SPECTR Issue 37

SPE CTR

Classic, comfortable, enduring. The new Lunor metal frames are designed for people who prefer timeless styles to short-lived trends. Minimalistic luxury in subtle greengold joins the collection along with a new stainless-steel line made in Germany.

SPY GAMES

Patrick Walter

Welcome To Issue #37 Stay Calm –It’s Just Eyewear

It’s easy to get the impression nowadays that everything and everyone has to be continuously reinvented. In the fashion industry, new trends are launched and pushed on consumers several times a year just in the name of keeping up. It’s all about “fast fashion.”

This cycle has sped up in the eyewear industry as well and a lot of brands now launch capsule, anniversary, and collab collections alongside their regular offerings. That’s wonderful for us as a magazine because we love lovingly structured stories. Good products need good stories, after all. If we want to look at it a little more critically, though, it’s worth noting that the innovative substance can be rather thin sometimes. And let’s be honest: a pair of glasses is made up of a frame for the two lenses, a bridge, and two temples – that’s it. That’s how it has always been, and it’s going to stay that way for the foreseeable future.

Of course, there are innovations that offer real benefits to producers, opticians and consumers – 3D printing of frames is definitely an example of that. In this issue, we have some exciting interviews with Sebastian Zenetti from YOU MAWO and Sven Götti from GÖTTI. We also have a new technical feature on FAVR that takes virtual eyewear selection to a new level for our customers. Customers no longer

need to scan their faces in to be able to use our virtual try-on feature. Instead, all of our eyewear models can be viewed on the faces of our FAVR models Hannah and Philipp. This way, they can get a good look at what an eyewear model looks like on a real face in seconds – and in high resolution. Try it out now at favrspecs.com

In essence, though, this issue of SPECTR is an homage to timelessness, to reliability and proven quality. The saying “Never change a winning team” also applies to collection design to a degree. There is a reason that some eyewear designs are especially popular, remaining year after year as an evergreen centerpiece in the selections of their respective brands. Regarding the issue of timelessness, we sit down with Wolfgang Thelen from HOFFMANN NATURAL EYEWEAR, Michael Fux of LUNOR and Alessandro Marcer of CUTLER

LINDBERG’s iconic glasses also lean on proven designs and features. No one can deny that these labels are innovative and progressive, yet all of them maintain and nurture the established core of their brand, because they know that’s what their customers want.

The truth is that no one needs to completely reinvent themselves – not brands and not opticians. Often, the right choice is just to continue down the path you’ve already started. Stay calm, it’s just eyewear. SD

AND GROSS.

PHOTOS

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.

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

MEIKE PRECKEL [Cologne] preckel@spectr-magazine.com HOLGER VON KROSIGK [Cologne] krosigk@spectr-magazine.com

PROOFREADING

PETER ASHFORD [London]

INSA MUTH [Dortmund]

FRANCA RAINER [Berlin]

TRANSLATION

MICHAEL BÖTTIGER [Berlin]

PHOTOGRAPHERS/PRODUCERS

SOPHIE DAUM [Hamburg]

WILLIAM FERCHICHI [New York]

JESSICA GROSSMANN [Berlin]

ULRICH HARTMANN [Berlin]

DAVOR JELUSIC [Berlin]

SACHA TASSILO HÖCHSTETTER [Munich]

SONJA MÜLLER [Berlin]

NARENTE //

LUCIO ARU + FRANCO ERRE [Sardinia]

NOCERA & FERRI [London]

FLORIAN RENNER [London]

RAPHAEL SCHMITZ [Dusseldorf]

ENRIC VIRGILI [Barcelona]

PATRICK WALTER [Berlin]

PUBLISHER

MONDAY PUBLISHING GMBH Kamekestrasse 20-22 50672 Cologne, Germany t: +49.(0)221.945267-11 f: +49.(0)221.945267-27 www.spectr-magazine.com

