SPECTR Issue 32 by Monday Publishing GmbH

Spectr Magazine

No. 32 // May 2021 // English // EUR 15,–

International Eyewear Fashion Magazine

“Serenity”

BLACKFIN

»Fresno«

»Saint Lazar«

BLACKFIN

Cover:

BLACKFIN »Aero« & »Aero Vector«

neomadeinitaly | titanium | eyewear

#SEETHEWORLD

WATCH THE VIDEO:

#faceaface_paris / faceaface-paris.com

TRY IT. WEAR IT. LOVE IT.

Sun Lite, 4078 in 6040 SLM Grey, Vintage Havanna / Black / © Silhouette, valid until 09. 2022

READY

FOR YOUR

VISION.

PATRICK DEMPSE Y WE ARING THE P’8928 SUNGL ASSES

lookocchiali.it

GRAMMES www.maison-henry-jullien.fr

Mod. SKYLIGHT 06 C56

CHALLENGING TODAY’S ZEITGEIST J. F. REY For The Win

044

050

054

066

SOCIAL DISTORTION By Sacha Tassilo Höchstetter FAVR STILL LIFE By Nocera & Ferri

078

LIVING CONSISTENCY REIZ Highlights – For Now And Ever

082

INNOVATION WITH NO LIMITS MCLAREN Technological Luxury

086

EUFLUORIA ETNIA BARCELONA’s New Capsule Collection

088

PRIORITY EMBARKING By Diane Betties

100

108

114

118

124

COLLECTION CHECK MASUNAGA 2021 Highlights

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

COME CLOSER BLACKFIN Collection Shoot THIRTY Y3ARS LUNOR The Traditional Way Of Being Modern SUSTAINABLE AVANTGARDE NEUBAU X ODEEH RADICAL CUTOUTS FACE A FACE Collection Shoot YOUR PERFECT EYEWEAR FAVR Online Style Guide & Virtual Try-On

THE CHOICE IS YOURS LOOK Collection Shoot

126

A SANDMATE’S LIFE By Apricotberlin

132

HOLD ME DOWN, BOY By William Ferchichi PIT STOP Patrick Dempsey For PORSCHE DESIGN FOCUS ON TRUE LUXURY L’AMY LUXE Explores New Approaches THE PROTOCOL By Goodbyefuture

SPECIAL FEATURE: PREMIUM DIGITALIZATION FAVR Microsite For Opticians 2.0

VICIOUS GAMES By Estelle Klawitter THE INDEPENDENCE WAY MARKUS T In Conversation With OPTIK LEONHARDT ALL ABOUT SUSTAINABILITY MARKUS T 2021 Collection Highlights

156

160

168

178

190

195

TECH PLASTICS New MODO Highlights

198

BRIA - MOVING COLORS AD LIB Launches Anniversary Style

200

DETAILED FRENCH CRAFTSMENSHIP 100 Years With HENRY JULLIEN BOHEMIAN RHAPSODY By Oliver Spies

144

202

204

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

IN T

BLACKFIN »Bayham« & »Westhill« “A Sandmate’s Life“ by Apricotberlin (pages 132 – 142)

R P I M

TRANSLATION

PUBLISHER

EDITOR IN CHIEF

DIRK VOGEL [Chicago]

MONDAY PUBLISHING GMBH

STEFAN DONGUS [Cologne]

Kamekestrasse 20-22

dongus@spectr-magazine.com

ONLINE EDITOR

50672 Cologne, Germany

m: +49.(0)151.14271817

FRANCA RAINER [Berlin]

t: +49.(0)221.945267-11

online@spectr-magazine.com

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

f: +49.(0)221.945267-27 www.spectr-magazine.com

PHOTOGRAPHERS/PRODUCERS APRICOTBERLIN [Berlin]

CEOS

DIANE BETTIES [Berlin]

STEFAN DONGUS, HOLGER VON KROSIGK

EDITORIAL STAFF

WILLIAM FERCHICHI [London]

HOLGER VON KROSIGK [Cologne]

ULRICH HARTMANN [Berlin]

krosigk@spectr-magazine.com

GOODBYEFUTURE [Munich]

F&W MEDIENCENTER GMBH

MEIKE PRECKEL [Cologne] press@spectr-magazine.com DIRK VOGEL [Chicago] vogel@spectr-magazine.com

TINA HOFFMANN [Lisbon]

Holzhauser Feld 2

SACHA TASSILO HÖCHSTETTER [Munich]

83361 Kienberg

ESTELLE KLAWITTER [Dusseldorf]

fw-medien.de

SVENSON LINNERT [Berlin] ULRICH HARTMANN

NARÈNTE // Lucio Aru + Franco Erre [Sardinia]

cover photos

PROOFREADING

HANIBALL SALIBA [Berlin]

styling OLIVIER MOHRIŃGE

PETER ASHFORD [London]

RAPHAEL SCHMITZ [Dusseldorf]

CARSTEN KONSEN [Cologne]

OLIVER SPIES [Munich]

FRANCA RAINER [Berlin]

BERNARD WERKMEISTER [Munich]

make-up MONICA KARSAI hair LISA BREITFELD models CHARLIE at MIHA MODEL MANAGEMENT & KONSTANTIN at IZAIO retouch ALINA FILIPENKO

SPECTR is published three times per year. 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.

MOD 6027

BE ICONIC ▪

BE CAZAL ▪ C A Z A L- E Y E W E A R . C O M

“S E R ITY ” EN BLACKFIN »Kami« “Come Closer” by Ulrich Hartmann (pages 100 – 106)

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

# 32 e u s is Serenity

– the state of being calm, peace-

ful, and untroubled – is a precious good these days. Because with a sense of calm and inner peace, even the most

Welc om

challenging circumstances in life can be met appropriately. That holds true

for both private and business pursuits. In professional life, serenity is more than just a state of mind or attitude. Attaining serenity in a business setting is actually hard work. After all, remaining calm in the business world requires a certain sense of resilience; a talent for

enduring even the most adverse situations unscathed. For proof that cultivating a thick skin is a priority in our current day and age, just consider the past

year. From the perspective of independent opticians, 2020 brought plenty of adversity: Including business

lockdowns, hygiene guidelines, declining footfall, supply chain problems, etc. This fast-changing situation

clearly favored those opticians who had already made moves before the pandemic to become less dependent

on walk-in customers in their brick-and-mortar stores while keeping connected to their clientele, online and offline. In this issue, we’re showcasing three aspects that help strengthen resilience. First of all, there’s the creation of

sustainable partnerships between opticians and brands, which have proven to boost resilience on both sides. On that

note, we had a nice three-way conversation with Markus Temming at brand MARKUS T and Michael Schuhmacher at the OPTIK LEONHARDT store (page 190 – 194). A second important trait for optical stores is the ability to retain customers

in the long run. A task that requires, without a doubt, new and digital approaches. Aside from an up-to-date customer database, a key aspect lies with an attractive online presence, replete with engaging product presentation and comprehensive features to ‘seduce’ customers into making a purchase. In this context, have a look at the insert for FAVR – PREMIUM EYEWEAR FINDER. With the FAVR Microsite for Opticians, independent stores now have a tool for

offering customers highly attractive features and added value right on their own website – without extra effort. Last but not least, maintaining an exciting product selection will highly affect an optician’s resilience. As the past has demonstrated, the premium and luxury product segment is more robust in dealing with crises than others. That is one of the many insights in this issue’s must-read interview with Dominique Alba at L’AMY LUXE (page 160 – 166). As we speak, more and more opticians are on track to become brands in their own right as the go-to eyewear destinations in their area for demanding customers. Those who successfully manage to attain that position are the ones who can look ahead into the future a bit more calmly than others. In that sense, welcome to the newest issue of SPECTR and enjoy the spirit of serenity. SD

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

TG Scan to try on J.F. REY FAVRSPECS.COM

EIST

CHALL TO

I N G G N EAY ’ S Z EI

J. F. Rey’s Nylor and Acetate for the Win In the eyewear universe, even a constant North Star like Jean-François Rey needs new challenges. That’s why the French designer took on Nylor as a new material and playground. As a result, geometric details clash with bright colorways in J.F. REY’s minimalist new frame styles. In the acetate segment, Monsieur Rey skillfully blends a modern retro look with expressive vintage silhouettes. The common denominator? All models are marked by extensive ‘handmade’ craftsmanship, always with the ability to lend style, character, and dynamic appeal even to the most reduced shapes.

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

a story by

HANIBALL SALIBA & SVENSON LINNERT

[Berlin]

creative direction & production

FABRIKA photography

SVENSON LINNERT styling

HANIBALL SALIBA hair & make-up

REBECCA SCHMITZ at NINA KLEIN models

KATHLEENA & LENA at SEEDSMODELS, LEONIE at VIVA MODELS special thanks to

HOTEL PENSION FUNK BERLIN

J . F. R E Y »JF2921« -

Lightweight and airy along the top section, this model makes a lasting impression thanks to a delicately curved Nylor bridge and vibrant metallic hues. top RESERVED

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

Nylor Jean-François Rey expands the portfolio

»JF2916«

»JF2938«

of colorful and thin metal frames with

four new Nylor frames. The look is best

Delicate brushed metal meets

The intricate curvature of the

summarized as creative and urban. The

contrasting color accents. The

nose bridge is testament to the

minimalist details create a balanced

»JF2916« dazzles with elaborate

brand’s expertise. Blended with

aesthetic. The delicate volume is supple-

inserts along the brow line.

vibrant green it lends an air of

mented by strong colorways for a graphic

Stylish and elegant.

mystery to this frame.

overall effect.

dress SESSUN

dress SANDRO

J . F. R E Y »JF1501« blazer BAUM UND PFERDGARTEN

J . F. R E Y

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

J . F. R E Y »JF2919« A square frame with rimless sections intersected by thin Nylor borders accentuates the wearer’s face in a flattering manner. Feminine and modern all at once. top SESSUN

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

Acetate The French designer has proven his mastery of acetate for years and years. Now this unique mix of elegant details on the front and a dose of painted pop colors on the frame find a perfect counterpart in delicate metal elements. Consequently, the frames walk the line between vintage fashion, art and contemporary design.

www.jfrey.fr

J . F. R E Y »JF2949« -

The »JF2949« embodies the line’s stylish blend of metal and acetate with expressive color combinations, appointed with a sense of elegance. The pretty ridge details enhance the tortoise pattern as a vibrant contrast to the metal frame segments. It’s a win-win combo for anyone

»JF2949« top MAVI

looking for that perfect new frame.

