S

Together in the perfect harmony of Japanese craftsmanship: State-ofthe-art engravings and premium materials.

p h ot os RAPHAEL SCHMITZ

Imagine bringing together legendary Japanese craftsmanship, first-class materials, engineering excellence and understated design. It may not surprise you, but all of the above are united in MASUNAGA’s eyewear pieces with the new collection being no exception. Here’s an homage to the brand’s long-standing art of paying attention to detail and staying true to the original vision.

To eyewear aficionados, MASUNAGA’s level of craftsmanship is visible at first glance. It’s all about intricate engravings, three-dimensionality, distinctive rivets, fine finishes, durable hinges and many more fine details. Some of the mastery reveals itself later – at a second or third glance. How did the Japanese brand arrive at such a level of mastery? By staying true to the guiding principles that have guided the way ever since the establishment of MASUNAGA in 1905.

Back then, company founder Gozaemon Masunaga initiated the production of eyeglasses in Fukui. The year thus marks the birth of the company, but also the slow rise of the area as a hotbed of eyewear production. MASUNAGA’s key was establishing a guild-like system where craftsmen would create their own business. The increasing number of experts, in turn, attracted more companies and gave Fukui the reputation we can see today.

Scan to try on MASUNAGA favrspecs.com

S P E C T R // D E T A I L S

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MASUNAGA » O ri on«

»G MS- 118 «

»GMS-117«

82

S P E C T R // D E T A I L S

The signature blend of materials lends Masunaga eyewear its upscale look.

Only six years after taking up production, MASUNAGA won a national gold medal at the manufacturing trade exhibition. And the success story continued throughout the 20th Century. The brand was even able to present three solid gold optical frames to the Emperor as a gift in 1933. Almost 90 years later, all three are still beautiful and haven’t deteriorated. And what’s true for the frames, is also true for the principles that have guided MASUNAGA along the way. While productivity and profitability are honored, they never became the overarching goals.

MASUNAGA is about manufacturing excellence. Where other com-

panies are trying to automate processes to reduce the human factor, the Japanese company is all about craftsmanship. There are as many as 200 manual processes involved in making an optical frame. And MASUNAGA, in an anachronistic and beautiful way, makes sure that all

of the steps take place in-house. With maximum vertical integration, MASUNAGA is in charge of everything from raw materials to production

and finish. This improves the quality substantially. Even the molds are always built in-house and any flaw can be corrected instantly.

S P E C T R // D E T A I L S

83

Classic titanium full-rim specs receive an added layer of intrigue via detailed engravings.

The mission statement of the company is “we manufacture excellent eyeglasses”. It’s a simple message and that’s key. MASUNAGA makes no shortcuts and no compromises. In this era of mass production, outsourcing and supply chain management, the company has chosen a path that relies heavily on the hands-on creation process. It’s a rare statement of dedication. . www.masunaga1905.com

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S P E C T R // D E T A I L S

T

FAN

h a i r & m a ke - up ELKE PFLIPS

AD LIB »AB3273«

SPECTR

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PLAS IC

photography ESTELLE KLAWITTER [Dusseldorf ]

A

T STI m o d el SARAH at NOTOYS

AD LIB »A B 3 2 7 1 «

C

SPECTR

87

KLENZE & BAUM »Asket«

88

SPECTR

KOBERG »KT602 1 «

SPECTR

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LOOK »70575«

90

SPECTR

NIRVAN JAVAN » Lo ndon 0 3 :08«

SPECTR

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L.A. EYEWORKS » A rr o w «

92

SPECTR

MAKELLOS »ME5060«

SPECTR

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MARKUS T » A1017«

94

SPECTR

GÖTTI » Ed rick«

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ANO

m o d e l s HYUN WOO & OLIVER NICHOLSON a t NEXT, LONDON

MO T p h o t o assista nt

GIUSEPPE VERRILLO

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SPECTR

B R O T H E R photography WILLIAM FERCHICHI [London]

h a i r RINO RICCIO a t MANIFESTO u si n g DAVINES

GÖTTI

F ROM m a ke - u p MARGHERITA LASCALA

» Ed rick «

TH E R HER

SPECTR

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MODO »3 0 3 «

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MODO »302«

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MODO »7 0 1 «

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KOBERG »6024« & »6015«

100

SPECTR

KOBERG »6 0 3 1 «

SPECTR

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MASSADA » S wi ng«

MASSADA »N ois e «

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SPECTR

SALT. »D e u x «

SPECTR

103

STARCK »SH3061«

104

SPECTR

STARCK »S H3060«

SPECTR

105

BOGNER »63005« & »62008«

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SPECTR

Scan to try on BLACKFIN favrspecs.com

OUT INTO THE WOLRD BLACKFIN’S PLAY OF COLORS p h o t o g r a p h y ULRICH HARTMANN st y l i n g DAVOR JELUSIC h a i r & m a ke - u p MELANIE HOPPE mode l s THERESA GENTH & NICK FALKE a t MODELWERK a ssi st a n t MOMO RADHI p o st p r o d u c t i o n MARKO PERAK

Shaped by hand but made from the heart: What may sound like poetry is the brand philosophy of Italian label BLACKFIN from the Southern Dolomite mountains. Born in the small mountain village of Agordo, the brand retains strong local roots, while also maintaining a steady connection to Japan to source some of the world’s finest titanium. From this material – and a healthy dose of passion – BLACKFIN has been making more than eyewear for over a decade now, but intricate works of art. Through it all, some brand principles remain etched in (Dolomite mountain) 108

S P E C T R // C O L L E C T I O N S H O O T

BLACKFIN ONE Teeming with blackfin’s design DNA, the Blackfin One label identifies the label’s main collection.

Colors take the center stage and adds intricate detail to all styles.

BLACKFIN blackfin one

» No rd en« -

jacket ESSENTIEL ANTWERP top NEXT pan ts KING LOUIE sh oes VAGABOND

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BLACKFIN blackfin one

» B a y ou« sh i r t RIVER ISLAND j a c ke t SELECTED

BLACKFIN blackfin one

» Anfie ld« dress CAVLIN KLEIN

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S P E C T R // C O L L E C T I O N S H O O T

BLACKFIN AURA Blackfin Aura is the new line of beta-titanium frames blended with acetate elements. These optical eyeglasses play with sunlight. While all elements blend together naturally, the overall look achieves the perfect balance between tech and glamour.

BLACKFIN blackfin aura

» F l ori da B a y « j a c ke t SCOTCH&SODA

BLACKFIN blackfin one

»Winter Ha rbor « s h i r t ASOS

stone: For instance the allergy-neutral character of the frames, thanks to the use of titanium as a skin-friendly resource. What’s more, all frames are inherently nontoxic and biocompatible. They are also entirely free of traces of nickel and other heavy metals. Aside from the consistent choice of materials, penchant for high-tech and manual production process, other constants behind the brand are BLACKFIN’s focus on design and color palette. Guided by expertise and unique sense of style, the Italian designers have proven their mastery in adding a layer of detail to their fabulous titanium frames via constantly updated colorways.

S P E C T R // C O L L E C T I O N S H O O T

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BLACKFIN blackfin one

»Lynn Ha ve n« s h i r t SELECTED s k i r t ESSENTIEL ANTWERP

On-trend colors also play a key role in BLACKFIN’s latest collection: In the latest Blackfin One line, the color palette is the common denominator between a broad range of men’s, women’s, and unisex styles. All without compromising staple features such as the signature temple tips for a perfect fit or the ultra-flexible beta-titanium temples. The current Blackfin Aura line also offers an interplay of materials and nuances: These beta-titanium frames have been fitted with Italian cellulose acetate that is sensitive to UV-light. And in the Blackfin Razor collection, the difference lies in the manufacturing, with all frames crafted from ultra-thin, 1mm beta titanium sheets via a special micro-mechanical process created exclusively for the series.

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S P E C T R // C O L L E C T I O N S H O O T

BLACKFIN blackfin one

» F l o w e r C a ve « j u m p suit UTERQUE

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BLACKFIN blackfin razor

» A nni e « -

b l a z e r & p a n t s DANNY REINKE sh i r t SCOTCH&SODA

BLACKFIN RAZOR In search of retro flavor? Look no further than the Blackfin Razor collection with its signature bridge. The three-dimensional shape of the nose

BLACKFIN blackfin razor

» Za ra «

bridge underlines the vintage look.

For added style, the line implements monochromatic metal colorways, while contrasting the outside metal with color

j a c ke t TOMMY HILFIGER sh i r t ASOS

pops on the inside. The new one-piece hinges constitute another technical breakthrough that elevates the design in all its rich detail.

Again, color plays a key role here, not necessarily by popping into view as the main eyecatcher but via a series of monochromatic hues.