CEOS

STEFAN DONGUS, HOLGER VON KROSIGK

PRINT

F&W MEDIENCENTER GMBH Holzhauser Feld 2 83361 Kienberg, Germany fw-medien.de

COVER

photography WILLIAM FERCHICHI [New York] assistant AIDAN TAN styling ANISSA SILVAS assisted by MAX DONAHUE hair ANIKE RABIU at SEE MANAGEMENT make-up KYLE SHEEHAN at SEE MANAGEMENT models ZUZANNA KACZMAREK at NEW YORK MODELS & JACE CARSTENS at MARILYN NY retouch ANNA GALIMOVA

BARTON PERREIRA »Noula«

Too Beautiful To Be Real? Ava Verce Featuring Barton Perreira

Ava Verce fascinated many of our readers in the September issue – less because of the fact that she is gorgeous, but rather because she was the very first virtual model to make it into SPECTR Magazine. The premium avatar, created by Verce, has once again earned her spot in the current issue. The biggest advan tage of virtual photoshoots is that pictures can be selected from a near-infinite number of perspectives and fittings. The downside is that pictures have to be selected from a near-infinite number of perspectives and fittings. We chose this selection, here. This time, Ava is presenting the »Noula« model by BARTON PERREIRA that we went with this particular model by the Californian luxury label. »Noula« has a striking oversized silhouette, perfect for the avant-garde minded wearer. The best part of this visualization, though, is »Noula«’s stylish material matrix. The front is made of light weight acetate supported by delicate, handengraved temples. Rather than just black, the model is available in a wide array of beautiful diaphanous tones.

Next-Level Eyewear Try-On

FAVR provides pre-scanned people for an instant fitting experience

One of the most important features for visitors to FAVR is the online eyewear try-on. For many consumers, the feature is essential for making a pre-selection before going to the optician. This process is now extended by a new dimension: already pre-scanned models are available to assess glasses worn with just one click. This function expands the previous try-on and delivers perfect results – no matter on which device and in which situation the consumer is.

It does not replace the classic try-on. FAVR users can still have their face scanned and try on online themselves. But the addition of pre-scanned models comes into play where the conventional try-on reaches its limits: For example, when the user has only poor lighting conditions available in their private environment. After all, these are indispensable for a photorealistic result. Some users may also want to know what a pair of glasses looks like on their face, but don't want to have their face scanned themselves — for time reasons, for example.

able for precisely these users and situations. Their preloaded scans can be used in seconds to evaluate any eyeglass model on FAVR

three-dimensionally and realistically — from the front and from both sides. With the studio quality of the preloaded try-ons, the feature offers real added value. The new try-on option thus fulfills what otherwise only elaborate model shoots offer — only three-dimensionally controllable by mouse or finger movement.

Try out our new Virtual Try-On directly on favrspecs.com. After your favorites have passed the first test with Hannah and Philipp, you should also try them on yourself online... it's also fun!

The Try-On button is located below each product and leads directly to the new feature — i.e. to our Instant Try-On with the models Hannah and Philipp.

The new FAVR Try-On is immediately preloaded and can be moved to the right and left with your mouse or, on your mobile device, with your finger. It’s just like our usual try-on — only with two professional models.

For the feature, the models Hannah and Philipp are available. And of course all of our 1000+ FAVR eyewear frames, which can be viewed on the two faces at any angle.

DANIELA DESSÌ ANDREA SIMULA at LA REPRESENTS & FLAVIA PISANO “CAMPIDARTE”

Uniqueness With High Standards Salt. C1/C2-2023 Collection

SALT. is launching a wide variety of new styles with its C1/C2-2023 collection. The design changes are small but distinctive, since the Californian luxury brand emphasizes consistency. Creative Directors Trevor Kelley and Benjamin Montoya explain to us what makes for the new collection’s captivating beauty, and how SALT.’s focus on quality in the choice of materials and colors has allowed them to create something new and unique – without breaking from their principles.