»JF2949« top STEFFEN SCHRAUT

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

»JF2949« top SANDRO

Technical perfection with a detailed finish: MASUNAGA combines traditional craftsmanship and modern design.

M AS U NAGA photos RAPHAEL SCHMITZ

2021 Collection Highlights MASUNAGA is one of the favorite brands among independent

opticians. That’s because the Japanese label represents the skillful combination between traditional craftsmanship and modern-day design like very few others. Always with an eye for the most premium materials, executed with technical perfection. In this issue’s Collection Check, we take a closer look at the latest offering from the label commanding more than 100 years of manufacturing excellence. Once again, the brand based in Japan’s Fukui region delivers a unique blend of gorgeous designs and detailed finishes. Here’s our selection of six standout models – each a bit different, but every single one making a strong statement. Explore Japanese originals oozing with attitude, style and Japanese craftsmanship. Scan to try on MASUNAGA FAVRSPECS.COM

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

www.masunaga1905.com

»Orchid« – Refreshing Design

»Eon« – Modern Look

The »Orchid« is a unique metal frame,

An eon is an infinite period of time. And accor-

somewhere in between a panto shape and

dingly, the »Eon« model’s well-balanced oval

a crown-panto shape, executed in all-metal

shape is timely as well as timeless. The soft,

construction. Its double front rim design

oversized form language creates a minimalist

creates spaces at the bridge and the upper

look that will stand the test of time. The front sec-

rims and is inspired by the Japanese aest-

tion is mainly constructed with 0.6mm beta-tita-

hetic of space. The »Orchid« features newly

nium sheet. The contrast between the ultra-thin

designed temples created with a motif from a

rim and the thick decorative nose bridge creates

lorgnette handle that was popular in the 19th

a unique design accent. And here’s the best

century. Engraved arabesque patterns on

part: the »Eon« is available in both optical and

both front and back of the hexagonal temple

sunglass versions, so it’s a perfect companion for

enhance the beautiful vintage elements.

every time of year.

»Chord D« – Delicate Chord The »Chord D« is a hybrid shape, a rounded square shape with a harmonious overall look. The elegant design offers simple, yet sophisticated details that never go out of style. Plus, the »Chord D« is available in two versions: A pure titanium model, as well as a version blending a titanium frame with 18 karat gold. The temples are crafted from Gum Metal titanium, a highly elastic titanium alloy offering twice the elasticity of beta-titanium. The gold version relies on the weight of massive gold at the temple tips for overall perfect balance.

MASUNAGA »Orchid«

»Chord D«

»Eon«

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

»Audrey« – Refined Elegance Legendary actress Audrey Hepburn played muse to this refined stunner by MASUNAGA. The film and fashion icon has become synonymous with old Hollywood elegance. Her appearance in the cult film “Breakfast at Tiffany’s” is legendary because of her cat eye sunglasses. Accordingly, the elegant combination frame features a transparent acetate rim and shallow curved metal parts, fit for a leading lady. It also introduces new mature coloring. Featuring cut end-pieces, »Audrey« has a clean profile and maintains its light weight.

»Flatiron« – Ultimate Sophistication The Flatiron Building is an impressive magnet for all visitors to New York City. Even today, the prime building designed at the advent of steel skyscraper construction makes an innovative statement. In the current MASUNAGA collection, the »Flatiron« pays tri-

bute as a full-metal construction. The sharp, refined forms are realized by slimming down the overall proportions. The construction of the »Flatiron« once again proves the high level of craftsmanship and manufacturing expertise at MASUNAGA. Frame construction with many separate parts allows the frame to be multi-colored and to acquire different color textures.

»Bradbury« – Captivating Frame The Bradbury Building is the oldest commercial building in Down-

MASUNAGA »Audrey«

town Los Angeles. It is known for a magical Victorian-style atrium covered by skylights, open cage elevators, marble stairs and ornate iron railings. If you’ve seen the original movie “Blade Runner”, you’ve seen the Bradbury. The eyeglasses model of the same name is just as stunning as the architectural inspiration. The front part is mainly constructed with 0.6mm beta-titanium sheet. By combining separate

»Flatiron«

titanium components, the double front rim unlocks two-tone coloring and different color textures. The contrast between the ultra-thin rim and the thick decorative bridge also creates a unique design accent.

»Bradbury« The ‘Bradbury’ by MASUNAGA is just as rich in refinement and detail as the architectural inspiration in Los Angeles. 52

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

ROBERT LA ROCHE »Franco« outfit FADE OUT LABEL

SPECTR

ROBERT LA ROCHE »Rita« outfit FADE OUT LABEL

DISTO L

O N I T R photography

SACHA TASSILO HÖCHSTETTER

[Munich]

styling

KONSTANTINOS GKOUMPETIS hair & make-up

SIGI KUMPFMÜLLER using GHD & ARMANI BEAUTY models

RAQUEL PINTO at A MANAGEMENT, NIKLAS KÖHLER at MODELWERK, LARA ROSSI at TUNE MODELS

SPECTR

SOCIA

LINDBERG »9750« jumpsuit & shirt DICKIES earrings MUSSELS AND MUSCLES

SPECTR

LINDBERG »9745« shirt DICKIES

SPECTR

METROPOLITAN »8266« denim MOTHER earrings YANA MARKOVA

SPECTR

KOBERG »KT 6048« denim SANDRO earrings YANA MARKOVA

SPECTR

NIRVAN JAVAN »London 08:16 (GMT)« denim CALVIN KLEIN JEANS earring YANA MARKOVA

SPECTR

NIRVAN JAVAN »London 06:18 (GMT)« total look KARL LAGERFELD

SPECTR

CAZAL »MOD 7087« jumpsuit MAVI socks HAPPY SOCKS X BOWIE necklace MUSSELS AND MUSCLES

SPECTR

BLACKFIN »Danzica« earring YANA MARKOVA denim FADE OUT LABEL

SPECTR

MODO »Theta« denim LEVI’S belt ESSENTIEL ANTWERP

SPECTR

STIL R

»a21.07.001«

»a20.01.006«

»a21.09.003«

SPECTR

LIFE photography & set design

NOCERA & FERRI

[London]

retouch

NICOLE FROST

»Javelin«

»Dandridge«

FA RA

RTON A B

PERREI

»Esky«

SPECTR

»Frank«

»Qstom Ben«

»Aryton«

B 68

SPECTR

R E T T

»FA6179«

»FT7244«

ANK R F CU

STOM

»FA6177«

SPECTR

»Micco«

ÖTTI G

»Parth«

»Cilo«

SPECTR

»carb-022«

»carb-023«

E R L

»carb-020«

SPECTR

»Percy«

»Bert«

K IR

»Horace«

SPECTR

& K I R K

»C3 01«

LUNO R

»Classic Octagon«

»B1 02« SPECTR

»Zeta Dred«

O OD »7044«

»4542«

SPECTR

THAL A N

BL A N C »Fanny«

»Jennifer«

»Karin« SPECTR

S I L H O U

ET T E »Artline 5545/JS«

»Artline 5546/JU«

»Momentum 5529/EU« 76

SPECTR

LIVING

REIZ

»Kiefer«

»Fichte«

»Brekzie«

CONSISTENCY 78

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

For Now And Ever

Reiz Highlights –

»Dolomit«

Scan to try on REIZ

Acetate at its best, courtesy of REIZ.

FAVRSPECS.COM

photos RAPHAEL SCHMITZ

Hailing from the idyllic town of Wernau in the South German countryside, REIZ has been an integral part of the independent eyewear scene in Europe – and beyond – for 20 years. In the process, the masters of hand-polished acetate frames have garnered a global reputation among opticians and consumers. The secret? An uncompromising blend between consistency and avantgarde styles, as explained by co-founder Franz Reutter in our Brand Update.

Hello Franz, it’s been a minute since our last interview in Paris at the Place des Vosges. Do you miss international events with all that’s going on right now?

was a lot of exuberant praise for the quality of REIZ acetate glasses. What sets them apart? That’s always delightful to hear and a big motivator to continue

Yes, of course we miss those international events a lot. Especially

on this path. Our quality commitment really starts with our choice

that exclusive flair at the Place des Vosges as well as the direct

of material. Every subsequent step in production, all the way to

interface with our customers and their feedback.

the hand-polished finish and final inspection, is closely monitored

Your showroom always attracted a really international crowd. What is the appeal of REIZ from a global perspective?

for all our frames before they leave the workshop.

Are you pretty much set on acetate?

We don’t really make a distinction between national and inter-

I would not necessarily say ‘set’, but acetate is definitely our

national clients. They all have the same priority for us. But our

favorite material. It just opens up so many possibilities in terms

partners especially value the quality standard we have worked

of color variations and shapes. Especially our ECO material,

to achieve over the past 20 years.

which we’ve been implementing for several years now, is dear

So quality has been a North Star for your brand?

to our hearts. Sustainability has always been a cause that we’ve

Indeed. Manufacturing premium products is one of the funda-

championed, so the ECO versions are a great fit for our company

mentals here at REIZ – and that’s never going to change. It’s very

philosophy.

important to us that we constantly realign these benchmarks, but without losing touch with their roots.

When we spoke to an optician in one of our very first Retail Profiles, there

What are the special characteristics of ECO acetate? As opposed to traditional acetate, the manufacturing of our ECO material requires a higher share of wood and cotton fibers while S P E C T R // B R A N D U P D A T E

Harmonious color compositions – including the ECO Acetate frames.

eliminating chemical softeners from the process. At the same time, ECO acetate maintains all the characteristics of traditional acetate, both aesthetically and in terms of performance.

What are the signature features of your collections? What distinguishes a REIZ frame?

Timeless design is always on-trend.

Still, there’s a thin line between sticking to your guns and innovating. What makes you so sure that you won’t lose touch with what’s in style? When you choose the right balance between these opposing

The most recognizable feature is probably the rivet on the temp-

factors over a long time, you arrive at a sustainable harmony. In

les, which has been a staple for REIZ right from the beginning.

most cases, it only takes a few small nuances to turn something

What’s more, our colorways and shapes have also been consis-

‘old’ into something new and innovative. But the role of intuition

tent parts of our collections that can be called ‘typical REIZ’ at this point.