The verdict: Overall, these new additions to the BLACKFIN legacy create just the kind of break from the norm and colorful, joyful contrast that we all can use at the moment. www.blackfin.eu

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BIG CITY LIFE THROUGH THE URBAN JUNGLE WITH AD LIB

r the nd unde ear bra n w e y e betwee mic nd dyna balance a e u g n iq u n o u sa is the y e brand achieve AD LIB sign. Th lla that e d re se b n a m e u nt urop atin phra Charma y and E for the L g rt lo o o h n s h is igns se tec n: AD LIB ear des Japane e missio h eyew g th u p will. u ro s th um and free ressed y p it x name s e e n ta is on ich n life, eling, sp um”, wh om urba “ad libit nse of fe fr e s n o a ti y a at spir rized b ames th draw in characte ewear fr signers y e e d re ’s a d o n ic c lorsults The bra e dynam . The re s th rt , o re p s o m , art and . What’s hip and fashion r city life gle in a n fo t ju il n u a -b rb u ose face the are purp arers to e w tro w o ell as re ways all ge as w le. a ty u s g n n la th ta oli ns, e form cosmop st desig li rdinary a o a im tr in x e ir gether g in m With the eling to t colorin fe n y ie it d c ra g ain es and that cert influenc presents re com n . o A ti armant. nd DN collec www.ch stic bra AD LIB ri te c ra own cha with its

p h ot o KATERYNA KUHL

AD LIB » AB3271« Highest comfort of wear thanks to almost weightless titanium elements in this feminine style.

Dazzles with on-trend colorways and striking contrasts on front and temples.

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S P E C T R // C O L L E C T I O N C H E C K

AD LIB »AB3310« This men’s model is a reinterpretation of 1970s trends.The vintage stripe design on the temples is a true standout.

» A B 3 2 73 « Titanium full frame with rounded silhouette for women who want that city feeling.

Flexible beta titanium temples contrast exquisitely with the front section.

» AB3313« Inspired by fashion, colors, and sports this frame represents dynamism and freedom.

Modern square look crafted from premium titanium with vivid color accents for urban gentlemen.

S P E C T R // C O L L E C T I O N C H E C K

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LE SPECS LABEL UPDATE

FROM A LAND DOWN UNDER pho to s LE SPECS

also introducing the new Le Sustain collec-

LE SPECS does not want to be limited to

tion this summer. All models in the collec-

Iconic Australian label le specs not

releasing new interpretations of esta-

tion consist of pressed grass as well as

only enjoys a cult following in the land

blished silhouettes. Our collections are

recycled thermo polymer – a concept

Down Under but garners a global fan

supplemented by fresh ideas from artists

that we’ve been advancing at the highest

community including numerous cele-

and designers that are free to take their

brities. Backed by 40 years of tradition,

own approaches toward wearability and

last year marked the label’s first release of an optical frames collection. Just the

execution of their designs.

priority level.

About one year ago you released the very first optical collection. What has been the response from opticians so far?

right time for a Label Update with Tanja

In how far does this approach extend to celebrities?

Zwetkoff from German le specs distri-

If there ever was a ‘must have’ product

in collaboration with Blake Kuwahara at

butor Tree Distribution.

among celebs and VIPs, it has to be sun-

opti 2019. But to speak openly, feed-

glasses. This is another area where our

back at the time was mixed, at best, but

brand tradition comes in. Our reputation

always constructive. We’ve extracted

Hello Tanja, how would you summarize LE SPECS’ mission statement?

We introduced our first optical collection

among stars such as Rihanna, Celine

some great takeaways for our current

LE SPECS blends 40 years of lighthearted

Dion or Meghan Markle is quite strong.

2020 collection and the new line has

spirit and zeitgeist with the necessary

For instance, our connection to Rihanna

been well-received since the beginning

seriousness that a relevant everyday –

has also connected us to her designer

of the year.

and luxury – product such as eyewear commands.

Up until now you were primarily known as a fashion brand. Does that still apply?

There is no decade that fails to conjure

and stylist Adam Selman.

We can hardly wait to see the resulting collab. You’re also highly prolific on social media. What are your most important channels?

What can opticians expect from LE SPECS in the near future?

Most of all an open cooperation at an eye level. This has always been, aside from our products, the main core compe-

the memory of an icon wearing sunglas-

Instagram is our key tool for communica-

tence and priority for our Australian team

ses, whether it’s James Dean, Sophia

ting the story of LE SPECS. Aside from our

and us here in Germany. LE SPECS is a

Loren or all the rock stars. Sunglasses

products, it’s mostly about the entirely

time-honored partner with an expansive

have always been a fashion piece with

positive attitude behind LE SPECS as well

target group that is not to be underesti-

a strong sense of expression. LE SPECS

as our connection to the world’s most

mated, as well as an extensive product

has always been at the forefront and set

beautiful locations.

selection.

many trends – which continues to be the case today. The brand has also been evolving over time and takes wearability and quality quite seriously.

You’ve also been quite active when it comes to collaborations. What is the spe118

cial added value in the eyewear business?

S P E C T R // L A B E L U P D A T E

The current coronavirus crisis is igniting the debate around sustainability. What role does it play for your brand?

What else will be your main focus this year?

In response to the current situation,

It’s really a topic we here at LE SPECS

solidarity and mutual appreciation. LE

take seriously. Aside from a low-impact

SPECS is ready for our fifth successful

manufacturing approach, LE SPECS is

decade.

www.lespecs.com

@jfreyofficial

PORSCHE DESIGN FUSION COLLECTION p h ot os RAPHAEL SCHMITZ

PLAYING WITH CONTRASTS

Colors, surfaces, materials, and cross-sections: The Porsche Fusion Collection achieves high-end contrasts in all design elements.

PORSCHE DESIGN has been creating

iconic designer products for decades, also including eyewear. The brand’s Iconics Series is home to all special and limited design highlights. This year, PORSCHE DESIGN is upping the ante with the Fusion Collection of eyewear models that one day could also become iconic.

The man responsible for PORSCHE DESIGN eyewear is Ben Heirich, Lead Designer at Rodenstock, who explains the company’s layered contrasts in our Tech Talk.

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Hello Ben, is there a basic design philosophy behind PORSCHE DESIGN?

The brand DNA behind PORSCHE DESIGN is tangible in every frame. We work

Absolutely. PORSCHE DESIGN embodies

closely with the F.A. Porsche Studio in the

timelessly purist design combined with

town of Zell am See and create ideas for

innovative functionality. We want to over-

eyewear innovations together.

come boundaries in order to continue to discover new, better solutions. This mindset has enabled PORSCHE DESIGN to

What are the challenges when it comes to applying the design philosophy to a rather delicate product such as eyewear?

create uncompromising designs that not

The high art in good design lies with

only connect with the current zeitgeist

presenting the complex in a reduced

but endure beyond.

manner, which especially applies to eye-

Does this design philosophy also apply to eyewear or do you operate independently?

wear. This also implies reducing the form language to essentials while making

PORSCHE DESIGN » P’8 6 9 1 «

» P’8 6 9 0 «

» P’8 6 9 2 «

the right choices in terms of colors and

recognizable. In the current collection,

“It’s all about contrast.” With the Fusion

materials.

the »Hexagon« model deserves special

Collection we are creating contrasts

mention. Like all other glasses in the

in terms of materials, colors, profile,

Iconics Series, it is limited to 911 pairs.

surfaces: Matted meets with shiny, slim

Signature branding elements such as

temples with bold front sections, under-

the hexagonal screws – inspired by the

stated colors with eye-catching tones.

engine block on a Porsche 911 – bridge

The form language of the frames is inno-

In retrospect, what are the most significant design features that PORSCHE DESIGN has achieved over the past decades?

One of the internationally known classics is the »P’8478« that has been available in an unchanged design since 1978 and has sold millions of times. The unmistakable shape of the lenses, the characteristic nose bridge and revolutionary lens change mechanism makes it highly

the gap into automobile design.

Aside from your Iconics line, you’re currently making a push with the Fusion Collection. We understand that a blend of contrasting elements plays a great role. In how far?

vative, futuristic and technical.

What is the challenge in achieving this look?

Despite all those contrasts, the design of the frames needs to achieve unity.

Although we are consciously creating S P E C T R // T E C H T A L K

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PORSCHE DESIGN »P’8665«

»P’8366«

friction, the overall image of the glasses

leave room for an intricate placement of

was to create imperishable eyewear clas-

needs to remain coherent. This is where

the PORSCHE DESIGN logo.

sics. And I think we have achieved that.

the selection of materials, colors and shapes is key.

You mentioned the combination of matted and shiny surfaces. What is the special attraction?

Which model is your personal favorite?