Hi Trevor & Ben. SALT. has long been one of the top players among independent brands with a very uniquely positioned brand. What is the current focus of your brand?

Trevor: Hi, thank you for taking the time to speak with us. You’re right that SALT. has always had very unique brand positioning, especially regarding the nature aspect of the company. We’ve been fans of that from the start. For us at SALT., authenticity is paramount.

Where is this authenticity reflected?

Trevor: We want it to run through all aspects of the design and development process. From the inspiration behind the styles, to the integrity of the materials and the function of the final product; authenticity informs each step and choice that we make along the way.

In our collection shoot we show select products from the SALT. C1/C2-2023 collection. How many styles do you have in the winter and spring collections?

Ben: They are pretty robust. Between the two collections we have 56 SKUs across 14 new styles. Is there a general reorientation or is it more of a continuation of the existing collections?

Ben: Our focus in the design and manufacturing process of SALT products, is that they are meant to last for generations. We really strive for our designs to be timeless in a way that they will actually remain in style for that long. As a result of that, you’ll never see a drastic reorientation at SALT

And what will we see instead?

Ben: Instead, we hope you will see consistent evolution and elevation of our offering. We love heritage eyewear, but it’s not enough to just keep making what has worked in the past. We want to honor what has come before, but also to elevate it with design features and quality materials to provide a better performing product. Each pair of SALT. glasses is specifically crafted to help the dispensing optician provide the highest-quality product and deliver the best possible optical experience to the end consumer.

Are there any unique design features in the C1/C2-2023 collection?

Trevor: Absolutely. We design with not just style, but also function and especially optics in mind. As opticians, it has always frustrated us that many designs were based purely on aesthetics without any consideration for optical performance. Our goal is to combine the two.

How do you achieve this?

Ben: There are several features built into the design to ensure that the integrity of the lens is maintained, and the Japanese material selection and manufacturing support this. Our goal is to make frames that enhance both the style and optics of the wearer. Colors are always an important topic at SALT.. Are there any changes to the color spectrum in the new collection?

Trevor: Yeah, color is very important at SALT., and there have been a few really exciting developments. Our focus has always been on making the absolute best eyewear there is and generally Japan is where you need to be to do that. That also applies to acetate, and we’ve always been committed to using only Japanese materials. In the last few years, however, we have been partnering even more closely with Japanese acetate manufacturer, Takiron Rowland, to create new colors that are proprietary to SALT..

What’s the benefit of that?

Trevor: It allows us to ensure consistency of quality, while at the same time offering acetate that pairs with the nature aspect of our brand and occupies a unique place in the market. It’s been really fun for us, and the results have been great.

Which materials dominate the new styles?

Ben: These releases have a nice balance between acetate and titanium, which allows for the details to really shine. We want our brand’s identity to live in the discoverable details such as custom stamped core wires, proprietary Japanese acetate, and functionally engraved Aerospace grade titanium.

And what will never change at SALT.?

Trevor: Well, our passion in eyewear is always to create original timeless styles that deliver the best optical experience possible. That isn’t something that will change from collection to collection, and we’re really excited to show you guys what’s coming up.

ROBERT LA ROCHE »PANTHERA«faux leather shirt BERSHKA

BARTON PERREIRA »Lioness«shirt H&M

WHOAM

BARTON PERREIRA »Hamilton«shirt HUMANOID

styling ANNA MILENA BALZER hair & make-up JOSEPHINE WINTER at ARTISTSPOOL models FATOUMATA at MODELWERK & MAKSYM at KULT MODELS

photography SOPHIE DAUM [ Hamburg ]

The Matsuda Vision CEO James Kisgen About The Past, Present And Future Of The Legacy Brand

When the eyewear and fashion brand MATSUDA shut down its operation in the 1990s, many fans were heartbroken. Yet, despite the lack of new products and changing consumer tastes, the appetite for the brand hadn’t stopped. Many of its glasses and sunglasses remained in high demand among collectors. But in 2011 it was time for a new chapter. James Kisgen decided to relaunch and breathe some fresh air into the legendary brand by Mitsuhiro Matsuda. Now it’s 2023 –time to look back and into the future with the one and only James Kisgen.