Your company headquarters always remained in the quaint countryside in the town of Wernau. In how far is your output defined by your surroundings? We are defined by continuous evolution just as much as our

in this process is not to be underestimated.

With this long-term focus, are you aiming at a rather conservative target group? Just the opposite. Our philosophy allows us to address a broad range of target groups. Who doesn’t love timeless products?

By contrast, your campaigns always tend to be rather loud and fresh, right?

loyalty towards friends, customers and partners. In short, REIZ

Yes, the photographers we have worked with in recent years

represents a timeless image, which also reflects in our product

have really managed to capture our brand image quite well

offering. These are the values that are fundamental to our brand.

while displaying the depth and versatility of our frames. Under-

How exactly does that manifest on the product level? The design of our eyeglasses really boils down to a reduction to essentials. Perfection in simplicity without superfluous gimmicks.

Does that make you somewhat less prone to experiment than others? Sustainability is really important to us. That includes the choice of material, but also inspires our form language. That’s why we

stated, but still somewhat special.

How do you imagine the typical REIZ customer? Let me offer our company motto as an answer: “For people with a feel for finesse.”

This article showcases some of your greatest hits. What are your personal favorites from the past 20 years?

have kept reinterpreting proven classic frames and colorways for

Hard to say. Every series has its classic styles, like the ones pre-

many years. It allows us to remain relevant in a fast-paced age

sented here; »Fichte«, »Kiefer«, »Brekzie« and »Dolomit«. I find it

full of fleeting trends. On that note, that’s another recognizable

much more exciting to see how vastly different these styles look

feature for REIZ and a reliable constant in our company.

on people and how they accent their faces.

But does that make you slower to respond to current trends? Not at all. Our collections have proven over and over that it’s 80

entirely possible to blend classics with current fashion trends.

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

That’s a great way to look at it. Thanks for the interview, Franz.

www.reiz.net

INNOVATION with no LIM MCLAREN »MLONESEC01«

»MLSGPS02«

»MLSUPS22«

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

I TS

Scan to try on MCLAREN FAVRSPECS.COM

Ultimate Series The structure of the front sections on the Ultimate Series is created by 3D-printing in titanium. This approach guarantees lightness and high comfort of wear.

McLaren Technological Luxury

The technical hinge also underlines the high standards at MCLAREN, “anything is

photos RAPHAEL SCHMITZ

possible”. The temples are rotated by 180 degrees and then folded compactly for secu-

Please fasten your seat belts! The new sty-

re and easy storage. The hinges also gua-

les from MCLAREN VISION make a strong

rantee constant pressure on the face while

statement. True to the motto ‘Innovation with

worn. This type of rotational motion may be

no limits’, the brand pushes the boundaries

unusual for wearers at first – like doors on a

at a fast pace, much like the race cars of the

sports car opening upwards – but the useful

same name. The resulting styles are equally

technology quickly becomes a habit.

exhilarating.

On the temples, a cover from thermoplas-

For MCLAREN, it’s paramount not to base

tic polymer on the metal core creates unpa-

technical features on pre-established norms.

ralleled comfort. Long-lasting and intense

Just the opposite: The designs aim to disrupt

coloring is achieved via PVD coating on the

and act as game changers in the eyewear

front and temples.

segment, while defining an entirely new ap-

With so much advanced momentum, it’s

proach. Technological Luxury, as the brand calls it. With that said, the 16 optical styles and

Limited Edition »Onesec Electrochromatic«

13 sunglasses from the Ultimate and Super

Hold on to your seats! The »Onesec Elec-

Series are aimed at men with high standards

trochromatic« is a turbo charged MCLAREN

and appreciation for technical finesse.

frame with a twist. Limited to 500 pieces,

no surprise that the jury in Paris awarded a Silmo d’Or for Technological Innovation to the collection.

these sunglasses automatically adjust to surrounding light conditions. And super-fast! Thanks to a light sensor and cell, the LCD technology lenses change their filtration in less than 1 second, much faster than any photochromatic models. Bringing the connection to automobiles full circle, this technology was created to provide the ultimate driving experience.

High tech in a limited edition: An electric light sensor automatically darkens the mineral lenses of the »Onesec Electrochromatic« within seconds when light increases. S P E C T R // B R A N D P R O F I L E

MCLAREN »MLSGP006«

»MLSGP001«

»MLSUP024«

Super Series Models in the Super Series also feature the 180° rotative hinges and elastomer temples. The seven optical styles and three sunglasses maintain the level of comfort of the Ultimate Series fully. The difference? In the Super Series, the front sections are also created via 3Dprinting but from PA12 Graphite as a raw material. The material is 24% lighter than conventional acetate and allows for sculpted frames at ultra-low weight. www.mclaren.com

In MCLAREN frames, the temples are not folded in, but twisted. This allows for storing eyeglasses more safely and compact.

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

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lif

S P E C T R // F E A T U R E C R E A T U R E

ETNIA BARCELONA »The Kennedy«

»The Kahlo«

»The Einstein«

S P E C T R // F E A T U R E C R E A T U R E

E MB Y T I

I N K G R A photography

DIANE BETTIES styling

ADELAIDA CUE BAER hair

IVANA ZORIC make-up

TINNA EMPERA at NINA KLEIN models

FOLKE at SYSTEM AGENCY,

PRIOR 88

SPECTR

ZEN at A MANAGEMENT

[Hamburg]

MARKUS T

»Ease A1028«

»Dot Mono L1042«

dress MARCELL VON BERLIN

blouse JOSEPH

bag JULIA SKERGETH

skirt COVERT ILENIA TOMA jewellery THE FITTINGROOM

SPECTR

LUNOR »M5 05« blouse ROTATE BIRGER CHRISTENSEN skirt LOU DE BÈTOLY

SPECTR

LUNOR

»C3 02«

»M5 05«

blouse DESIGNERS REMIX

blouse ROTATE BIRGER CHRISTENSEN

SPECTR

FLEYE »Margita« blazer DESIGNERS REMIX cardigan ESSENTIEL ANTWERP

SPECTR

FLEYE

»Ellen«

»Margita«

coat STINE GOYA

blazer DESIGNERS REMIX

blouse & OTHER STORIES

cardigan ESSENTIEL ANTWERP

pants DESIGNERS REMIX

sandals UGG

SPECTR

NATHALIE BLANC »Simone« jacket ESSENTIEL ANTWERP, shirt FRED PERRY, pants AMERICAN VINTAGE 94

SPECTR

NATHALIE BLANC »Jennifer« jacket ESSENTIEL ANTWERP, pullover AMERICAN VINTAGE, pants ZARA SPECTR

NEUBAU »Jörg« blouse & pants STINE GOYA earrings FITTINGROOM

SPECTR

ETNIA BARCELONA »Trastevere Sun II YWHV« shirt & skirt PAUL SMITH accessory DIANA LAW SPECTR

I-SPAX »Adele« coat THE FITTINGROOM cardigan ESSENTIEL ANTWERP turtleneck H&M pants JOSHUA SENGESPEICK

SPECTR

DOT Mono L1042 DOT Mono L1043

BLACKFIN »Aero« dress ONLY earrings PILGRIM

Blackfin Aero

BLACKFIN

Let’s start with a complete novelty:

»Aero Vector«

After two years of research and design,

BLACKFIN introduces the Aero line of

turtleneck UNIQLO

rimless styles in twenty lens shapes

suit HUGO BOSS

and as many colors. Each Aero frame is crafted from a 0.7 mm thin sheet of beta titanium for the bridge – ensuring absolute frame stability – and 0.5 mm thin temples for flexibility and comfortable fit. Another novelty is the patented lens fastener, while the proven Tilt Pad nose pads have been updated to suit the aesthetics of these ultra-light and stylish rimless frames.

100

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

Blackfin Presents The Latest Evolution Of ‘Neomadeinitaly’

E R

M O

O S

Italian eyewear label BLACKFIN has built an

photography

international reputation for lightweight titani-

ULRICH HARTMANN

um glasses and sunglasses. Always with an eye for craftsmanship, quality and design –

styling

true to the company motto ‘neomadeinitaly’.

OLIVIER MOHRIŃGE

For Spring/Summer 2021, the independent label presents new styles across a more

MONICA KARSAI

The concept: While titanium expertise remains

hair

unique positioning within collections Blackfin

FAVRSPECS.COM

LISA BREITFELD

One, Blackfin Aura, Blackfin Razor and Black-

models

fin Aero. See the stunning men’s and women’s

CHARLIE at MIHA MODEL MANAGEMENT,

styles up close and personal in our Collection Scan to try on BLACKFIN

make-up

specialized and structured product portfolio. the foundation for BLACKFIN, expect a more

[Berlin]

Shoot envisioned by photographer Ulrich Hartmann on location in Berlin. www.blackfin.eu

KONSTANTIN at IZAIO retouch

ALINA FILIPENKO

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

101

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

Blackfin One Staying true to the brand’s DNA, the BLACKFIN One collection welcomes new optical styles this season: The men’s and women’s frames are marked by trendy shapes enhanced by playful color palettes that

BLACKFIN »Joan«

contrast metallic and pastel shades. What’s more, the SS21 sunglasses collection raises the bar by

»Severson«

showcasing bold styles, executed in ultra-high-quality

Japanese titanium. The sculpted outlines and striking

blazer NOISY MAY

volumes make a strong impression in classic shapes,

pants VERO MODA

but remain lightweight and easy to wear thanks to

earrings PILGRIM

BLACKFIN’s titanium soul.

shirt POLO RALPH LAUREN pullover PIERRE CARDIN

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

103

104

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

»West Derby«

»Kami«

turtleneck UNIQLO

suit VERO MODA

suit PALLAS PARIS

earrings PIECES

BLACKFIN »Claire« top & skirt SHEIN earrings PILGRIM

Blackfin Razor The Razor line represents the full BLACKFIN design DNA in an even lighter version. The secret? All the slim, ultra-light frames are crafted from titanium sheet just 1 mm thick. The patented one-piece hinge secures a comfortable fit, while playful colorways add subtlety. For SS21, the evolution continues with the roomy »Fresno« men’s style featuring a sculpted nosepiece, plus the feminine »Claire« model that morphs from round to angular shape in fascinating ways.

