“New Reality”
INTERNATIONAL EYEWEAR FASHION MAGAZINE NO. 29 // MAY 2020 // ENGLISH // EUR 15,–
BLACKFIN ←
blackfin razor
» A nni e «
↑
blackfin one
» Ve ntura «
Scan to try on BLACKFIN favrspecs.com
BLACKFIN blackfin aura
» F l ori da B a y «
6.4 g · danish design by · made by
MODO.COM
faceaface-paris.com
AVAILABLE WITH PRESCRIPTION LENSES
YOU‘LL NEVER WANT TO WEAR ANYTHING ELSE AGAIN. With Silhouette Light Management® you‘ll see vibrant colors like never before. Superior bright light management and brilliant, lively colors will allow you to enjoy uniquely relaxed vision – so that you can focus on what is essential for you. New and exclusive by Silhouette. Try it. Wear it. Love it.
Titan Accent Shades, Mod. 8174 in 3530 / Š Silhouette, valid until 06. 2021
lookocchiali.it
34
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
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
40
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«
Scan to try on! favrspecs.com
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 «
Scan to try on! favrspecs.com
SPECTR
45
MASSADA » Te s h i m a «
Scan to try on! favrspecs.com
46
SPECTR
SALT. »A u d r e y «
Scan to try on! favrspecs.com
SPECTR
47
MODO »303«
Scan to try on! favrspecs.com 48
SPECTR
NIRVAN JAVAN » L o n don 01:06«
Scan to try on! favrspecs.com
SPECTR
49
MAKELLOS » M E 5058 Azabu«
Scan to try on! favrspecs.com
50
SPECTR
GÖTTI »Ro g a r «
Scan to try on! favrspecs.com
SPECTR
51
BLACKFIN » Z ab risk ie«
Scan to try on! favrspecs.com
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. 76
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 «
80
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
81
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
84
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
86
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
89
LOOK »70575«
90
SPECTR
NIRVAN JAVAN » Lo ndon 0 3 :08«
SPECTR
91
L.A. EYEWORKS » A rr o w «
92
SPECTR
MAKELLOS »ME5060«
SPECTR
93
MARKUS T » A1017«
94
SPECTR
GÖTTI » Ed rick«
Scan to try on! favrspecs.com
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
96
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
97
MODO »3 0 3 «
Scan to try on! favrspecs.com
MODO »302«
Scan to try on! favrspecs.com
98
SPECTR
MODO »7 0 1 «
Scan to try on! favrspecs.com
SPECTR
99
KOBERG »6024« & »6015«
100
SPECTR
KOBERG »6 0 3 1 «
SPECTR
101
MASSADA » S wi ng«
MASSADA »N ois e «
Scan to try on! favrspecs.com
102
SPECTR
SALT. »D e u x «
SPECTR
103
STARCK »SH3061«
104
SPECTR
STARCK »S H3060«
SPECTR
105
BOGNER »63005« & »62008«
106
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
S P E C T R // C O L L E C T I O N S H O O T
109
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
110
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
111
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. 112
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
S P E C T R // C O L L E C T I O N S H O O T
113
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
114
S P E C T R // C O L L E C T I O N S H O O T
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.
116
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
117
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. 120
S P E C T R // T E C H T A L K
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
121
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.
124
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.
S P E C T R // P H I L O S O P H Y T A L K
125
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. 130
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
A T
ETNIA BARCLONA » Ki l i ma nj a ro« j a c ke t COLLUSION b e l t BURBERRY sh o e s CALVIN KLEIN so c ks BURLINGTON
mode l YENTL at STARS-MODELS
AL
L SPECTR
195
MASUNAGA »B i l l i e « b la z e r SANDRO shir t PIERRE CARDIN
196
SPECTR
MASUNAGA »47.21« -
jacket H&M pan ts H&M b racelet LUIGI MERANO sh oes H&M
SPECTR
197
HOFFMANN NATURAL EYEWEAR » 23 0 8 945« jack e t SANDRO blou s e ZARA
198
SPECTR
HOFFMANN NATURAL EYEWEAR » 3 2 5 1 30 6 « t r e n c h c o a t H&M b l o u se ETERNA
SPECTR
199
HOFFMANN NATURAL EYEWEAR »2278 1 4 1 9 « blaz er TWISTED TAILOR sh irt STRELLSON n ecke r c h i e f FENDI
200
SPECTR
KALEOS » Gillis«
KALEOS » B a rrow« -
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
SPECTR
201
NATHALIE BLANC » Lizzy« blouse MANGO
202
SPECTR
NATHALIE BLANC »H e r m è s « shir t JAMES B. COOK p a nts ZARA w a tch BREITLING sho e s BERSHKA so ck s BURLINGTON
Scan to try on! favrspecs.com
SPECTR
203
RODENSTOCK »R 7 1 0 5 « shir t HUGO co a t ZARA r i ng s CHRISTIANE WINK
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
207
SILHOUETTE »S PX 2 9 2 3 «
208
SPECTR
I-SPAX »M a r l e n e «
SPECTR
209
LE SPECS » Wa t c h o u t «
210
SPECTR
BLACKFIN » Zab risk ie«
Scan to try on! favrspecs.com
SPECTR
211
ECO » B ona i r e «
212
SPECTR
ECO » L uz on«
SPECTR
213
MOREL »2 0 0 8 1 K «
214
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)
eyewear right into your hands in glossy format in future issues of SPECTR. That’s why we highly suggest subscribing to SPECTR. A subscription puts your eyewear news feed on autopilot, with high-quality print editions of our magazine delivered per mail three times per year. SPECTR releases in January, May and September and every single issue stays true to our commitment to editorial quality. No matter if you want to read
SPECTR in Berlin, Stockholm, New York or Tokyo – you can always get it delivered in the edition of your choice: English or German. So, don’t hesitate and sign up for a world of eyewear delivered right to your doorstep.
Please send me an annual subscription (three issues) of SPECTR Magazine, starting with the next issue at the annual subscription rate (incl. shipping) of: Customers residing in Germany: 27,- EUR / Other countries: 45,- EUR
German Edition
English Edition
First and last name*
Country*
Street address*
E-mail*
ZIP, City*
Phone*
Postage
as a gift
required
Right of revocation: You have the right to cancel your order within 14 days without giving any reason and without penalty. The cancellation deadline starts on the day you receive the first issue of the magazine you ordered. To adhere to the notice period, it is sufficient to send notification that you are exercising your right to cancellation before this period expires. Please send your cancellation to: SPECTR Magazine, Monday Publishing GmbH, Kamekestrasse 20-22, 50672 Cologne, Germany, Telephone: +49 (0)221 - 945 267 11, Telefax: +49 (0)221 - 945 267 27, E-mail: subscribe@spectr-magazine.com
Invoice me to the above address
Payment via bank transfer
Credit institution
IBAN
Depositor
BIC
(only for customers in Germany)
SPECTR Magazine
Monday Publishing GmbH, Kamekestraße 20-22, 50672 Köln · Gläubiger-Identifikationsnummer DE23ZZZ00000962862 · SEPA-direct debit mandate I hereby authorize Monday Publishing GmbH to directly debit my bank account. At the same time, I advise my bank institute to honour the direct debits by Monday Publishing GmbH from my account. Notice: I have the right within eight weeks, starting with the date of debit, to demand reissuing of payments debited. The conditions agreed upon with my bank apply.
Date, place, and subscriber’s signature*
* Mandatory information
Monday Publishing GmbH Kamekestrasse 20-22 50672 Cologne Germany