This makes the difference – MATSUDA consciously and perceptibly focuses on attention to detail. The high quality of Japanese craftsmanship speaks for itself.

MATSUDA

»M3127« »M3126«

James, thanks for the opportunity to do this interview! Where are you right now and what are you working on?

My pleasure – thank you for doing this interview! I relocated my family to Atlanta, Georgia, which is where I grew up. We’ve recently opened a design studio here and I’ve been working on building the team at the new studio. In the last year we have moved to larger offices in Los Angeles and in Europe and we are currently moving our Japanese office to a larger building to give us more room to grow. We have so many projects coming up and have been very busy making sure we stay on top of everything. Life is good.

It’s been more than 10 years since you relaunched MATSUDA. You really managed to stay true to the DNA of the brand. What do you attribute your success to?

It hasn’t always been easy, and we haven’t always gotten it right. But we’ve owned our successes and our failures and have always been focused on our vision to bring the brand back in all its glory. We have some of the smartest, most creative people I’ve ever met working to make this happen. None of what we have achieved would be possible without them. Is it hard to reconcile both past and future of such a historic brand?

I’m always thinking that we have big shoes to fill. But one of the things that I love about the brand is that throughout the entire 50+ year history, MATSUDA has felt “current” and “of the moment”, all while staying true to the vision. So to answer your question, it is always a bit challenging, but the challenge is what drives us. One of the similarities that you share with Mitsuhiro is a love for France. He traveled to Paris in the 80s to find inspiration for his clothing line. And you also fell in love with France at a young age. What does France mean to you?

Ah, France… One of the most beautiful, fascinating countries in the world. I think that there is such an appreciation for life and for history that exists in French culture. When I moved to France as a teenager, there was so much to explore and discover and it was so different from where I grew up. I also love seeing “old world” and “new world” existing at the same time. I try to draw on this for MATSUDA

How do you keep track of original material, sketches from Mitsuhiro or old products from MATSUDA in the company?

We have an incredible archive of original sketches, clothing, eyewear, accessories and lookbooks that we have built over the past 10 years. We are constantly using these for inspiration. As you know, our Heritage Collection features products that we’ve resurrected from the archives that have been re-released in limited quantities.

What are the aspects of the MATSUDA brand that inspire you the most?

MATSUDA has always celebrated artists and artistry. From the product design, to the craftsmen producing each frame, to the way the campaigns are created – each artist plays an important role in what we do. We will always love and celebrate the work of artists. You’ve worked as sales manager for Cartier and have some good knowledge about the luxury segment. What are the biggest changes in luxury that you’ve witnessed in the last decade?

Luxury brands have to be great storytellers today – it is what consumers are drawn to. Of course the quality and design of the product are still the most important, but now more than ever consumers want to connect with brands and feel like they are a part of them. There are a lot of great luxury brands out there today, which is very inspiring – but we just put on blinders and focus on staying true to our vision.

Design keeps evolving as well. One of the big movements in the past was a tendency towards less and less details. Yet MATSUDA feels so fresh precisely because it has lots of filigree, metal work and “old world details”...

I think that consumers are tired of the monotony of the new ubiquitous brands that keep popping up. I think that you can still appreciate and respect minimalism and pair it with interesting details that give brands like MATSUDA a unique personality. Once again though, we haven’t really shifted our vision to fit the current state of trends – this is just who we are and what we enjoy doing. What was the most important lesson you learned with MATSUDA in the past 10 years?