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

105

»Saint Lazar« blazer ONLY

Blackfin Aura This season, BLACKFIN is also taking the Aura collection of titanium frames, enhanced by cellulose acetate rims, to the next level. One of the standouts is the feminine »Saint Lazar« model. Anchored on a beta titanium structure, the generously sized round frame radiates glamour-tech flair in the combination of acetate contours and metal frame. Technical, sensual, and with that special ‘aura’.

BLACKFIN »Walden« turtleneck & jacket IVANMAN

106

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

OR L U NESS STEEL

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108

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

05«

Scan to try on LUNOR FAVRSPECS.COM

photos RAPHAEL SCHMITZ

THIRT Y Y 3AR S L U NOR

The Traditional Way of Being Modern German eyewear label LUNOR celebrates its 30-year company anniversary this year. Since 2005, the company has been headed by the Fux family with headquarters in the Black Forest region. The label is as diverse as they come: On one hand, LUNOR remains grounded and focused on classic styles as well as traditional manufacturing expertise. On the other hand, the label has built considerable international fame over the last three decades. Need proof? For more than 14 years, Apple founder Steve Jobs never wore a different eyewear frame

Hello Ulrich, Sophie and Michael. LUNOR is celebrating its 30-year company anniversary this year. What are the company origins?

the brand? UF: After 27 years as an independent optician it was time for a new challenge.

than the label’s »Classic Rund« model, which

Ulrich Fux (UF): The brand was founded

When you also see great potential in

tremendously boosted LUNOR’s growth and

in a family home in Stuttgart. There’s

front of you, the way forward is clear.

worldwide success. In our interview, we

almost a parallel to Apple as a ‘garage

speak to Ulrich Fux and siblings Michael and

company’, at least in terms of origins. The

Sophia about the family business and the

idea was to take inspiration from vintage

MF: With a new brand, you have the free-

role of their company headquarters and in-

eyewear frames for new models. Not just

dom to express yourself on a blank piece

house manufacturing. On that note, the three

in terms of design, but also quality. And

of paper with no boundaries whatsoever.

did not show up to the interview empty-han-

that has remained a constant until today!

But then you’re faced with the question:

ded but brought along a significant milestone: LUNOR’s very first horn frame collection. Enjoy the talk.

In what way does it factor into your brand identity at LUNOR?

What prompted you to take over an existing brand instead of founding something new?

How can I position my products on the market? That’s one of the biggest ad-

Michael Fux (MF): New interpretation of

vantages of an existing brand, because

vintage frames is certainly a part of our

you can draw on an existing retail and

core brand today. We find inspiration in

distribution network.

our eyewear collection with pieces from

How did the start work out for you?

the past centuries. Our core brand values

MF: Although we met a bit of evaluation

also include uncompromising quality,

and questioning initially as the “new

focus for special detail and classic, time-

guys”, we got tons of support and it was

less unisex design.

a steep learning curve. We have seen

You two took over the brand in 2005. What was the motivation and your personal connection to

great potential in the brand right from the start. The products were already S P E C T R // I N T E R V I E W

109

by the craftsmanship and quality, that he ended up buying more frames over the years in antique silver and sometimes 18K white gold. While several celebrities wear LUNOR, the ‘Steve Jobs frame’ is

LUNOR

the only one that’s purchased especially

ACETATE EVERGREENS

»A10 353«

because of the wearer. UF: The fact that the frame has been constantly available for 14 years is also testament to the longevity beyond fashion trends.

What was the impact of the demand for this specific model? Did you feel the push across global markets equally? MF: Demand skyrocketed in 2011. It felt like everyone wanted the »Classic Rund«. We started selling our frames into coun-

»A10 350«

tries that we had never even shipped to before.

Did the demand cause ripple effects for other styles? Or did other products suffer? UF: No, none of our models suffered. But the »Classic«, especially the Rund version, will always live up to its status as our true classic. SF: The effects have really all been positive, both for LUNOR as well as the entire

»A5 234«

Classic Collection and all of its styles.

In 2017 you built a new company headquarters in the Northern Black Forest region. What was the inspiration and your concept? UF: The new building was important to us for several reasons. Initially we conside-

amazing back then but lacked brand communication.

How did you go about it?

On the way towards becoming a global brand, what provided the strongest push?

red how we can simplify our processes and open up more space. But once our architect team presented the first drafts,

MF: We started promoting the brand with

UF: The substantial list of actors and

the focus shifted to finding a harmonious

more targeted initiatives to raise aware-

celebrities provided great inspiration. So

way to live and work with the beautiful

ness. Additionally, we expanded the

we wanted to run with it and further our

product collections and broadened our

success with the right kind of models. As

focus. This helped us reach more optici-

a fan of Apple products, although the

ans and end customers.

iPhone was not even released back then,

Was your background as a trained optician helpful in those stages? UF: Certainly. LUNOR also took lots of know-how from customer care as an independent optician. When you’re constantly providing guidance to customers

110

lacking.

nature around us.

One year later you received the certification as a carbon-neutral company. What measures paved the way towards reaching such a milestone?

counting Steve Jobs among our custo-

MF: The impetus was clearly our al-

mers really was the icing on the cake.

most energy-independent new building

You already hinted at your appreciation for Apple in your founding story. How did Steve Jobs actually end up wearing LUNOR pretty much permanently?

featuring solar panels and geothermal energy. Aside from reducing the share of plastic waste, we compensated for the unavoidable rest of the burden via

to make them happy with the perfect

Sophie Fux (SF): Steve purchased the first

climate certificates.

pair of glasses, you cultivate a perspec-

rimless LUNOR »Classic Rund« model in

UF: The real change for LUNOR was

tive that an industrial designer might be

1998 in New York. He was so impressed

that we now also communicate our

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

With the lightweight clip-on, the »A5 234« instantly transforms into elegant sunglasses.

Timeless style and aesthetic: LUNOR acetate frames.

manufacturing resources in a targeted manner, without having to share with competitors who order from the same supplier. We are also better able to implement design ideas, since you can take more time tinkering with concepts until they ultimately fit.

You are also manufacturing stainless steel frames. These complement the LUNOR offering of acetate, metal and the brand-new horn frames. From an overall perspective across collections, what is your design DNA? MF: Aside from classic shapes, we also place great emphasis on traditional

The clamp is also machined from a metal

philosophy accordingly. We are grateful

manufacturing methods and countless

block or the metal rims are reduced to

that there are opportunities today for

small details. For example, our signature

metal wire. It’s a technique that is hardly

compensating in a way that leaves no

hinges are machined and cut from full

applied anymore these days in Europe.

ecological footprint.

blocks of metal. We do not implement

Ultimately, it’s all very labor and cost in-

any fake rivets or decorative covers. Eve-

tensive. But we still think it’s worth it. The

ry element featured on the frame serves

»M5« is rounded out by titanium pads,

a function!

which have been implemented into our

You have also been producing your own glasses in a factory since 2019. What led to this step? MF: It was always our wish to manufacture eyewear in Germany in the long

What characterizes the stainless-steel models?

frames in this exact shape for 30 years

run. Plus, some of our manufacturers are

MF: So in our stainless-steel frames, we

now. Their advantage is simply that they

approaching retirement and there were

exclusively use semi-finished products

fit comfortably and add longevity to the

no mechanisms in place for succession.

that we have designed and developed

UF: We were also motivated to make

ourselves. For example, the Classic

sure that know-how that exists in Ger-

frames have a saddle bridge that was

many does not get lost but passed on to

perfected over several years until we at-

MF: It unlocks incredible variety in which

future generations.

tained the perfect fit. The »M5« is also not

to design frames: So for instance, the

machined from a sheet of metal, but all

entire A5 Collection presents a classic,

semi-finished products are manufactured

elegant expression, while we created

traditionally and then soldered together.

a retro aesthetic for the A12 through

What are the advantages of having your own manufacturing in place? MF: The fact that you’re able to allocate

eyewear frame.

Acetate also plays a strong role for you. What do you like about this material?

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

111

»B1 01«

lowered hinges. And in the new A13 line,

LUNOR

we’re using coverings in the mid-section

HORN

to bring the flair of the 1960s into the here-and-now.

Do you generally bank on proven classics or are you trying to continuously introduce new styles? MF: It’s a mix of both. On one side, we’re

»B1 02«

staying faithful to the classic retro styles. But at the same time, it’s incredibly important to keep an eye on what the market is doing. When frames are increasing their size factor overall, we’re also gradually adjusting our sizes.

With the different materials in your collection, do they all aim at separate target groups? UF: You could say that it’s the same groups but at different points in time. Whereas acetate used to be hip with younger customers initially, that has shifted towards older generations. SF: Generally we are aiming at similar target groups with all of our frames. These are simultaneously men and women, as well as older and younger people. That’s

»B1 03«

rooted in our classic and timeless design approach and reflects in our customer demographics.

You’re now expanding your design scope by offering frames crafted from horn. What made you take that step? MF: We were looking to release a special milestone for our 30th anniversary. There had already been a LUNOR horn collection at one point. But now we succeeded

ly, that’s now changed. SF: Horn frames are most often purchased by real horn connoisseurs.

in integrating our signature hinges into a

UF: Before the invention of polymers,

buffalo horn frame, which creates a high-

including acetate that is rather close to

ness and longevity. We will sell our horn

ly recognizable look. Even though the

nature, eyewear frames often used horn

frames via the established distribution

manufacturing is rather labor intensive,

as a material. So what could fit our philo-

it makes the LUNOR horn frames unique

sophy better than horn?

and we’re very proud of this achieve-

MF: At the same time, our horn frame

ment.

also carries our design DNA through the

What do you find especially attractive about horn? UF: Natural horn is a real comfortable

112

level.

In how far does horn fit into your overall philosophy?

delicate form language and bolt hinges.

Is your horn offering opening up new customer segments or even distribution channels?

and skin-friendly material, and also very

UF: Those looking for the highest quality

lightweight. It’s just pure nature. Acetate

AND natural materials, did not find that

is great to wear, horn takes it to another

combination from LUNOR so far. Fortunate-

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

They appreciate the sustainability, light-

channels and our LUNOR partners.