The »P’8362 Liquid Titanium«. The under-

The design is purist, while the play on

lying idea is: The flow of liquid metal cap-

contrasts accentuates the high-end qua-

tured in titanium. The perfect symbiosis of

lity of the materials. Due to the high level

dynamic design and ambitious enginee-

When matted and shiny surfaces collide,

of complexity in terms of design and ma-

ring. It’s my favorite model because the

the individual characteristics are enhan-

nufacturing, the Fusion Line differentiates

organic, fluid form language creates a

us from our competition.

unique interplay between light and sha-

ced. This creates an interesting play on materials.

What is the purpose of combining materials with different strengths?

122

In how far does this approach add value to eyewear designs?

Do you see the Fusion Collection as a contemporary offering or is there potential to become timeless classics?

A great example are the temples in the

PORSCHE DESIGN continues to set trends,

Fusion Collection: Viewed from the side,

but at the same time the lifestyle brand

the temples appear rather flat, but from

represents timeless design icons. Our

above they appear more expansive and

approach in creating the Fusion Collection

S P E C T R // T E C H T A L K

dow. The elaborate, three-dimen-sional design is the result of multiple production and molding steps. The frame recently received the iF Design Award 2020.

www.porsche-design.com

SPHERE

Philippe Starck: Visionary creator, inventor, and sophisticated thinker.

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S P E C T R // P H I L O S O P H Y T A L K

COLLECTION

STARCK BIOTECH PARIS

p or t r ai t STARCK BIOTECH PARIS, st i l l s RAPHAEL SCHMITZ

Philippe Starck counts among the world’s most influential designers at the moment. Under his STARCK BIOTECH PARIS label, he has released a plethora of projects, from everyday products like furniture to architecture, including hotels and restaurants. Also naval and spatial engineering projects such as mega yachts or a habitation module for private space tourism. Through it all, Philippe Starck continues to surprise and push the boundaries of contemporary design.

With that said, we are delighted to engage the Frenchman in our exclusive SPECTR interview. Especially since Philippe continues to move constantly and never rests in one place for long. Nevertheless, the cosmopolitan designer has an antipathy against large crowds and prefers a rather quiet atmosphere. This is also reflected in his four main choices of residences across the globe, which all share a laid-back sense of remoteness: The historic town of Sintra in Portugal, the small island of Burano outside Venice (known for its artisan glass blowers). Also on the Spanish island Formentera as well as the French hamlet the Cap Ferret and its Bird Island near Arcachon, where Starck raises oysters. It is in these secluded places that the designer finds the quietude and peace of mind that are fundamental to his creative process.

Asked about his craft, the soft-spoken Frenchman does not consider himself a designer in the classic sense. He much prefers to identify as a creator and an explorer. His work always follows the same mission: a creation, regardless of shape or form, always needs to improve the lives of the largest possible amount of people. The places and objects designed by Starck must be functional most of all, and considerations of ‘prettiness’ come second.

As a common denominator in all of Starck’s designs, the concept of dematerialization looms large over his work.

“Less is more”. His products always aim to extract the maximum out of a minimum, most of all when it comes to his signature eyewear collection. Which makes sense, since the main focus with eyeglasses lies on the face of the wearer, not the product itself. “Human first”, as Starck calls it. True to this legacy, his latest Sphere collection of eyewear follows the same reductionist aesthetic. And it took four years to develop, also due to the minimalist yet highly functional hinge design.

In our SPECTR interview, Starck takes us on a journey involving philosophy and dialectics, which we often try to rein back to the subject of eyewear design and technology. But then again, the designer tends to be more concerned with the bigger picture of where mankind as a whole is headed and how he can make his personal contribution.

Welcome to our Philosophy Talk.

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STARCK BIOTECH PARIS » O S H 3 0 6 0 « & » OS H 3062«

Hi Philippe, thanks for taking the time to talk to us. You are an inventor, creator, architect, designer, artistic director. What title do you most identify with?

I would really not call myself an architect or even a designer.

Because I’m not interested in architecture or design. I’m interested in life and most of all how I can help people.

So what does that make you in the end?

where. Art is probably the least creative territory in society today.

You mentioned a personal obligation, what is yours?

I have two activities in my life: I create and I love my wife. And both together are a full-time job.

Let’s speak about the act of creation. How can your design philosophy be described?

I would describe myself as a creator and explorer. In order to

My work follows a constant drive towards creativity. Every day

find the best possible solution for a specific task, it is helpful to

from 6 o’clock in the morning to the first bottle of champagne

attain an outside perspective and a certain emotional distance to

we open usually at 7 o’clock at night, I’m alone in front of my

objects you are working on.

desk, dreaming. And drawing my projects. Creativity to me is

Once you said, “Nobody has to be a genius, but everybody has to participate.” What exactly did you mean?

Every human being enters into a contract with society starting at

the only existing religion. The only way to live and the ultimate drug.

That sounds rather involving.

birth. As a human, you can benefit from society in many ways, but

It does not leave much of a personal life. I’m constantly engaged

you also need to make your own contribution. It doesn’t require

in some project or other. That tends to be rather difficult for peo-

you to be a genius. Nobody has to be the second Einstein. But

ple in my private circle, since I’m constantly unavailable in some

everyone has an obligation for making a creative contribution.

But is creativity not limited by nature to an artistic context?

126

No. Creativity can and must be omnipresent, it’s required every-

S P E C T R // P H I L O S O P H Y T A L K

way. I’m like a ghost.

But a ghost with tangible products, including glasses. When

The new Sphere hinge connects titanium temples to ultra-light front section crafted from Gravity Evo, entirely without screws or soldered parts.

did you launch your first eyewear collection? And how did you actually get the idea to design glasses?

BIOTECH PARIS represent?

Creativity, high technology, high vision, intelligence, timeless

I designed my first collection 26 years ago with Alain Mikli. Previ-

elegance and minimalism, which also coincides with an environ-

ously I’d been asked to design by other labels but did not really

mental consciousness.

see a way in which I could be of service. With Mikli, I instantly sensed a sense of passion. This feeling that he was born to

On that note, you have created the term “bionism”. What exactly is the underlying concept?

design eyewear. That really resonated with me and my vision to

Bionism is not a final state for mankind, but rather an important

develop a unique hinge, so I came on board.

step in our evolution.

What is special about eyewear design compared to furniture and interior design?

In how far?

For a few years, scientists have believed that humans have

Let’s take a chair for example. It’s an object completely separa-

reached a threshold in our evolution. We’ve reached a limit, with

ted from humans, so the design is purely externalized. Looking at

our body and using our brain. In order to be able to advance

eyewear, on the other hand, you are designing the impression

further and become more intelligent, we need access to intelli-

and personality of a person wearing the glasses. For this reason, I’m strictly against crazy designs and oversized logos. I don’t

gence from external sources. We need to become bionic.

But what is the motivation?

want people to hide behind their glasses. Eyewear should en-

As a species we are obligated to become more intelligent. It’s

hance a person’s being in a subtle manner. Ultimately, I design

the only future hope for mankind. There is no other. And we are

people’s faces, not just eyewear.

already on our way. It will not take long before we can perform

Based on this philosophy, what kinds of values does STARCK

tasks with our (mere) thoughts such as switching light on and off.

S P E C T R // P H I L O S O P H Y T A L K

127

STARCK BIOTECH PARIS » OS H 5028«

The Sphere hinge also adds equal parts minimalism and volume in the sunglasses segment.

That’s a nice segue into talking about actual products. Your Biolink hinge has been rather successful. Why did you come up with a new concept?

From a biomechanical perspective, the Biolink was really the

elegance with Sphere. So we consider Sphere not as a style but rather the result of philosophy as well as technology.

The STARCK BIOTECH PARIS frames are always rather lightweight. Do you work with organic plastics?

best hinge. But due to its complexity, the manufacturing aspect

I’m extremely familiar with this segment and I can guarantee

proved rather exigent, which made the resulting eyewear rather

one thing: there really is no organic plastic at this point with all

expensive. But I’m really trying to make products for everybody,

required solidity or other important parameters, although several

not just people with money.

people claim the opposite and the level of ‘eco washing’ is rather

In terms of final products, your new collection is called Sphere.

What is different?

With Sphere, we wanted to develop a hinge technology that is

high. Instead, I’d rather put the relevance of eco plastics in eyewear manufacturing into perspective.

For what reason?

equally impactful and meets the same quality criteria, but at 30

Let’s look at the overall outcome. Our eyewear frames weigh

percent less manufacturing cost. So we developed three optical

only a few grams and are worn between five to ten years. We

and two sunglasses styles around the new hinge concept. The

can’t compare with single-use plastics.

main idea was to completely eliminate screws or soldered

So that also factors into the environmental footprint?

elements. The frame’s front sections are crafted from Gravity Evo

Timelessness is really one of the most important criteria a de-

material and work in harmony with our titanium hinges.

signer needs to be able to meet. That is true ecology. STARCK

What is the idea behind Sphere?