We are always looking for new manufacturing processes that will allow us to push the boundaries of design and eyewear even further. I love seeing how all of these new technologies are evolving and becoming more accessible. That being said, craftsmen are an integral part of our company and we will not be abandoning them for machines any time soon. One great aspect in your endeavor to revitalize the brand was getting parts of the original MATSUDA team together. Is that still the case today?

We still have many of the original team members on board and are fortunate to have so much experience and history in the company. Fashion and art were inseparable for Mitsuhiro Matsuda. Do you think that statement still holds true today?

100%. Fashion is art and is the perfect vehicle for self-expression. Campaigns were an extremely strong side of the MATSUDA heritage. There are some really powerful lookbooks, for instance with Jürgen Teller, which are still sought-after pieces for themselves. You’ve continued this tradition very well. How do you manage to stay cutting-edge as a brand?

We just like to push boundaries and create beautiful images. Our campaigns are not commercial at all. We never approach them from a commercial point of view, but rather as an art project. At that point, it’s more about creating something that interests us. I think by staying true to what we love we are able to create images that people connect with and help tell a story.

With a decade passed since you took over MATSUDA, what’s a meaningful trend in eyewear that you’ve been able to watch over that timeframe?

Wow, where to begin… I feel like the industry is constantly changing. The change that stands out to me the most is the rise of the independent brands and the amazing level of creativity that exists today. In the last decade both the retail partners and the consumers have fallen in love with independent brands again. We’ve talked at length about the vision of Mitsuhiro and the brand. But where do you personally find inspiration in your life today?

Everywhere, as cliched as that sounds. Travel, art, fashion, and music are my biggest sources of inspiration. I just like to have fun and create interesting things.

Just like the glasses, the campaigns are also unique and characterized by a clean aesthetic.

matsuda.com

»GR01 – The Playwright«

“Perfectly round, lightweight, and balanced, the »GR01« succinctly distills the themes and purposes of the Graham Cutler Capsule. We named this style »The Playwright«, so it’s no surprise we had Arthur Miller on our moodboard – a playwright who was in the public eye more than most and one whose striking eyewear became something of a trademark.”

»GR01«

CUTLER AND GROSS

»GR02«

photos

»GR02

– The Tattooist«

“The »GR02« was inspired by the fine lines and technical attention to detail of Japanese tattoo art and thus was named »The Tattooist«. This frame is minimally constructed punctuated with slick design features, and understated character, very much in line with Graham’s design principles.”

The Graham Cutler Collection Honest Design From Cutler And Gross

CUTLER AND GROSS will launch the Graham Cutler Collection at the beginning of 2023 – a reminiscence of the GC Capsule Collection developed 20 years ago. Creative Director Alessandro Marcer offers us some insight into the story behind the new products.

met in opticians’ college. The shop in Knightsbridge, our flagship store to this day, used to have the frames made upstairs, made to measure by a frame maker – totally bespoke. We continued in this way until 1982 when the first production model was made, the »0101«. This was the catalyst for the explosive growth the brand experienced in the 80s and 90s, turning it into the cult eyewear company you see today.

And how have your products developed over time?

We fiercely own every stage of the creative and manufacturing process; we always consider what we are producing and more importantly why. We never just make frames to sell, we ask ourselves, “is this CUTLER AND GROSS?” By interrogating ourselves at every stage of the process, we distill the very best out of the brand, making sure that what we release is worthy of the name. All our frames are handcrafted, and we push to constantly make the product better, with updated materials and special details, while staying within the parameters of our brand DNA.

On a commercial level, the brand is on an entirely different playing field, accelerating hugely in the past 3-4 years. We now have 6 standalone stores and over 2,000 active locations in 60 countries worldwide, with great brand partnerships such as The

Hello Alessandro, for over 50 years CUTLER AND GROSS has been delighting discerning eyewear customers. What distinguishes your customers then and now?