How many models are part of the horn collection? MF: Starting things off there are three shapes in two colors each.

That’s a manageable start. Are you looking to expand that collection over time? MF: Certainly. The first expansion will be introduced as soon as Opti 2022.

How about other, innovative manufacturing

New: Upscale horn frames featuring LUNOR’s signature hinges.

methods like 3D printing? Many labels are catering to this trend… MF: We solely rely on 3D-printing for prototyping purposes. 3D-printing technologies have evolved rapidly in recent years and will surely continue to do so. But in terms of tactile sensation of the product, the current state of the art does not meet our expectations. We also favor more traditional manufacturing methods.

That’s sticking to your guns. Another future trend is digital transformation. Where are you at in the process? SF: We’re currently making great investments into the digitization of our processes. Over the last year, we’ve enabled the majority of our employees to work out of the office. We also want to retain this option in the future. This presents us with the challenge to maintain the communications, collaborations and team spirit despite the spatial distance.

In how far are you digitizing the cooperation with customers and suppliers? SF: That’s another focus for us. We are achieving it for instance via our B2B online shop. The challenge lies in connecting the simplification of processes via digitization with the personal aspects of service.

Digital transformation is presenting a wide number of challenges to businesses. What mindset does it take in order to pursue this path successfully?

UF: Five years are a rather manageable

MF: A real passion project and also a

timespan. At this point we’ve been in our

total necessity is the constant engage-

new building for almost five years now.

ment towards even more sustainability.

SF: It is crucial to remain open towards

So over the course of five years, not

Without an intact environment, there is no

change and stay in the loop about the

much is going to change. Perhaps the

future. So any type of long-term entre-

progress of digitization and the related

way our employees commute to the

preneurial outlook is absurd without it.

opportunities. That applies to us on the

office... we’re currently installing a num-

What’s more, we’ve also cultivated our

executive level just as much as our em-

ber of new charging stations to keep up.

involvement in terms of supporter and

ployees. Openness towards change and

And since the quality demands towards

donator of non-profit organizations. And

progress is therefore a core component

good eyewear are constantly increasing,

as a designer, I’m passionate about timel-

of our company philosophy. It helps us

our industry will be in a great position

ess and functional design without being

recognize and leverage digital transfor-

five years from now. Perhaps the demand

too strongly influenced by trends.

mation as an opportunity.

for regional manufacturing and utmost

UF: Regarding our frames it is safe to say:

quality will only grow stronger.

LUNOR always represents the highest

Overall, where is the journey headed for LUNOR? Where do you see the eyewear industry and LUNOR specifically five years from now?

Let’s hope that will be the case. What will be a cause dear to your heart in the future?

level of quality.

Thanks for the interview.

www.lunor.com S P E C T R // I N T E R V I E W

113

NEU B A U x O DE E H

Scan to try on NEUBAU FAVRSPECS.COM

NEUBAU X ODEEH »Jörg«

Sustainable Avantgarde – From Fashion To Eyewear

photos RAPHAEL SCHMITZ

In April 2021, Austrian eyewear label NEUBAU and German designer brand ODEEH launched a collaborative capsule collection. And it’s

114

Let’s start with NEUBAU. Founded in 2016 and converted into an independent company this year, the label follows a philosophy of

already won our Collab of the Issue. Why? Because the joint project

‘Sustainable Avantgarde’. The claim really says it all in two words:

is based on a great brand fit, as both companies are committed to

NEUBAU combines the aesthetic design of sunglasses and optical

sustainability as well as an appreciation for materials, fashion, and

glasses with the highest level of quality and dynamic technological

functionality.

innovation. All Made in Austria.

S P E C T R // C O L L A B O F T H E I S S U E

The innovative and screwless hinge elegantly connects the delicate temples with the lightweight front section.

NEUBAU X ODEEH »Otto«

»Tobi«

»Jörg«

This mindset finds its perfect match in the German designer duo

passes fashion as well as accessories. ODEEH is also no stranger to

Otto Drögsler and Jörg Ehrlich, who have become synonymous with

sustainability, which remains a constant in all their creative output.

eclectic garments released under their ODEEH apparel label. The

The label’s creations are never subjugated to the dictates of fashion

two are cultivating collections with bold statements, presented in

trends but built to maintain their relevance over many seasons.

understated and elegant ways. This type of balance is fundamental

Consistency and appreciation of craftsmanship also inform the

to the designers’ understanding of modern-day couture that encom-

NEUBAU X ODEEH capsule collection that consists of two sunglasses S P E C T R // C O L L A B O F T H E I S S U E

115

NEUBAU X ODEEH »Otto«

The collab collection represents all the major advantages of titanium: light weight, flexibility, and color intensity.

and three optical styles. The Austrian eyewear label draws on its

with the rest of the frame and secures a comfortable fit. In terms of

expertise in using titanium as the frame material. That’s why the new

fashionability, the NEUBAU X ODEEH collection holds its own. The

»Otto«, »Jörg« and »Tobi« models impress with enormous flexibility

frames are all eyecatchers in their own right. But not in a flashy way,

and light weight. The long-lasting color intensity of NEUBAU’s tita-

but through an understated form language and subtle color palette

nium compound ensures that these four matted color nuances will

built for everyday wear. Which is more sustainable than any fashion

retain their vibrancy for many years. The hinge design on the cap-

gimmicks anyways…

sule collection is a novelty: The screwless hinge snuggly integrates 116

S P E C T R // C O L L A B O F T H E I S S U E

www.neubau-eyewear.com

ea Fa c

Fa c e 2 0 2 1 H i g h l i g h t

s F

Fa c e

ighl

ights

Fa c e a F

ace

202

1H [Berlin]

to gorgeous eyewear and literally sliced through the frames? Welcome to the new FACE A FACE collection, in which the

styling

design team led by artistic director Pascal Jaulent plays with

VIRGINIA KRAUSE

the Art of Deconstruction. The resulting frames are indeed

Scan to try on FACE A FACE

both: artful and deconstructed. Presented here in a photo

FAVRSPECS.COM

hair & make-up

STEFANIE MELLIN models

JOLINA at SEEDS, SIGNE at VIVA retouch

ALINA FILIPENKO 118

T O U

Prepare for the unexpected! What if someone took a scalpel

photography

ULRICH HARTMANN

aF a

ts igh

21 Highlights

Fa c e a Fa c e 2 0 2 1

e 20

Hig

Fa c

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I C D AL A

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

shoot by Ulrich Hartmann, the Radical Cutouts collection surprises with new twists on familiar shapes. For added impact, FACE A FACE implements powerful color pops. But better see

for yourself in this issue’s Collection Shoot. www.faceaface-paris.com

FACE A FACE »Split 1« blazer WHO WHAT WEAR

Split Are you watching closely? At first sight, the »Split« is a gorgeous sunglasses frame with slight cat eye inspirations. But then you notice the lenses, sliced away at the end pieces. Plus, the colorway of the Made in Italy acetate in milky blue against blue granita temples with quartz flashes, sliced through with electric yellow. A special piece in a special collection.

FACE A FACE »Split 2« shirt RIANI S P E C T R // C O L L E C T I O N S H O O T

119

»Bocca Palma 1« blazer SET shirt MARC AUREL

Bocca Palma The »Bocca Palma« is inspired by the architecture of 1950s

FACE A FACE »Bocca Palma 2« blazer MARTIN ASBJØRN

120

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

Florida, but the classic frame is deconstructed into something new and exciting. The large panto shape evokes floral color hues, paired with flashes of bright orange and soothing transparent acetate. The result is a harmonious, balanced sunny.

»Arman 1«

»Stamp 1«

blouse GANNI

blouse ARKET

pants WHO WHAT WEAR

slipover SAMSØE SAMSØE

shoes COPENHAGEN

pants MARTIN ASBJØRN shoes COPENHAGEN

Arman

Stamp

Big and bold, the masculine

Sculpted outlines and uncon-

»Arman« model plays with a mix

ventional twists on form lan-

of materials seemingly sliced by

guage abound in the masculine

a knife. The front section in un-

»Stamp« prescription frame. The

structured mosaic grey is inter-

color scheme of the front could

rupted by a brow line panel in

hardly be more dramatic: two-

opaque petrol blue. And while

toned yellow and grey tortoise-

the oversized, broad temples

shell connects to streamlined

could comfortably hold a much

temples for a dynamic, self-

larger frame, they add intrigue

confident look.

and subtlety to this unique play on a square shape.

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FACE A FACE »Shift 1« shirt RIANI blazer IVY & OAK

»Bocca Tweet 1« blazer WEEKDAY

Bocca Tweet Remember the 8-Bit pixel effect of the original »Bocca« model? Here’s the hardware update: The »Bocca Tweet« combines the blocky graphic accents of the original – for instance on the temples – with a cubic construction language and clashing colorways in cobalt blue and fluorescent yellow. Like any surprising tweet, this one has a good chance of going viral this season!

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FACE A FACE »Shift 2« blazer MASSIMO DUTTI

Shift It’s all about masterful contrasts in the »Shift« model. The transparent acetate front clashes with a colored geometric block in electric blue. The five-piece hinges connect to black temples for dramatic effect and a post-industrial aesthetic. Reminiscent of the Eighties, but very much at home today.

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Find Your Perfect Eyewear FAVR Online Style Guide & Virtual Try-On Are you looking for a new pair of eyeglasses, but struggling to get a good overview in light of all the different brands and models out there? Not a problem, because the FAVR platform not only offers eyewear from 50 top brands, but also two features that guide the way towards that perfect frame: The Online Style Guide automatically suggests glasses that match your personal type. And if you need some more hands-on guidance, you also have the chance to try on the glasses that interest you in a digital tool: Our Virtual Try-On shows the glasses on your face via webcam. Magic! So with the Online Style Guide and Virtual Try-On combined, you’re perfectly prepared for a visit to your nearest premium optician for next steps.

www.favrspecs.com

Where to find one? On FAVR, of course!

Give it a try right now!