BIOTECH PARIS is not about fashion or luxury. We want to offer

A sphere is a perfect object. It is at the same time stable and

intelligent, technical solutions, because that’s what is really sexy.

unstable. Strong and free and also timeless. Our Sphere hinge

STARCK BIOTECH PARIS is a sapio-sexual brand.

is, like all good inventions, rather simple. The best with less: thanks to this minimalism, we have attained a sense of timeless 128

S P E C T R // P H I L O S O P H Y T A L K

www.starck.com

EASE A1016 EASE A1017

p or t r ai t STEFAN DONGUS, st i l l s RAPHAEL SCHMITZ

STAY PURIST, BECOME COSMOPOLI Swiss eyewear label NIRVAN JAVAN is still a relative newcomer to the optical business, but the brand’s founder, namesake and designer is already a well-known figure. Nirvan is a true cosmopolitan blend between Central Europe and the Middle East. After earning his master’s degree as an optician, he took a detour that led him into designing his first signature eyewear collection. No surprises there, as Nirvan has been passionate about drawing and sketching from an early age. With the founding of his own NIRVAN JAVAN label, he focused on purist designs. The recent collection marks an evolution of brand DNA into cosmopolitan influences. “This opens up completely new opportunities in design,” he said on a recent visit to our photo studio. Here is Nirvan in this issue’s brand profile.

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S P E C T R // B R A N D P R O F I L E

NIRVAN JAVAN

Nirvan, you grew up in Zurich but come from Iranian roots. What do you like most about both cultures?

play into your eyewear designs?

My current eyewear designs have a rather reduced, ‘Western’ style. What my

About Zurich, I like the compactness, the

origins taught me is an open approach

multicultural and modern aspects. Add

to walk through life. In how exactly this

to that the high standard of living and

influences my eyewear designs is hard

quality in Switzerland, the reliability and

to describe. It’s more about a general

cleanliness. About my Persian back-

attitude that’s open to lots of inspiration.

ground I like the sense of family, helpful-

In how far?

ness and the warm and cordial hospitali-

I can draw inspiration from a multitude of

ty. And let’s not forget Persian cuisine.

things. From my early years onward I’ve

In how far do these multifaceted aspects

been a good observer. So sometimes it’s

Switzerland X Persia – a collab between two worlds in the shape of a real-life individual.

Scan to try on NIRVAN JAVAN favrspecs.com

ITAN the trivial, everyday things that set me

Just not on myself.

slowly developing back pain looking to

artists and people in general. Cinema is

How would you describe the general design philosophy behind NIRVAN JAVAN?

also one of my passions and source of

I follow a clear, elegant aesthetic that

inspiration.

puts people at the center. It’s a holistic

The whole theme of purism has always

approach that creates a consistency

interested me, so it’s been a guiding

between exclusive eyewear designs and

principle for NIRVAN JAVAN in the early

off. Add to that different cultures, cities,

Is your personal choice of colors also inspired by movies? You’re almost exclusively dressed in black.

unburden in some way.

How are you avoiding overload with NIRVAN JAVAN?

self-confident wearers. Through it all we

years. I personally have a calm perso-

When as a child I was asked about my

are striving for perfection in order to offer

nality, which is why it’s just part of the

favorite color, my response would always

customers a high-quality product that is

equation.

be ‘black’. So I had to always deal with comments like, ‘black is really not a color’. But then again, black really is my favorite color. It has a soothing effect

easy for opticians to handle.

Lots of people right now are striving for minimalism and reductionism. Can you see why?

Are you making a change currently?

Recently I’ve been feeling more creative and the theme of openness is at least as important as purism. But I think that

on me. It absorbs and has depth, it’s not

The overload and pace of the modern

purism will always play a certain role

distracting but elegant, timeless and

world is stressing many people out. I’m

for NIRVAN JAVAN. There’s something

really goes with everything! That’s why

imagining the individual living in an era

liberating about it. Perhaps that’s why

every single one of my designs is always

of overconsumption walking through life

the current designs are garnering such a

available in black. It may sound like a

saddled with a huge, heavy backpack

paradox because I genuinely like colors.

full of things that aren’t necessary and

positive response.

But it seems like purism is currently S P E C T R // B R A N D P R O F I L E

131

Striving for perfectionism: materials and workmanship are becoming more valuable.

also based on feedback from our partner opticians.

Looking at the new nomenclature of these models, there appears to be a system at work. What’s the concept?

Exactly, it’s also a stringent implementation of our brand concept. The individual models are named after times of day in their respective time zones. A study of character of modern cosmopolitan people, if you will.

The cities are part of the model names, obviously, but what is their role in the process?

The featured cities are our backdrops. acetate. With the Tokyo Collection we

For example, we did a photo shoot in

Over the years, our own demands and

have introduced our very first titanium

London for the new collection. It really

the pursuit of perfection have grown

frames. Both collections are hand-crafted

focused on the stories and dreams of

stronger. Our materials and our construc-

in Japan.

NIRVAN JAVAN wearers in these locations.

taking a backseat, right?

tions are becoming more high-grade. We

Does that mean a reinvention of NIRVAN

have the feeling that the brand move

JAVAN as a brand?

I would rather say that it’s the next step in

We have segmented our target group

our evolution. The brand is moving more

more strongly. Over the past few years

to the foreground, bringing along the

I’ve learned that you cannot be all things

Similar to our own personalities, NIRVAN

stories and emotions made possible by

to all people, so it’s better to just do

JAVAN is a cosmopolitan brand. Our

cosmopolitan life. All of it is interpreted

things right.

brand represents internationalism. The

and perfected through the designer’s

symbiosis between cultures.

signature style.

more toward centerstage.

What would be the message you’re communicating?

In how far is this approach manifested in the latest collection?

132

Are you now addressing a different target group?

How many models are part of the new offering?

How do you imagine the modern, cosmopolitan customer wearing a pair of NIRVAN JAVAN eyewear?

It’s an elegant, cosmopolitan individual

Our new collections are inspired by the

We’re starting with five models each in

looking to experience the world in all its

world’s metropolitan cities and therefore

four to six colorways – just like our pre-

facets. These individuals are successful

fit the brand concept. The London Collec-

vious collections. The London and Tokyo

at what they do and satisfied, goal-orien-

tion is entirely made from Japanese

Collection will be evolved continuously,

ted and self-confident.

S P E C T R // B R A N D P R O F I L E

NIRVAN JAVAN » L ondon 0 1 : 0 6 «

» L ondon 0 3 : 0 8 «

» L ondon 0 5 : 0 4 « Are the new collections also aimed at a different set of opticians?

The Tokyo and London Collection are very good fits for premium opticians in urban areas. The exclusivity of the offering also plays an important role.

What aspect of this new approach are you most excited about?

It unlocks more room for creativity. The world is open to us and we’ve only just begun! I can hardly wait to head out into the world to experience all these places and cultures while creating lively collections and campaigns that tell real stories! I am highly looking forward to this journey!

Enjoy the ride and thanks for the interview. www.nirvanjavan.com S P E C T R // B R A N D P R O F I L E

133

TH E G

photography RACHEL JIAM [Berlin]

a ssi st a n t

SANDRA GULDENPFENNIG

IRR st y l i n g MIMI KRTINIC

SILHOUETTE » SP X 2922« suit MANGO

GA NG

m o d e l s JASMIN a t VIVA MODELS BERLIN, EMILY a t HER MANAGEMENT & MIA a t MODELWERK

h a i r & m a ke - u p SAMANTHA POTTMAIER

134

SPECTR

RL SILHOUETTE » S PX 2 9 2 7 « su i t MANGO e a r r i n g ANNE MANNS

SILHOUETTE »5 5 4 0 « s u it MANGO t u r t l e n e c k ARKET

SPECTR

135

FACE À FACE » Yayo i 2« -

FACE À FACE

swea ter STINE GOYA

»K e i t h 1 « -

sw e a te r SCOTCH & SODA shir t MUJI

FACE À FACE »N iludo 2« swe at e r STINE GOYA

136

SPECTR

FACE À FACE »Maze s 2 « swea t e r STOFFBRUCH trousers & s an dal s SCOTCH & SODA