Our customers, then and now, appreciate authentic, honest design. Our handcrafted frames are timeless, and we work very hard to maintain our brand DNA, but we are always pushing to tweak frames – to build on the design, the details, the complexities. We are continually adding layers and layers of details, which are not always visible on the surface. We like to hide details for the customer and opticians to understand and discover. How have you developed as a brand in this half century?

We are proud to be an independent eyewear business with a rich design legacy that spans over 50 years in the industry. In 1969, the business started with Graham Cutler and Tony Gross who

Virtually try on CUTLER AND GROSS FAVRSPECS.COM

Great Frog, Kingsman and lots of exciting projects in the pipeline.

We have very clear brand guidelines. We want to be successful, of course, but we pay very close attention to our DNA, which has remained a constant over the past half century. Despite the consistency you mentioned, your brand continues to evolve. How does this happen at CUTLER AND GROSS?

We consider ourselves timeless. We update our materials, hardware and designs around classic silhouettes. Much like Land Rover or Porsche our frames have a distinctive shape. We strive to continuously improve, innovate, and hone our designs over the years to make sure even if the shape is classic, the creative process and improvements in materials and color shine through to take the frame into the modern era, representing both today and tomorrow. We believe that by focusing on product development and improvements, we can ensure that each pair of our glasses will stand the test of time.

In 2023 you are launching the Graham Cutler Collection . Why is this collection explicitly named after one of the two founders?

Back in 2003, Graham Cutler launched the GC Capsule Collection in the Knightsbridge store. Many of his customers were creatives who liked the bold look of CUTLER AND GROSS but were looking for frames they could wear at work. He felt the need to create a collection which focused on fit and lightness, for customers to comfortably wear all day. Graham Cutler set about creating 12 key shapes that would fit every face shape. This new collection reinterprets the meticulous, detail-driven characteristics of Graham Cutler’s collection.

What were the principles of Graham's eyewear design?

Graham Cutler’s eyewear designs were characterized by an obsession for fit and function. A passion for technicality, comfort, and sophistication. Graham Cutler once said, “Eyewear should be practical, functional, and then look good – in that order”. This collection very much echoes that sentiment, Graham’s incredible eye for detail, patience and ruthless practicality are the main principles of his design.

Is there a particular design DNA for this line?

It’s an evolution of Graham Cutler’s archives. Design elements

are repeated, surfaces are smooth, and sections are well rounded out, revealing and emphasizing the new double layers of the acetates. We have created a thin evolution of the ‘Deco' core wire – a new silhouette, more essential but 100% consistent with our iconic ‘fender’ temple. The constructions are designed to offer layers of detail and craftsmanship, 3D sculpting effects, lightness and comfort, all while keeping our bold approach from the top and side view.

What is the collection inspired by?

This collection is inspired by Graham Cutler’s original archive of frames, which were simply numbered »CG1«, »CG2«, »CG3«, »CG4«. This minimalistic and intellectual selection showcases a different approach than our previous releases, reiterating our obsession for details, execution, and our dedication to opticians.

You’re also dedicating the collection to a number of "Ink Creatives".

What do you mean by that and why this focus?

When we went through the archive, we came across all of Graham Cutler’s original ink sketches which he had drawn in this enduring and timeless blue hue. The muses for this collection were ink creatives from the 1940s through to the 1970s, including American screenwriters and illustrators, traditional Japanese ink artists and highly regarded influential poets of the 20th century American poetry scene. Each frame, in turn, is named as a reference to the figure who influenced its design.

What is special about the products of this collection?

They are minimalistic. A lot of attention was paid to the way they are built up, the way the surface is treated and the carving inside. For me it’s always about the sculpture. In this case, every part of the frame is a sculpture, starting from the temple and including every surface inside and outside – the key word that I wanted to give to these frames is roundness. CUTLER AND GROSS’ best-selling styles »1391«, »1386« and »1394« also get a fresh set of colors for the season ahead.