Sunglasses

Optical glasses

photography, styling & casting

NARÈNTE // LUCIO ARU + FRANCO ERRE

[Sardinia]

hair & make-up

DANIELA DESSÌ models

ANNILEA VITELLI & RAFAL URBANSKI at LA REPRESENTS

CHO

E C I

TH LOOK – MADE IN ITALIA LOOK »Combi 10812«

LOOK »Combi 10810«

men’s suit HUGO

jacket CALVIN KLEIN COLLECTION

The two faces of Look – Made in Italia For the past four decades, LOOK – MADE IN ITALIA has been raising the bar with trend-setting eyewear designs and quality manufacturing. The offering for adult wearers expands across two unique collections: the premium LOOK line and the high-end MATERIKA collection. Witness the latest styles in our Collection Shoot and keep reading for a two-minute primer on what characterizes both lines. 126

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

YOU RS LOOK – MADE IN ITALIA LOOK »Combi 10813« suit BERLUTI S P E C T R // C O L L E C T I O N S H O O T

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LOOK »Combi 10785« -

jacket CALVIN KLEIN

k terms of style, o LOOKIn celebrates current trends in frame designs craf-

ted from two highly innovative materials. The first is Cello, which is short for ‘cellulose acetate’ as a vegetable-based compound offering a warm surface feel and flexible shape options with a shiny finish. Second in line is Xinox, an ultralight high-tech steel that ensures superior shape retention and over 30 percent more flexibility than conventional steel. And needless to say, the gorgeous eyeglasses and sunnies in the LOOK collection are anything but conventional as well.

LOOK – MADE IN ITALIA

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LOOK »Combi 10811«

LOOK »Combi 10812«

blazer VINTAGE FERRAGAMO

jacket CALVIN KLEIN

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

MATERIKA »Combi 70617« suit CALVIN KLEIN COLLECTION

M a t e

As the label’s highcombines

exclusive

i k

end collection, MATERIKA

design

with a healthy dose of technicality

and know-how. Materika is an acronym for MAterial, TEchnology, RIcerca (Research), and CApability. The eye-catching designs walk the line between innovation and sustainability, supported by two unique materials: Alumix as a highly potent blend of aluminium and magnesium for ultra-lightweight and non-allergenic frames. And also Hititanium, a raw mate-

malist, timeless shapes.

outlast fleeting trends with mini-

.lo

built to last – and stylish enough to

With that said, MATERIKA eyewear is

ial

more resistant than regular titanium.

i.it

rial imported from Japan and four times

MATERIKA »Combi 70616« jacket MAX MARA

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LOOK – MADE IN ITALIA MATERIKA »Combi 70617« suit VINTAGE FERRAGAMO

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

www.clemence-margaux.com Modèle présenté : CM369 L’ADORABLE

CCO - VILLA NINO - 247 avenue Bouloumié - BP20031 - 88801 VITTEL CEDEX - Tél. 03 29 08 85 85 - www.lunettes-cco.com

BLACKFIN »Bayham« blouse SIENNA pants UTERQÜE

L I S FE ’ E M A D T N

photography

APRICOTBERLIN styling

RITA ALVES hair & make-up

TINA HOFFMANN models

EDMILSON TAVARES at ELITE LISBON, KETLYN AMANDA LOPES DE SOUSA car

HEROCARSPORTUGAL

A S 132

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[Lisbon]

BLACKFIN »Westhill« shirts MANGO

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134

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RAEN

»Andreas«

»Blondie«

shirt ZARA

kimono & pants UTERQÜE top FREE PEOPLE

SPECTR

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REIZ »Kubus« vest MANGO trousers DUSTIN

136

SPECTR

REIZ »Raute« dress JACQUEMUS

SPECTR

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RODENSTOCK »R 2638« blazer UTERQÜE, top FREE PEOPLE

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SPECTR

PORSCHE DESIGN »P’8478« shirt MASSIMO DUTTI

SPECTR

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S A LT. »Wister« jacket UTERQÜE

140

SPECTR

S A LT. »Bertram« shirt & suit ZARA

SPECTR

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AD LIB »Bria AB3279«

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SPECTR

HINTERLAND - THE BIGGEST COLLECTION WE EVER LAUNCHED. NOW AVAILABLE AT SELECTED INDEPENDENT OPTICIANS.

LINDBERG »8210« jacket WOOD WOOD shirt H&M

DOW E M

B , N

OLD 144

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LINDBERG »8906« shirt SNOW PEAK vest WESTLEY RICHARDS

OY photography

WILLIAM FERCHICHI

[London]

styling

JENNY HOLMES make-up

LUCINDA WORTH using EVOLVE BEAUTY hair

ALESSIO MATTA at THE COLOUR PALETTE SALON models

MICHAEL CHIMA & JAMES FAIRWEATHER at NEXT, LONDON post production

OLEG AGAFONCEV

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NEUBAU »Otto« shirt RECEPTION jacket NANAMICA

146

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AMERICAN OPTICAL »Times« jacket OLIVER BROWN jumper FILIPPA K trousers WESTLEY RICHARDS

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FACE A FACE »Stamp 2« shirt FILIPPA K blazer RICHARD JAMES bag RUSKIN

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FACE A FACE »Arman 2« blazer & trousers OLIVER BROWN top RICHARD JAMES

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EINSTOFFEN »Botaniker« coat OLIVER BROWN, shirt FILIPPA K, bag TUSTING 150

SPECTR

KOBERG »KT 6044« shirt OLIVER BROWN, jacket WESTLEY RICHARDS SPECTR

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SILHOUETTE »TMA – The Icon 5541/DQ« shirt & blazer OLIVER BROWN

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SPECTR

SILHOUETTE »Momentum 5529/LC« shirt SNOW PEAK trousers TOPSHOP

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METROPOLITAN »8267« jumper FILIPPA K 154

SPECTR

@jfreyofficial METAL+COLOR JF29152555

PORSCHE DESIGN »P’8928«

»P’8688«

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

PIT ST O P wi t h PAT RIC K D E M PSE Y

»P’8920«

photos RAPHAEL SCHMITZ

Porsche Design Highlights 2021 Do we need to introduce PORSCHE as a brand? Probably not. But here are some broad strokes, just to make the point that Ferdinand Alexander Porsche has exerted a tremendous influence on the design language of the 20th and 21st century. And not just with 1963’s Porsche 911 model, perhaps single-handedly the most iconic automobile of all time. Also because the philosophy and design language of Porsche have also made an impact since 1972 through an extensive line of lifestyle products. Today, this tradition continues under the PORSCHE DESIGN label. The focus remains on technical precision and perfection, supplemented by a high level of technical innovation. After all, it’s no surprise that some eyewear models from the PORSCHE DESIGN collection have attained collector status due to their intelligent functionality and purist design DNA.

»P’8928«

»P’8920«

A true eyecatcher thanks to its geometric edges, the »P’8928« is a

The »P’8920« races into the collection from the iconic Hooks Series.

squared aviator frame in tribute to a special milestone: The very first

In this case, the ‘hooks’ serve as the signature lens fastening mecha-

quick-change lens sunglasses created by PORSCHE DESIGN in 1978.

nism that is deeply rooted in the brand history of PORSCHE DESIGN.

The design remains unchanged – and on-trend as ever. Only the

A small detail, but full of history and design DNA. Crafted from

lens shape has been slightly altered to hit the current zeitgeist with a

stainless-steel, the aviator model includes temple tips from high-per-

bang.

formance polymer RXP to guarantee a high level of comfort, flexibility and light weight – even when you’re cruising in the fast lane.

»P’8688« Straight out the gate, the campaign featured the »P’8688« from the Liquid Titanium Series. The three-dimensional temples lend a daring yet minimalistic impression to the full-titanium frame. For crystal clear optics – especially behind the wheel – the product variant »P’8688 A« is equipped with Vision Drive Polarized XTR lenses. These feature a high-performance polarization filter as well as contrast enhancement that absorbs blue light rays much stronger than conventional eyewear lenses. S P E C T R // C O L L E C T I O N C H E C K

157

PORSCHE DESIGN »P’8386«

»P’8387«

In 2021, the label based in the Austrian town of Zell am See created a special collaboration with Patrick Dempsey. The Hollywood star is not only a successful actor and director, but also a die-hard motorsports afficionado. In short, Dempsey is the perfect brand ambassador for PORSCHE DESIGN. Plus, the two partners not only share the initials ‘PD’ but Dempsey is a long-time Porsche driver, and even owns his own racing team. What brand fit could be more authentic? As part of the collection’s campaign, Dempsey will showcase a few new and timeless PORSCHE DESIGN models. SPECTR already has the inside scoop for you right here. www.porsche-design.com 158

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

»P’8386« & »P’8387« The PD capsule also includes two optical models: The »P’8386« and »P’8387« from the Liquid Titanium Series complement the design language of the sunglasses in the line. For this reason, both frames are crafted from 100% titanium, just like the »P’8688«, and thereby offer lightweight comfort. Plus, the three-dimensional temples are the perfect match for the classic shapes of the panto and squared aviator front sections. So even without tinted glasses, these two optical models have that special PORSCHE DESIGN spirit that gives them edge.

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

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MCLAREN

»MLONESEC01«

»MLSGPS02«

hoodie STONE ISLAND

coat HEINO blazer AMI dress P.A.R.O.S.H.

160

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

ON TRUE LUXURY L’Amy Luxe Explores New Approaches Based in the storied French Jura region, L’AMY can look back at a history of more than 200 years of influencing the eyewear industry. In the 1980s, L’AMY became one of the first companies to manufacture eyewear under license for fashion labels. Today, the French company operates under the name L’AMY LUXE and has evolved far beyond the licensing business. Instead, the focus is on full-fledged luxury goods with brand-new approaches. In this issue’s Philosophy Talk, we sit down with CEO Dominique Alba to learn about the company’s goals and motivations in exploring new horizons. Welcome to a must-read for independent opticians.

photography

ULRICH HARTMANN

[Munich]

styling

SHIMA KHAZEI assistant

DEAN FABER make-up

TINA PACHTA models

STEINUNN at MIRRRS, VICTOR at THE WALL MODEL MANAGEMENET S P E C T R // P H I L O S O P H Y T A L K

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MCLAREN »MLSUP024« hoodie STONE ISLAND

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

Hi Dominique, L’AMY is one of the big names in the eyewear industry. The company can look back on a heritage that goes back more than 200 years. What drove the founder back then? L’AMY has always been driven by technology and innovation.