FACE À FACE »K e i t h 1 « -

sw e a te r LEVI’S tr o use r s SCOTCH & SODA so ck s HAPPY SOCKS

SPECTR

137

LINDBERG »2434« -

t o p MAMI

LINDBERG »2431« sh i r t STINE GOYA

LINDBERG »1 8 4 9 « t op SCOTCH & SODA

138

SPECTR

LINDBERG »9747« su i t s MANGO

SPECTR

139

J.F. REY » JF 2 9 1 0 S L « -

c o a t FILIPPA K ski r t BRACHMANN sh o e s FLATTERED

J.F. REY »J F 2 9 1 0 « -

dre s s & s k i r t BRACHMANN s h oe s FLATTERED

J.F. REY » JF 2 9 1 2 « c o a t & p a n t s BRACHMANN sh o e s FLATTERED

140

SPECTR

J.F. REY » JF1483« to p SCOTCH & SODA

J.F. REY » JF 1 4 8 3 « -

sh i r t STINE GOYA

SPECTR

141

L.A. EYEWORKS » Ca ta houl a « j a c ke t LEVI’S

142

SPECTR

L.A. EYEWORKS » Mul l e t« -

dr e ss STOFFBRUCH

shir t STOFFBRUCH, skir t FILIPPA K

su i t MARCEL OSTERTAG sh i r t SCOTCH & SODA

SPECTR

143

METROPOLITAN »8 0 6 7 « -

METROPOLITAN

j a c ke t & tr o use r s BRACHMANN t o p FILIPPA K e a r r i ng s VIBE HARSLØF

»806 6« dress BRACHMANN

METROPOLITAN »8065« c aa t & t r o u se r s MARCEL OSTERTAG t u r t l e n e c k ARKET

144

SPECTR

LA

h a i r & ma k e - up VERONICA CONTU

GLORYFY » King st o n « s hirt LACOSTE VINTAGE

YO

w i t h t h e su p p o r t o f SARDEGNA FILM COMMISSION

146

SPECTR

T H I S

photography + concept NARÈNTE // LUCIO ARU + FRANCO ERRE [Costa Rei, Sardinia, Italy]

N D

ma le m o del shots FRANCESCA MANCA DI VILLAHERMOSA

IS stylin g

NARÈNTE + ANNALISA M. LILLIU

GLORYFY »B o n Vo y a g e « shir t LEVI’S

UR S

models CAMILLA CIANI at LA & NICCOLÒ SPINAS

SPECTR

147

FLEYE » A ma nda « sw i m su i t MIMÌ À LA MER t o p PEPEROSA

FLEYE » Top sy« shirt SESSUN

148

SPECTR

FLEYE »M a r i e « sw imsuit MIMÌ À LA MER

SPECTR

149

MOREL »8 0 0 2 7 A « sw i msuit MIMÌ À LA MER p a nts SESSUN

MOREL »80031A« j a c ke t TOPMAN

150

SPECTR

LINDBERG »9 6 2 5 « -

b ik ini BALAJANAS p a nts PSOPHIA SPAIN

LINDBERG »8590« j a c ke t VINTAGE ARMY

SPECTR

151

HAFFMANS & NEUMEISTER » O ny x« -

sw i m su i t MIMÌ À LA MER 152

SPECTR

HAFFMANS & NEUMEISTER »We s t« -

jacket TOPMAN, s h i r t A.P.C.

SPECTR

153

IC! BERLIN » D a iying L .« -

jac k e t WEEKDAY

154

SPECTR

IC! BERLIN »Mauerpark« sw i msuit MIMÌ À LA MER h e a d pie ce CUSTOM-MADE

SPECTR

155

NEUBAU »M a x « str a w ha t VINTAGE YSL

156

SPECTR

www.mexx-eyes.com

FACE À FACE »BOCCA S ON G 4«

158

S P E C T R // C O L L E C T I O N S H O O T

SPECTACLE JEWELLERY OR SPECTACULAR ART? THE METAMORPHOSIS OF FACE À FACE p h o t o g r a p h y KATERYNA KUHL m o d e l s OLGA a t IMM-MODELS EUROPE & MAREN a t ELENA MODELS

Founded in 1995, French eyewear label FACE À FACE is specialized in creating refined and perfectly shaped frames for stylish women with lots of charisma and a sense of humor. Ever since the first BOCCA collection released, the company has built a reputation that celebrates feminine sensuality and takes inspiration from the artistic works of Salvador Dalí. The FACE À FACE head designer and

co-founder renders eyewear in the image of pure femininity, Dalí’s artwork as well as the voluptuous lips of Hollywood actress Mae West.

The new BOCCA limited edition keeps this tradition alive with a masterful blend of premium materials and the dynamic design DNA

FACE À FACE » B O C C A S O NG 3 «

FACE À FACE » x x xx xx x« S P E C T R // C O L L E C T I O N S H O O T

159

behind FACE À FACE. The result is a perfect combination between jewelry and high-end eyewear. The collection of must-have glasses oscillates between optical frames and sunglasses, all realized with the same sense of artistic inspiration.

The common denominator between all these shapes is the ultra-feminine temple design with a sexy temple tip at the end, sometimes colorful, other times under-

FACE À FACE » BO C C A LEMON 1«

stated, and even adorned with precious metal. Then again, that’s where the similarities end: As this collection shoot powerfully documents, the new collection is full of individual styles in a perfect symbiosis between art and eyewear design and between jewelry and upscale frame designs. In other words, something for every face. www.faceaface-paris.com

160

S P E C T R // C O L L E C T I O N S H O O T

FACE À FACE » B O C C A VO G U E 2 «

S P E C T R // C O L L E C T I O N S H O O T

161

FACE À FACE » B O CCA L A CCA 2 « & » B O CCA L A C C A 1 «

162

S P E C T R // C O L L E C T I O N S H O O T

KOBERG » K T 6996.1503 1 3 5 « ja c k et MANGO po lo s hirt HANRO

NO LOO SCREW

KOBERG’S REINTERPRETATION OF ITS TRADEMARK

164

S P E C T R // C O L L E C T I O N S H O O T

KOBERG » KT 6 0 3 9 . 1 0 1 5 1 4 0 « c o a t COS p u l l o v e r 8 BY YOOX p a n t s HILTL b i ke PEUGEOT

OSE WS!

photography OLIVER SPIES s tyling CHRISTINE BAUMANN m o del LUIS

In 2013, Koberg & Tente pre-

creators of KOBERG emphasize

the brand. In 2019, the brand re-

sented the inaugural KOBERG

variety, elegance and purist de-

volutionized its offering: In close

eyewear collection. More than

signs next to the high demands

cooperation with the freelance

seven years later, the label still

on craftsmanship that have been

design team at Studio Spekta-

represents – perhaps now more

a beacon since day one. The

kel, the eyewear selection was

than ever – technically-oriented

screwless and cylindrical hinges,

expanded by a second collec-

eyewear design, uncompromi-

created by master designer

tion aimed at creating a modern

sing form language and premium

Josef Lanta have also emerged

and cosmopolitan look. The new

quality. At the same time, the

as a signature calling card for

line also includes a redesigned S P E C T R // C O L L E C T I O N S H O O T

165

hinge mechanism. Although

at Design & Optik Manufaktur.

order to limit CO2 emissions to

no longer screwless, the new

Despite this bold reinvention and

a minimum. With a maximum in

version of the hinge retains its

pursuit of new horizons, the esta-

style, the new KOBERG frames

proven shape. The new concept,

blished core of KOBERG’s brand

are living proof that doing good

which also allows for creating

philosophy remains untouchable.

and looking great are sides of

more delicate temples and rims,

Much like the fact that the en-

the same coin.

was technically implemented

tire collection is manufactured

and evolved into a final product

exclusively in Germany using

together with Alessandro Picicci

regionally sourced materials in

www.koberg-brillen.de

KOBERG » KT 6 0 4 5 . 1 0 2 1 1 4 0 « p u l l o v e r MANGO sh i r t HANRO

166

S P E C T R // C O L L E C T I O N S H O O T

KOBERG »KT 6043.1022 130« su i t COS sh i r t ARKET t i e COS

S P E C T R // C O L L E C T I O N S H O O T

167

KOBERG » KT 6 0 4 4 . 1 0 1 9 1 4 0 « sh i r t MARCIANO FOR GUESS h a t MAYSER HATS

KOBERG »KT 6 0 4 1 . 1 0 1 2 1 4 0 « j a c ke t MANGO

168

S P E C T R // C O L L E C T I O N S H O O T

COO L O N

photography ANDREA KADLER [Cape Town]

as s i s t an t ELGIN RUST

st y l i n g & p r o d u c t i o n ANDREA KADLER

TH E ROC

S

h ai r & ma ke - u p BEA KEMP a t BIRDONAWIRE

mode l s KRISTINA a t ICONMODELS & CAMELIA a t DAMODELS

r e t ou c h BAVARIAN RETOUCH

170

SPECTR

BARTON PERREIRA » Esc a pa de « sw e a t e r IM´LIKE´YOU sh o r t s CALVIN KLEIN b o o t s STEVE MADDEN