Air collection is the classic line of the 3D printing specialist.

3D Made In Germany You Mawo –A Success Story Based On Consistency

YOU MAWO is one of the pioneers of 3D-printing in the eyewear industry. The south-German brand is highly regarded by opticians, and not just because YOU MAWO is committed to the “Made in Germany” label. Here is our interview with cofounder Sebastian Zenetti.

Hello Sebastian, I can remember your first appearance at a trade show in Munich very well. What was your motivation at the time for kickstarting an entirely new eyewear concept?

Well, we thought that the world needed another eyewear brand ;-) Right, of course...

Initially, we hadn’t really planned to launch another eyewear brand to compete with all of the great brands that are already out there. In my circle of friends, we explored lots of new technologies, just as a hobby. In our travels, we noticed that, while the world and people of various cultures are incredibly diverse, we all just consume mass-market products. That was our inspiration. A few years later, we were finally certain that we could use new technologies to offer a unique and sustainable concept that would create real value for consumers as well as opticians. That was the start of an incredible journey for us, our team, our customers and our partners with a lot of highs and lows.

Many progressive opticians committed to YOU MAWO right from the start, despite the unusual service process. What gave you the momentum for that?

The

stills RAPHAEL SCHMITZ, production photos YOU MAWO

You would have to ask the opticians about that. We were convinced of our own vision from day 1 – to make something useful for both people and the environment. We weren’t afraid to approach an existing market with unconventional technologies in order to create something that made sense and was sustainable. A lot of opticians presumably also saw the need for that. That’s what put us where we are today. Honestly, it’s a bit crazy when you consider that we started with just 20 prototypes and the first version of our app on opti. We had already sold out by Saturday afternoon – meeting our annual goal even though opticians were required to take 24 frames, paid in advance. That’s a moment I’m never going to forget. The fact that so many opticians shared our vision and believed in us is what really made this possible. We’re truly thankful for that.

You completely dedicated yourself to the issue of 3D-printed eyewear. Why is that? What are the key benefits for you?

I wouldn’t say that. 3D printing or additive manufacturing is just a means to an end. We use a special 3D printing technology, which we consider to be the best available for creating light, durable

and customized products sustainably. If another technology were to come along that has more or different advantages, then we are going to use it. We’re often regarded as a tech company, but we consider technology to be a means to an end. People are our real focus.

Could you explain the core concept behind additive manufacturing to us?

Additive Manufacturing (AM) is understood as a production technology where materials are added onto each other, as opposed to most contemporary production technologies, where processes are used to remove material. This approach is far more resource and energy efficient. Of course, there are also many different kinds of AM technologies. We use the Powder Bed Fusion technology, which involves melting a very fine polyamide powder using a laser and then applying it in layers. To our system, it’s totally irrelevant whether you make 100 identical or 100 completely unique pairs of glasses. That allows you to focus on producing on demand, and on making custom pieces. We can also recycle most of the remaining powder, which means we generate far less waste

Very visible – the models of the Bold collection confidently draw attention to themselves.

YOU MAWO Task Force – with 3D High-Tech to the future of eyewear.

Welcome to the future –eyewear production on demand.

than traditional manufacturing processes.

What are the key features of 3D printed glasses?

They are 30% lighter than traditional acetate glasses and they’re more durable with a carbon footprint that’s only a third of what we get from acetate production. It’s a very sustainable way to make eyewear.

Your eyewear designs are based on a prototype frame with a more basic design. What does that mean, exactly?

The design process starts with pen and paper, as you would expect. Our two designers create the basic design, which is then turned into a parameterized 3D design using our own proprietary software. We can then put that design onto scans of our target market to try them out and then optimize them. After that, we start prototyping, where we start actually printing the first few models. Thanks to our designers’ experience and the optimization we do using our software, the result at this step is usually already very close to the final product. At the end, our software department goes over it one more time and calculates an average face shape based on our data for our target market, which we then use to fine tune the design.