The history of L’AMY is a venture of technicians and engineers who, gradually in the early 1960s, started integrating design with marketing.

Your company hails from the French Jura region. The area is still considered as an incubator for high-quality eyewear development and production. Historically, what was the contribution from L’AMY? I do believe we are the most innovative company in our indus-

‘generalist’ is obsolete.

And what’s the future? We are convinced that the years to come will be the years of focus and differentiation.

Has the market in general changed and the old concepts just don’t work as well anymore? No, concepts are still a key factor for success, regardless of their age. What does matter is that the concept is perceived as relevant by the consumer.

That is a shift, indeed. In your opinion, which changes have had the greatest impact in the last ten years?

try, but also the most high-end. In the same company group, we

We can see three big changes: The first is the merger of big

have Maison Henry Jullien which received the coveted label of

eyewear corporations, aiming at controlling the retailer and the

Entreprise du Patrimoine Vivant. Also the McLaren license as a

consumer.

multiple award winner as the most innovative collection on the

And the others?

market. That allows us to offer optical stores the two most wan-

Then we have the end of the era of fashion luxury licensing with

ted segments of the luxury market: excellence in craftsmanship

the creation of in-house eyewear divisions aimed at controlling

and innovation with no limits.

the entire value chain from production to consumer. And finally

We’ll cover these two lines separately. Starting with L’AMY, what were the relevant milestones in the company’s history? L’AMY commands a long and exciting history. Milestones in terms

we see the emergence of new technologies like 3D-printing, virtual try-on, connected devices, smart lenses.

What’s the impact?

of manufacturing include our first ‘modern’ factory in 1883 or the

These structural changes within the market did not fully change

state-of-the-art galvanic treatment factory in 1986. Production

the current landscape yet, but they are doing it deeply and

know-how runs deep in our DNA.

lastingly. Eyewear companies have been the first to be impacted,

Starting in the 1980s, L’AMY specialized in the licensing business. Which major brands were part of the portfolio at that time? I believe Lacoste is the brand with which L’AMY had the longest partnership and the best achievements. But we had many collaborations. It would be easier to list the brands which do not have eyewear licenses.

You have since abandoned these licensing deals. Did other corporations in the industry become too powerful?

but the heaviest impact will be on the optical stores which will have to focus on very clear strategies and offers for the consumer.

That might be a huge challenge. Part of your focus was the takeover of the Maison Henry Jullien in 2017. The brand is celebrating its 100th anniversary this year and stands for traditional luxury. What was the motivation behind the acquisition? Henry Jullien is the last manufacturer in the world that produces

Yes, that is one reason. But I am convinced that for many years,

eyewear with this level of attention to detail and quality. At this

a positioning that is too ‘generalist’ no longer aligned with the

level, this is not craftsmanship, it is art. At Henry Jullien, time is a

fast-moving market.

value. Consider that it requires no less than 279 manual steps to

So license brands don’t seem to be that attractive to you anymore?

manufacture a frame. This relationship to time, this artistic path,

The license itself is not a competitive edge neither for L’AMY nor

this willingness towards ensuring durability of the product, reso-

for the optician. In the meantime, the end consumer has evolved.

nates strongly with a wide community of consumers. That makes

That goes for customers’ knowledge of the brands, but also of

Maison Henry Jullien a very modern company, fully connected to

the products, and even the marketing. We think that the status of

the main value perceptions of a big part of the population. Being S P E C T R // P H I L O S O P H Y T A L K

163

so aligned to its time after one century is truly a small miracle. And a genuine source of enthusiasm for the team.

We’re running a showcase of select frames on pages 202/203. Was the acquisition also accompanied by a change in strategic direction?

To briefly summarize, there are two big luxury markets – and I am not talking about fashion – as of today and over the last two centuries. The first luxury market includes technological innova-

Yes, it was. We decided to focus on the market of true luxury for

tion and the avant-garde product. The result is an engineered

three reasons.

product. The second luxury market describes craftsman products

Which are? First, the true luxury segment has been registering the highest growth rate for the past 30 years. Second, this segment hap-

with an impressive level of attention to detail. The result here is an artist product.

So you can divide consumers into two segments?

pened to be the most resilient to the crises over the last two

Whatever the field you study, you will find this duality, also very

centuries, as proven in the current pandemic crisis. And third, this

well represented among the population. You can also recognize

is a market that offers a high potential in eyewear because it has

as a big advantage that each consumer from the luxury segment

not been strongly serviced by the optical stores over the last

can be, at the same time, attracted by both types of products.

decades, unlike many other fields within goods and services.

You can have the most technologically advanced music device at

How come the luxury segment seems to be more crisis-proof than other price categories?

home and own a Steinway piano in your salon.

What does that mean for the optical industry?

We can witness it for two centuries and clearly since the 1929

This is exactly our proposal to the opticians. With only two

crisis. This segment has decreased much less than others, and,

brands you offer to your customers the best of the two worlds

after each crisis, has started over way faster than all other

and you position yourself as the optical store of reference in your

segments. It targets 20 percent of the worldwide population. The

catchment area.

wealthiest, the most educated, the most knowledgable. As a result, it’s the most resistant.

Your approach is very forward looking. Yes, we believe that this segment offers an important, sustainable

Will you continue to focus exclusively on these two brands in the future? We will add several brands in the coming years, maybe one in 2021.

According to which criteria?

and differentiating growth driver both for the opticians and our

With the same strategic intent and the same positioning. We want

company.

to be the reference company in the world of luxury. The real one,

In 2019, you launched McLaren, a very technical label and a licensed brand. What’s different this time compared to the licensing business in decades past?

not the fashion business.

At this level, only independent opticians come into question. How important are they for you?

Innovation, innovation and innovation. This collection is really

They obviously are our primary targets, but I would dare to say

unique because of its technological content, but also by its abso-

we are a supplier who can, and has to, allow them to set up a dif-

lutely stunning design.

ferentiated, resilient and sustainable strategy. We can help them

That can be seen in our Brand Profile on pages 82–84. Now, with Henry Jullien and McLaren as the only two remaining brands, you have streamlined your portfolio and concentrated fully on the luxury segment. Along with this development, you changed your name to L’AMY LUXE. Sounds like it also comes with an obligation, right?

not only to resist but also to develop themselves in the years to come. I would also add that our size should comfort them. We are not a mega group which is going to give them instructions.

What developments do you see headed to the eyewear industry in the next ten years? Will there be further takeovers and consolidation?

Yes, it does and that is the reason why we stated it so clearly. It

Yes, the consolidation is going to continue because distribution

is not a short-term strategy or a marketing gimmick. It marks a

structures are going to evolve as we have seen in many other

strong and long-term strategic change.

fields. The big brands want to directly control the end consumer.

What is the common denominator between these two brands, which at first 164

glance are very different?

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

They have already started. On the other hand, the technologies

HENRY JULLIEN

»YALE C C53P03 GOLDIES«

»PACIFIC S03 C56 GOLDIES«

shirt MAISON VALENTINO

jumpsuit & coat LIVIANA CONTI

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

165

HENRY JULLIEN »SKYLIGHT 06 C56« cape BURBERRY

will modify the competitive environment, especially in the optical

company is focused on the same and only objective. Paradoxi-

lens segment.

cally it is easier to achieve that than working on several seg-

With that said, how can smaller and medium-sized brands still maintain their position in the future? Staying focused and not trying, as in the past, to directly compete with the giants on the market. Back in the day when in France, the big hypermarkets decided to sell bread, everybody thought that the bakeries were about to disappear. The good bakers did not and they currently are among the top three or more profitable retailers.

How did they manage that?

entire chain and on each detail. This is what we started doing for several months and have to keep on doing in the coming years.

What role does the optician play in this? We will succeed only with opticians in a balanced relationship and a common intent.

So you consider yourselves – together with the independent opticians – as well-positioned for the future? My feeling is that the luxury segment will be, whatever happens,

Simply because they decided not to compete on prices and units

one of the more profitable segments for the independent optical

but only on quality. I could mention dozens of examples like that

stores in the coming years. With or without L’AMY LUXE. And we

in all the countries of the world.

will do our utmost to ensure that it will be with L’AMY LUXE. After

That’s a ray of hope for independent opticians. How prepared are you at L’AMY LUXE for this future? Luxury is a state of mind. Therefore it is essential that the whole 166

ments at the same time. However, that means to work on the

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

all, we almost invented the concept (laughs).

Thank you for these valuable insights, Dominique. www.lamygroup.com

E PR H T

T O

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OLIVER PEOPLES

»Lewen«

»Casian«

dress LACOSTE

jacket HOMME PLISSÉ ISSEY MIYAKE

C O O L T

photography

GOODBYEFUTURE

[Munich]

styling

BERNARD WERKMEISTER hair & make-up

SARAH LUCIA RABEL models

EMMANUEL at MOST WANTED, JULIE at SP MODELS, SOPHIA K at LOUISA MODELS

SPECTR

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GÖTTI »Molin« blouse NA-KD 170

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RODENSTOCK »R8027« jumpsuit KARL LAGERFELD SPECTR

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AD LIB »AB3277« dress GINA TRICOT 172

SPECTR

STARCK »SH3074« dress LACOSTE SPECTR

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MCLAREN »MLSUP022C01« shirt REEBOK 174

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HENRY JULLIEN »Doublé OR 20.000 STORY I09 C56P59« jacket AMERICAN VINTAGE SPECTR

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ØRGREEN »Shirō 1157« sweater KARL LAGERFELD 176

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GÖTTI »Urban« jumpsuit LAVISH ALICE cap LACOSTE wristband HEAD socks BURLINGTON shoes STRADIVARIUS

C I IO V

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A G S

GÖTTI »RR01 Space« leotard & shorts PUMA kneepads ALLSIX

ME S photography

ESTELLE KLAWITTER

[Dusseldorf]

hair & make-up

LAURA-ANN OLLAND at 21AGENCY models

MARINA at NOTOYS MARA LEYLA at VIVIENNE MODELS

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NEUBAU »Lotte & Hans« top NIKE

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ETNIA BARCELONA »Wayne« jacket WILFRIED PLETZINGER leotard & shoes ADIDAS socks BURLINGTON

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MASUNAGA »KO-83U SG« leotard REEBOK leggings ESTE MUSE rope ALOMEJOR

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MASUNAGA »Scutum« jacket LOST shorts PUMA kneepads ALLSIX socks TOMMY HILFIGER shoes NIKE

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ØRGREEN »Victory S029« leotard & leggings ESTE MUSE shoes NIKE socks BURLINGTON wristband HEAD hula hoop SPORT-TEC

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ØRGREEN »Kismet S004« jumpsuit VINTAGE wristband HEAD

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BARTON PERREIRA »Ostara« jacket WILFRIED PLETZINGER leotard ADIDAS wristband HEAD shoes NIKE

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BARTON PERREIRA »Akahi« crop top WILFRIED PLETZINGER leotard ADIDAS SPECTR

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INVU »B4131C« helmet OXELO leotard & jacket NIKE

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Michael Schuhmacher, owner of OPTIK LEONHARDT store, shows the keys to selling premium independent labels even outside a major metropolitan city.