BARTON PERREIRA »Escap ade « s uit & boots STEFFEN SCHRAUT

SPECTR

171

MEXX »6 4 4 4 « -

ki m o n o FARA a t MANELLIS d r ess MAX&CO. b e l t a s n eck la ce THE KOOPLES

172

SPECTR

MEXX »6 4 1 7 « d re ss PATRICIA PEPE e ar r ing VIBE HARSLOF

SPECTR

173

NEUBAU »S a rah« dr e s s PATRICIA PEPE s wi ms u i t VOLANS r i n g LILOU

174

SPECTR

EMMANUELLE KHANH » EK 1 9 9 3 — 1 6 - 3 « -

b l o u se CHRISTOPHER KANE sw i m su i t VOLANS e a r r i n g VIBE HARSLOF

EMMANUELLE KHANH » E K 1994 — 3 9 -1« s h i r t IM´LIKE´YOU

Scan to try on! favrspecs.com

SPECTR

175

EYEVAN » Weber « mesh shirt MAX&CO. bra DEMASK earrin gs VIBE HARSLOF

176

SPECTR

EYEVAN » El l wood« -

c a r d i g a n PARATI sw i m m su i t VOLANS e a r r i n g s LILOU

SPECTR

177

ØRGREEN »S l a p « -

b lo use ENVII sw imsuit VOLANS b a g PATRICIA PEPE e a r r ing s LILOU

178

SPECTR

ØRGREEN » R i g« h a t PATRICIA PEPE n e c kl a c e & b r a c e l e t LILOU t o p & ski r t IM´LIKE´YOU t r a i n MAISON MARGIELLA

SPECTR

179

SCOTCH & SODA » F U LT O N S S 7 00 4 « d r e ss PARATI b a n g l e LILOU o v e r kn e e b o o t s STEVE MADDEN

180

SPECTR

A LEGEND IN THE GLASS SIEGFRIED GIN

ph ot o STEFAN DONGUS

Gerald Koenen & Raphael Vollmar @ Siegfried Gin

182

S P E C T R // N ’ E Y E S T O M E E T

In our new column “N’EYES TO MEET”, we encounter personalities with style and an unwavering passion for wearing premium eyewear – at least most of the time. Kicking things off, we present an interview with Gerald Koenen and Raphael Vollmar, the two founders of the legendary and award-winning liquor label Siegfried Gin. SPECTR sat down with the two founders of the ambitious German distillery for a plush talk, replete with a tasting of their signature beverage and an in-depth conversation about the role of eyewear in the grand scheme of things. Cheers!

Let’s start off by addressing the elephant in the room: Is there a question you’re absolutely tired of hearing in interviews?

sary insights gradually. Then we finally

now it’s grown into an enterprise with

followed the mantra of a famous athletics

twelve employees. Our dream came true

firm: Just do it!

– and we are incredibly grateful!

(Gerald laughs) No, every question is fair

Limited Editions, April fools’ jokes, and gin without alcohol – are those all your own ideas or do you have outside help?

“How did you come up with the name

That’s another frequently asked question,

Siegfried for your label?” In a nutshell it’s

since lots of folks expect our creativity

Aside from years of friendship and a passion for gin, the two of you have something else in common, namely wearing eyeglasses. Do your spectacles have a special relevance in your personal lives?

like this: We wanted to create a local pro-

to come from some kind of ad agency.

For me (Gerald), purchasing new eye-

duct. So directly next to our hometown in

But no, we do everything in-house, which

wear is always an adventure since I like

Germany is the mythical Drachenfels –

we believe continues to be a major key

to follow my gut feeling when it comes

Dragon’s Rock – a tourist magnet where

to our success. As a consumer, you just

to choosing the next frame. Of course it

according to legend, Siegfried slayed

know whether or not a brand message is

needs to look flattering, but it’s just as

the evil dragon. What’s more, Siegfried is

real or not; at least that’s what we like to

important to me that not everyone out

not only the namesake of our drink and

believe.

in the street wears the same and that

game, no matter how many times we’ve heard it. But it’s most likely the question:

featured on the bottles, but also figures in the drink. Because when Siegfried

With what kind of accouterments is your ‘Siggi’ gin best enjoyed?

there’s no visible brand logo.

Do you consider eyewear as a functional vision aid or something to express personal style and make a fashion statement?

bathed in the blood of the dragon, a leaf

Everything people like is allowed. We

from the linden tree landed on his shoul-

prefer it classic in a gin and tonic with

der, which took the story for a dramatic

Fever Tree tonic and orange zest. But

Of course eyewear is far more than just a

turn. That’s why our main botanical is

when it comes to cocktails, the sky’s the

visual aid. Because individual style goes

limit.

far beyond glasses. Everyone changes

actually linden leaf, which lends our gin a warm note. With that said, the name is more than a marketing gimmick.

Does your Siegfried Gin, also called ‘Siggi’ by connoisseurs, stem from a true love of gin or were you wearing beer goggles when you had the idea?

Raphael, you operate a department store for luxury goods in the tabletop, living and jewelry segments. And Gerald is a partner in the start-up incubator curtis newton in Cologne. Are you still actively involved in these roles?

their outfit on a daily basis, and there are countless variations. A pair of glasses is your companion day after day.

Let’s talk specifics: What kind of labels are your favorite eyewear providers for your individual tastes?

Both! My best friend and co-founder

We still support these projects but have

Our current faves are glasses by TOM

Raphael and I have been passionate gin

made a full-time commitment to Siegfried

FORD (Raphael) and MYKITA (Gerald).

drinkers for some time now. In 2014 we

Gin for some time now. As you see, our

finally had the idea to launch our own gin

professional backgrounds are rather dif-

brand. At first it was really a pipe dream

ferent, but that’s actually a benefit since

since at that point we had no expertise,

our experiences and skillsets comple-

money or time on our hands. Overall

ment one another perfectly.

not the best starting point for such an

You started out as a two-man business, how

operation. But somehow, we couldn’t let

large is your team at this point?

it go and ended up acquiring the neces-

Initially it was really just a pastime. But

And finally, please complete the following sentence: An evening without Siegfried Gin is… …an evening that would have probably been much nicer with ‘Siggi’ (laughs).

Amazing, thanks for the spirited conversation, fellows! www.siegfriedgin.com S P E C T R // N ’ E Y E S T O M E E T

183

SILENT GLASSES FOR EVERY OCCASION

MEXX 2020 HIGHLIGHTS

p h o t o s RAPHAEL SCHMITZ

MEXX »2541« Striking, almost geometric acetate model for women in 1970s style Style-appropriate colorways including red, nude or black Ultra-delicate temples accentuated by cone-shaped metal ornaments

»2758« Super flexible and delicate stainlesssteel frame Nice contrast between outer border of bridge and inner lens outlines Expressive mid-section in fashionable metal hues

»2542« Almost round mid-section from acetate combined with trendy and understated metal temples Cone-shaped metal detailing on ultradelicate temples Subtle branding on temple tips 184

S P E C T R // G E N D E R F I T

The year is 1986. The place: Amsterdam. And the protagonist is a visionary by the name of Rattan Chadha. He decides to blend his men’s brand ‘Moustache’ (M) and women’s brand ‘Emanuelle’ (E) into a new entity, adding two kisses (xx) to the mix. The outcome is a brand-new label called MEXX – and the rest is history.

For many years now, the label has also been designing glasses that are made for both women and men and for everyday use. Frames that reflect the enthusiasm of the city in their lenses and radiate energy. MEXX always tries to mix different materials, just like they’ve done for the latest models, where acetate is combined with metal details. The label also reinterprets the classic cat-eye shape, which was the trademark of Elizabeth Taylor in the 1950s, with its model »6444«. The aim is not to achieve unattainable perfectionism, but rather to design frames that are fun to wear – even if that means thinking outside the box.

www.mexx-eyes.com

MEXX » 6443« Laid-back women’s sunglasses crafted from stainless steel with a double bridge and reflective gradient lenses

» 6444« Genuine cat-eye shape in a modern interpretation thanks to premium metal finishes and reflective lenses Fashion statement that can be worn without sunshine

» 6416« Hexagon-shaped lenses create retro look Fresh interpretation with reflective or tinted lenses Expressive and delicate at the same time

S P E C T R // G E N D E R F I T

185

THE DIGITAL WAVE pho to STEFAN DONGUS, mode l ADELINA at COCAINE

THE DIGITAL TRANSFORMATION IS HAPPENING – HERE’S HOW THE EYEWEAR INDUSTRY RESPONDS

186

S P E C T R // T H E D I G I T A L W A V E

The current economic crisis as a result to the COVID19 measures has triggered an enormous surge in digitalization. Within a few weeks, we witnessed a development that would otherwise have taken years. Because in many areas, people

quickly adopted digital solutions. They

were simply without alternative. And so it happened that teachers resorted to

video conferences, contactless payments in retail took off, and business trips

have found their way to the information superhighway. Digital communication platforms made it possible.