THE IN D EPE N D E N C E WAY Markus Temming, founder and namesake of independent brand MARKUS T, knows the value of close cooperation between brands and opticians. 190

S P E C T R // F A V R T A L K

photos by MARKUS TEMMING & OPTIK LEONHARDT

The Perspectives Of Markus T & Optik Leonhardt The independent eyewear industry – a holy alliance against corporate takeover or just a marriage of convenience? Any way you slice it, the undeniable fact remains that brands and opticians need one another. In how far the cooperation is effective and satisfactory ultimately depends on numerous factors. After all, business relationships are much like other forms of human partnerships. Therefore, a relationship can only succeed over the long run when both partners share mutual values and remain attracted to each other. For the uncut real-life perspective, we asked designer Markus Temming at independent brand MARKUS T for insights. And speaking on behalf of opticians we have Michael Schuhmacher at OPTIK LEONHARDT. Let’s go!

Straight out the gate, you both share the fact that your company headquarters in the towns of Isselhorst and Bretten are pretty much out in the sticks. Are you jealous of more metropolitan locations?

ticians has worked rather well over the past decade. What was the secret to success?   Michael: The independent brands – at least those who managed

Markus: Not at all. We don’t miss the daily hustle of a big city in

to become fixtures in the market – are not just defined by their

our idyllic work environment at all. As they say, there is strength

frame designs. They also offer a rather excellent service.

in calmness. Plus, we are part of a federal state full of innovative

Markus: And that is key to a successful long-term business rela-

concepts in design and the economy that are constantly progres-

tionship. It not only increases the optician’s product know-how

sing.

but also mutual trust over time. A pair of eyeglasses is an incre-

Michael: I’m on the same page. Some brands like to call us ‘coun-

dibly personal, almost individualistic product. Based on our ex-

tryside’, but that’s been a running gag for years now. But I believe

pansive portfolio, we really rely on our partner opticians’ expert

that brands really enjoy visiting us, especially since our order quantities are on point.

So no inferiority complex?

knowledge to offer comprehensive service to end customers.

Where do you see the challenges in the independent business model? Markus: The opticians are our direct connection and lifeline to

Michael: No, not really. We’ve earned a reputation as quality

end consumers. So it’s our constant mission to communicate our

leaders in our region. Some customers travel all the way from the

values as well as the characteristics of our products to opticians.

Karlsruhe or Stuttgart area just to visit.

All so they can transmit it to end customers in their sales talks.

Markus: Nope. We don’t really have any regional limitations as a brand. So it’s irrelevant where we manufacture, exactly. We have

Herein lies the constant task and challenge of the model.

But perhaps that comes with too much dependence?

customers in both large cities and small towns across 67 different

Michael: No, I still feel entirely free in my decision which labels

countries. MARKUS T is not just at home in Isselhorst, but across

to carry in our store. Compared to other industries that’s such a

the entire world.

huge luxury. As a client I am always loyal, as long as the quality

Are there any advantages being based in less ‘hip’ locations? Markus: It feels like we don’t have to chase every single trend.

and design of the frames are on point.

Would you say that partnerships have changed over the past years?

Our manufacturing facility in a refurbished liquor distillery offers

Markus: The pace is increasing. Expectations are growing, all the

so much potential for realizing new ideas. There’s freedom to

while customers are focused on certain brands. That makes the

think and room to experiment.

optimization of service offerings amid increasing speeds a chal-

Michael: For us as opticians it’s more about the relationships with

lenge of growing importance. We consider the increasing pace as

the customer. Customer retention might be a bit higher here than

a pulse that keeps our service optimization efforts running.

compared to a large metropolis. Plus, young and fashion-savvy

Michael: That is definitely true. But in working with Markus, in par-

customers can still find the trendiest labels and latest styles in

ticular, we also see a tremendous consistency when it comes to

our store. And you might run into someone at the farmer’s market

quality as well as service. Their sales rep has also been visiting

who asks for an appointment right there on the spot.

Let’s talk business. The cooperation between independent brands and op-

us for over 20 years now.

Will the partnership between brands and opticians become less natural in S P E C T R // F A V R T A L K

191

the future? Michael: Why would it? I look forward to the next 20 years.

In this scenario, does it come with advantages to operate as an independent optician?

Markus: That’s nice to hear. For us the partnership with indepen-

Michael: Yes, because our staffing is not as much of a revolving

dent opticians remains a fixture. But it also becomes enhanced

door as the large chains. Plus, independent stores offer a large

with a new dimension because of all the digital options that are

degree of coolness. People are striving for individuality. They

currently evolving.

don’t necessarily need giant logos on their eyeglasses. The story

More on that later. But first, let’s talk about the massive expansion initiatives coming from new chain retailers. In how far do you see these as a threat?   Michael: The people who visit our store tend to be well informed

behind the product is much more important. Uniqueness and authenticity are the operative terms here.

Nevertheless, the future will put a premium on well-integrated business processes. Are you preparing accordingly?

and a lot of the time already know exactly what they want. We

Markus: We are building platforms with which opticians are able

see these new competitors as a challenge. People demand great

to work comfortably. The online ordering tool – exclusive for

service – and that’s what we’re offering.

opticians – is fully implemented in our online portal for partners.

On that note, what kind of support do you generally expect from brands?

It allows for customizing about 60,000 configuration options for our

Michael: Having a

frames, which makes

warranty on spare parts,

it a powerful tool for

like Markus offers, is

sales talks with end

awesome of course and

consumers. After all, no

provides us with a sense

optician is likely to carry

of security as resellers.

a selection on that sca-

Drawing on content sup-

le in-store. Although we

port for our social media

wouldn’t be opposed, of

is becoming more and

course (laughs).

more important – espe-

Michael: Aside from

cially to be perceived as

training programs on a

trend setters. The brand

professional level we

also benefits by gaining

are also making moves

recognition.

to stay up to date in

Markus, what kind of support would you like from opticians?

terms of technology. One example includes

Markus: We would like

Everything under one roof, from manufacturing to sales:

the current formation

to see opticians make

The MARKUS T company HQ in a former liquor distillery

of our omnichannel

a conscious decision to

is as sleek, stylish and sustainable as it gets.

offering.

Michael, what do you find attractive about MARKUS T?

work with us as a brand, which includes dealing with our values and ‘learning’ the brand. One takeaway from the

Michael: I enjoy the industrial design and the tremendous depth

booming trend towards franchise stores of the past years: A clear

of color as well as the outstanding comfort of wear. MARKUS T

store positioning and specialization are proving to be the best

successfully manages to stand out from the pack and offers a

survival mechanisms, while also unlocking product know-how in

highly recognizable product. Plus, options for customization and

the long run.

name engraving on frames and cases enhance the individualized

The big advantage of verticalized chains lies in the centralized decision making and their opportunities for consistently implementing initiatives – from product design to inventory presentation. How significant is this advantage?

once they receive their own pair of glasses.

Markus, how important is it for partner opticians to offer a visually pleasing store design?

Markus: We also implement everything in-house, from product

Markus: What’s far more important than an exclusive store interior

design all the way to manufacturing. So that allows us to offer

is that opticians actually understand our brand. But of course we

consistency, while also being able to respond in a flexible man-

are delighted whenever we see our frames in an environment

ner. But we don’t draw the line at the mere product or presen-

that corresponds to our branding. And OPTIK LEONHARDT offers

tation. We rely on the expertise of our partners and therefore constantly work on offering training programs. 192

offering towards customers. You can really feel their excitement

S P E C T R // F A V R T A L K

both – even better.

In how far do you support opticians and what are your expectations in

terms of product presentation? Markus: Summed up in one sentence: A focus on essentials. We

Speaking of longevity, how important is a long-term relationship with your opticians?

offer our customers a flexible system for presenting products. It’s

Markus: Our brand requires depth and understanding. Our frames

structured stringently, all the while offering flexible configuration

are reduced to max – but still complex. That’s why longevity is

options. So it can be adjusted to a variety of different store sizes

a value that not only applies to our frames but also impacts our

and settings.

relationship with our partners to a large degree.

Just to eyeball it, what is a healthy number of brands for opticians?

How do you actively engage opticians in the long term?

Markus: Branded stores like our own are proof that a single

Markus: We always try to meet the needs of our customers. But

brand can already be sufficient when it comes to standing out

we also respond to criticism. Our in-house manufacturing allows

from large chains or online retail. Focusing on a select few brands allows for a much tighter product knowledge among staff and depth of portfolio, allowing opticians to rise above the rest of

us to respond to problems quickly and with creative approaches.

How important is a personal note in your cooperation? Michael: We appreciate when our partners act in a consistent and uncompromising man-

the pack.

And how does the optician answer the question?

ner. And we do value personal interaction. A

Michael: For us, about

major factor in terms of

20 to 30 labels maxi-

support lies with sales

mum are ideal. We want

team members

to showcase select

who know us and our

fashion pieces while ca-

processes.

tering to our customers’

Markus: We share this

individuality.

philosophy entirely.

What do brands have to do in order to gain your enhanced attention?

Great cooperation needs personal exchanges.

On that note, how has the last pandemic year changed the behavior of customers, Michael? And how did you adjust?

Michael: For some time now we have been practicing a boarding system for numerous independent labels.

Michael: Honestly,

It guarantees that we

very little has changed

can always present the

for our customers and