Consumers, too, are now getting used to

The eyewear industry is special and

digitalization for optical retailers. After all,

unique. Partly so, because offline trading is

the central platform creates synergies. Being

so important. In order to build a bridge bet-

involved pays off thanks to both a large and

ween digital inspiration and brick-and-mortar

attractive range of brands and products, and

retail, we launched the FAVR initiative with

the analysis of the visitor’s digital footprint on

the support of many independent brands and

the website. It culminates in reportings that

opticians. The PREMIUM EYEWEAR FINDER

will made be available to both the brands

is intended to give consumers the opportu-

and opticians.

nity to find out about the best glasses from

Digitalization, the resulting change in

many top brands online. Customers looking

consumer behavior and the demands on the

for glasses can use digital tools such as the

industry to further develop, will be a major

“Match-My-Style” assistant and our virtual

challenge for all of us in the coming years.

try-on, which we offer for all frames. In terms

The big players and chains will have their

of look and feel, FAVR is just like an online

focus on those areas too. To find out how the

store for premium brands. The difference is

independent labels assess the current situ-

taking a large part of their customer journey

that no glasses are sold there. Instead, FAVR

ation with all its challenges, we asked a few

to the digital world. Habits usually change

directs the consumer to the opticians in his

experts. Read our interviews with THEO’s Mik

very slowly. However, as a result of the

area, where he can ultimately purchase the

Somers, Marco Hering from LUNOR, Claire

shops being closed during the lockdown

products.

Goldsmith of CLAIRE & OLIVER GOLDSMITH

measures, many people were simply forced

Providing the consumer with a central

to go digital. The big question remains how

platform, on which he can be inspired, get

the current developments will change the

information about the products and easily

economic processes and in particular con-

reach out to the optician is an important

sumer behavior in the long term. One thing

step towards digitalization. It’s a journey

is certain: the old normal is gone – in every

that every optician can join and profit from.

corner of society.

Thus, FAVR can be part of a strategy towards

and Brice Gollnisch of SALT..

Scan and visit favrspecs.com

S P E C T R // T H E D I G I T A L W A V E

187

MARCO HERING HEAD OF MARKETING, LUNOR

The Corona crisis has accelerated the

move to digital in many areas – cashless

payments, virtual meetings, just to name a few. Will this also impact the eyewear industry?

I think that the crisis will have a positive impact on business behavior: working from home will become more common and maybe business-related travel will

it’s a good way to include the optician.

become frame manufactures, become

We are convinced that a high-quality

retailers… Therefore, a good brand selec-

frame needs the best lenses. This

tion will be among the unique features

requires eye refraction, centering and ad-

an optician should take good care of.

justment done by a specialist. Apart from

Digitalization is also a challenge.

that, good opticians offer way more than

With social media 24/7 and trends chan-

ging as fast as never before, how can the eyewear industry keep up?

just eye care: they are style consultants.

As FAVR, we’re collecting the data from our site into an exclusive reporting with

lots of interesting metrics. What would be

decline due to new experiences with

One part of the Lunor DNA is that we

video conferencing. Nevertheless this will

don’t follow trends. And there is a reason

not lead to a complete shift to a „digital-

for that: apart from being a classy brand,

Where do customers come from and how

only“ mentality. The FAVR-approach is a

our development and the manufacturing

did they end up on favrspecs.com? Which

good example: People can get easy to

process take more time compared to a

brands did they a have a look at? If an

use and high-quality information about

standardized mass production. Produc-

appointment arranged via FAVR took

brands and products online during the

tion costs are higher and it doesn’t make

place, what frame/brand was actually

pre-buying phase and can even select

sense, neither economically nor ecologi-

bought at the shop. That’s basically feed-

products they are interested in. However,

cally, to throw away a good product just

back provided by the optician.

the actual buying will happen at a store.

because it’s not trendy anymore.

What’s the biggest challenge for the opticians out there?

In my opinion the biggest threat to the

188

of retail chains. Lenses manufacturers

You’re one of the participating brands at FAVR. What is your most important reason to participate?

optician is the ongoing vertical concent-

We think that it’s the right approach to

ration of big suppliers and the acquisition

cope with people’s search behavior and

S P E C T R // T H E D I G I T A L W A V E

your main field of interest in a reporting?

www.lunor.com

MIK SOMERS CO-OWNER, THEO EYEWEAR

offline shopping. What we miss most is each other. We are social beings and long for contacts. Online is convenient

With the current crisis impacting our economy, how do you see offline and online business in our industry right now?

What are some of the tools that you’re currently using to get insights into the digital market?

but not replacing emotion. Therefore, it

We created an offline concept. The cur-

will be so important to bring emotion in

rent situation only confirms that. We look

whatever you do. Generic is made for

what is happening worldwide. The digital

online, unique for offline.

market is interesting but not for our pro-

What’s the biggest challenge for the opticians out there?

duct. We created a product, a philosophy for shops to differentiate themselves. A

There’s an absolute need for offline. As

Fine-tune their concept. I believe, more

product that needs and provokes a con-

there has been, is and will be. A period

than ever, that shops need to revise their

versation. A product that needs consul-

like now clearly defines what is needed

offer. Is it offline-proof? Does it make me

tation and time to explore and digest to

and useful online and what offline has to

sell emotion as my whole shop says it

finally really appreciate and enjoy. If we

offer to complement. Both have to work

does? You can’t play the emotion and

think of digital and business we would

together. After this impasse, I believe we

personal card to then sell a generic

need to start a different company.

will continue using digital tools for meetings and discussions. All of a sudden, we can bring more people from different

product.

Where do you see brands in this situation you’re describing?

What’s your most important reason to participate in FAVR?

Being able to offer FAVR visitors a first

places together at one table or screen,

They need to define their position clearly

taste of the diversity we offer compared

which is very inspiring and time-winning.

towards opticians and end-consumers.

to the overall market offer. If they like,

Maybe some will find out their place is

they can find out on the shopfinder where

rather online than offline – and others

to taste more.

Do you think our shopping behavior will change as well?

Clearly, in my opinion, people long for

vice versa.

www.theo.be S P E C T R // T H E D I G I T A L W A V E

189

CLAIRE GOLDSMITH CEO, OLIVER GOLDSMITH

The current crisis has pushed digital

on social media, but if your business

technologies in a strong way. What’s

isn’t trend lead, then is it right that your

your view on the eyewear industry in this

social media is? For us the answer is no,

respect?

so instead we’ll use our platform to tell

I think the eyewear industry is one of

our story, to interact and engage with our

the more traditional categories in the

customers, and keep them informed. A

world of fashion. As an industry we’ve

great tip is to open up the conversation,

been observing how digital is changing

ask for feedback, opinions, and get your

the world, and I think it’s safe to say we

audience involved in development.

As FAVR, we’re collecting the data from

were all at different stages in our journey towards understanding how it could work

nation turned to digital as a saving grace.

for us. This will have given us all the

We’ve video chatted, ordered groceries,

giant push we needed to take the plunge

had virtual appointments – we’ve expe-

and not only trust the world of digital but

rienced this whole other way of doing

embrace it.

things and many consumers, particularly

Where do you see the biggest challenges for opticians?

The easiest thing to do, once this terrible situation is over, is to go back to working

190

our site into an exclusive reporting with

lots of interesting metrics. What would be your main field of interest in reportings

like this? What data would you be looking for?

the younger generations, are going to ex-

We’d be keen to understand the custo-

pect to see more of this moving forward.

mer, who they are, and how they like to

How can the eyewear industry keep up with changing trends?

shop. Customers across the globe are so vastly different in how they shop, and

as they were before. What we all need

Our advice would be to stay true to

I think it will be really interesting to see

to recognize is that people will not come

your business and your customer – both

who the FAVR customer is and what their

out the other side of this the same way

current and future ones. I think it’s very

needs are.

they went in. When times got hard the

important to be present and consistent

S P E C T R // T H E D I G I T A L W A V E

www.olivergoldsmith.com

BRICE GOLLNISCH AREA MANAGER EUROPE, SALT.

What’s your take on the digital transfor-

the eyewear industry has become very

the COVID19 crisis? How does it affect

to participate?

mation that has been taking place since

competitive for brands, with many new actors entering the market. So, as a com-

in a good way. FAVR is a great initiative,

our industry?

pany, you need a strong product and as

gathering brands, opticians and consu-

Digital has been growing at a steady

a brand, you need a strong identity. One

mers in one place. Creating deeper con-

pace within the industry for the past few

shouldn’t be at the cost of the other.

nections on and offline, greater insight

years. Lately, we have also been seeing

At SALT., we work hard on having the

on the industry – especially independent

new initiatives. We see opticians integra-

best possible product with the right mer-

brands and opticians – among consu-

ting digital tools as part of their customer

chandising, great customer service and

mers. We want to support that. We want

journey, offering a complete and high-

authentic storytelling.

to be a part of that. We should always

quality experience, we see trade shows using apps for better connections bet-

With social media bustling 24/7 and

trends changing as fast as never before,

ween exhibitors and visitors, we see plat-

how can the eyewear industry keep up?

forms like FAVR come to life, connecting

You are right. People are exposed to

brands to opticians to end-consumers.

more content than ever before, trends

Do brands and opticians face similar challenges?

come and go at the speed of light, consumers are constantly connected and

At SALT., we believe in digital when used

welcome initiatives bringing a positive add-on to our industry.

As part of our business at FAVR, we’re collecting the data from our site for

reportings. What data would be most interesting for you?

Data that can help us understand con-

If you are talking about the current situ-

solicited. For us, the best way to stand

sumers better are, of course, always

ation, I would say brands and opticians’

out is to stay authentic. You need to

welcome and important. Not to push pro-

challenges are quite alike. We need

be creative, you need to create quality

duct just so they buy it, but to understand

to organize, adapt, protect our teams,

content – not only focusing on quanti-

what they really need, to develop an

support our partners and prepare the

ty – and when you do that, you want to

offer that is adapted and answering to a

future. Then, if you take a look at the

make sure you stay relevant to your core

specific demand.

bigger picture over the past few years,

values, to your DNA. You can only keep

We are also looking to know more about

up if you are being yourself.

the consumer’s journey, what content

What are some of the tools that you’re currently using to get insights into the digital eyewear market?

There are many ways and sources to get good insights inside and outside of our industry. Social networks, of course, are

they are interested in, which style or brand they like and why…

Among the stats we’re looking at is the usage of filter categories. Which one would be most interesting for you?

Taking this very specific list, I would say

a great platform to get good inspiration,

color and brand, which are great trends

discover and analyze trends, see what

indicators. Although we can learn from

other brands or industries are doing…

all filter categories. Material, for instance,

There is a lot to learn and you can al-

is another good one, although you don’t

ways get better. Newsletters, specialized

have the same flexibility to then adjust. If

press or websites, are fantastic sources

you take SALT., we use Japanese acetate

to bring you deeper content and know-

and titanium which are among the best

ledge on specific topics such as distributi-

materials to offer great quality, fit and

on, regulation, strategy …

design and we want to stay true to this.

SALT. has been a part of FAVR since day one. What’s your most important reason

www.saltoptics.com S P E C T R // T H E D I G I T A L W A V E

191

SCOTCH & SODA transforms its design DNA into intriguing and playful eyewear designs.

FROM AMSTERDAM WITH LOVE SCOTCH & SODA LAUNCHES EYEWEAR COLLECTION

pho to s RAPHAEL SCHMITZ

character – much like our collections.

What are your brand values?

And biking along the canals to get to

This year, scotch & soda is launching

Our brand is from Amsterdam and reso-

its first eyewear collection by Mondottica

nates with all of the city’s values. We are

including optical glasses and sunglasses.

free thinkers and optimists.

As it is to be expected, the Dutch fashion label is injecting its signature design

So Amsterdam is highly relevant for SCOTCH & SODA as a fashion brand?

work every day is a constant inspiration.

Going more into the actual products, how would you describe SCOTCH & SODA’s design philosophy?

We start each collection with a story,

DNA into its eyewear creations. Look

Amsterdam is our hometown, it has a

and we live and breathe that story when

forward to bold, colorful and detailed

unique soul. It is an important part of our

we design. You see it translated in the

silhouettes. For the inside scoop, SPECTR

creative process, as we embrace the

prints, details, materials and silhouettes.

talks to Creative Director Marlou van

city’s liberal thinking, where people are

We don’t take ourselves too seriously,

Engelen in our Brand Profile.

free to explore the world around them

because we want our clothes to have an

and themselves as individuals. This gives

element of fun and freedom. That goes

rise to boundless creativity.

for our approach to life as well.

Hi Marlou, what are your responsibilities as Creative Director at SCOTCH & SODA? My job is guiding and inspiring our talented team of designers.

On that note, SCOTCH & SODA is known for bold, eclectic designs. What is the brand’s philosophy in one sentence?

192

single day of the week.

Your design studio is in an old church in the heart of Amsterdam. What’s it like to work there?

What kind of stories do you tell with your collections?

For Summer 2020, we began with the

Luckily for me, our design studio was

story of Musa-Shiya. He was a shirtmaker

already here when I started at SCOTCH &

who moved from Japan to Hawaii in the

SODA 13 years ago. It’s a magical place

early 1920s and became a legend when

SCOTCH & SODA is an optimistic brand

to work, lots of open spaces with beau-

he invented the Aloha shirt. His colorful

that allows you to be yourself every

tiful details everywhere you look. It has

life was our inspiration for the entire

S P E C T R // B R A N D P R O F I L E

SCOTCH & SODA

» Ch a r l e s t o n S S 6 0 0 3 «

»L am be rm ont SS2 0 0 2 «

»B r o o k l y n SS6006«

» N e u stad t SS2001«

» Ola ya S S 3 0 0 1 « » A bbot S S 6 0 0 8 «

And the opticals?

season, from the broadcloths he used in

Similar to our approach to clothing. We

his first Hawaiian shirts, to his birthplace in

paid a lot of attention to details, shapes

Our glasses capture our free spirit by

Japan. We even have a special capsule

and materials. You can find beautiful,

subverting traditional designs and play-

with an original Hawaiian printmaker,

reinvented classics and cool, contem-

ing with details. They offer opticians so-

Keoni, which features an authentic print

porary frames with unexpected flouri-

mething unique, because you’re not only

from the 1940s.

shes, like engraved palm leaves on the

getting a high level of craftsmanship,

temples and nosepads crafted from gem-

you’re getting it at a competitive price.

Going beyond cutting edge fashion, SCOTCH & SODA is introducing a collection of sunglasses and opticals for men and women this summer. What is the reason for launching it?

stones. They come in a wide range of lightweight metals and acetates. Comfort is important to us.

What were the challenges?

If you could choose a pair of sunglasses and opticals, which would be your favorite?

I love them all. The quality and the de-

So that our fans can create a head-to-toe

It’s literally in your face, so the details

tails are incredible. But my favorites are

Scotch look!

need to be subtle. Every millimeter makes

the Keoni ones. I love the shape and the

a difference, which is why we tapped into

beautiful box they come in, complete with

There are three product tiers in the eyewear collection. What are the differences?

The Essential range is made up of classics with a Scotch twist. The Aspirational

the knowledge and expertise of Mondottica.

What inspired the sunglasses?

models reflect our love for playful design

Like our Summer 2020 clothing collec-

and detail. The Pinnacle line is filled with

tion, they were inspired by the story

beautifully crafted treasures.

of Musa-Shiya. You see it in the sunset

What was your approach to designing eyewear?

a special lens cloth.

Marlou, thank you very much for the interview. www.scotch-soda.com www.mondottica.com

gradients, embossed palm leaves, and the seascape-inspired lenses.

S P E C T R // B R A N D P R O F I L E

193

ETNIA BARCELONA »Seq u oia« blouse PICKUP VINTAGE neckerch ief CALVIN KLEIN

194

SPECTR

NO T C H E CKERED photography ESTELLE KLAWITTER [Dusseldorf ]

st y l i n g LILLI MARIE KOJO

hair & make-up NICOLA WEIDEMANN

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j a c ke t & p a n t s TOPMAN b l o u se PICKUP VINTAGE b e l t AIGNER b r a c e l e t LUIGI MERANO

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204

SPECTR

AS K E T C O L L EC T I O N BY

Bespoke & 3D-printed eyewear made in Munich

k l e n z e b a u m . c o m

REIZ » D o l omit « & » Tra pe z«

206

SPECTR

I DI D IT M Y WA Y photography SABINE LIEWALD [Zurich]

c a st i n g & p r o d u c t i o n DAGMAR HANNEGER

models ISABELLE & MAXIMILIAN MANN, REGINA & COSIMA BURTON, BERND SLOTTA, PEGGY KURKA, STEFANIE MAYR, MICHELE JUNKER, FINN KERNBACH, GERALDINE SCHRÖDER, JOSE EMILIANO TIRADO

SPECTR

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SPECTR

AB3272 BE I CHARMANT GmbH Europe I www.charmant.de

SPECTR MAGAZINE AND NOW FUCK DIGITAL – WE LOVE PRINT Now we’ve spent more than 200 pages to bring home the fact that we believe in the seamless intersection between print and digital media. But enough of that! We want to save the last page of the magazine to once again praise the everlasting merits of print media. Nothing could be more enduring and valuable than the crisp touch (and intricate smell) of printed paper. So we want to continue putting the world’s most beautiful

“Forever And Ever” by Ulrich Hartmann (pages 62 – 74)

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