How do you customize an eyewear model further after all that?

Oftentimes the glasses will already fit quite well in their standard form. If a customer’s face shape is a bit outside of that average, or the customer just really wants a perfectly sized pair of glasses, the optician can scan the customer’s face in using an iPad. With that, we can adjust the design to fit the customer’s face exactly.

What were the three most significant milestones that you’ve

achieved since your founding?

Well, first off, we have our appearance at the trade show in Munich in 2016 that you already mentioned. In 2020 we launched an entirely new software update. That ensured that we wouldn’t need any external scanning technology anymore – instead it uses Apple’s depth camera, allowing for a super realistic virtual simulation. Lastly, we have the construction of our own manufacturing facility in Munich in 2021.

Why was it important to you to keep production in Germany?

We founded YOU MAWO in 2016 in Constance, and our headquarters are still there. In general, you could argue that Germany has the strictest requirements for us, but we don’t see that as an obstacle, really. Rather, it’s an opportunity to push for higher standards and to ensure a solid quality standard.

Does that mean you see a competitive advantage in producing in Germany?

Made in Germany still means a lot to people in many markets internationally. We enjoy having that “Made in Germany” seal, and we’re proud that we get to actively help shape the reputation of that label.

What does this seal mean to you specifically?

Many products carry the “Made in Germany” seal, but if we look a bit closer, we often find that very little of the product’s value was actually created in Germany. At YOU MAWO, we don’t just keep production in Germany, our machines are also from Germany, whether they’re for production, finishing, or dyeing. Even the lasers that we use to inscribe frames and the compressed air

The filigree metal temples give the models in the Fineline collection a surprising lightness.

systems are made in Germany. If we get into the details, we find that 70% of our machinery is sourced from within 150 kilometers of our plant. Moreover, our base materials as well as all of our consumable materials, such as abrasives, sandblasting materials, and dye capsules are from Germany. It doesn’t get any more “Made in Germany” than that!

Why is that so important to you?

“Made in Germany” wasn’t really our goal. We screened technologies and materials from all over the world, but we found out that the leading firms in these industries are right here in Germany. We hear a lot about how firms in the US or Asia are leaving us behind in areas like the automotive or cyber industries. As far as our technologies are concerned, though, the industry leaders are all in Germany.

Is this consistent type of “Made in Germany” unique?

I can’t really say for certain, but most traditional companies do import their base materials from abroad. If we consider acetate, for example, the major producers are located in Italy, China and Japan, and it’s a similar story for metals.

Your new location reinforces this concept of needs-based production. How should we picture this from a technical standpoint, especially compared to other production processes?

Traditional production technologies are almost always designed for mass production. Glasses need to be produced in massive numbers with a lot of lead time, three to 12 months or even longer. In the optics industry we have 30% overproduction – nearly one in three pairs of glasses that’s produced is never sold.

And you?

The number of individual models doesn’t matter in our production cycles. We can produce on demand, react to new trends quickly, and even adjust to regional needs and peculiarities. That allows us to avoid the risk of overproduction, which also helps us when it comes to pricing.

You want to expand this concept of local production further, leading to decentralized production hubs. What does that mean to you?

The eyewear market is organized like the fashion industry, with centralized production. There, it doesn’t matter at all whether production is in Germany, Italy or China. The product is made or assembled at one location, and then shipped off to a central head office, from where it gets sent off to opticians all over the world. We are changing that. As soon as a market is large enough, we’ll build a local production hub and produce in that market, for that market. This allows us to keep our supply chains short while still guaranteeing our quality standards. We keep the development as well as data sovereignty in Germany. As a result, we also maintain the strict data protection guidelines that we have here, and everything is taxed and monitored from here.

What other advantages do these hubs offer, besides the short supply chains?

The local hubs have many advantages – local job creation in those markets, for example. Short supply chains translate directly to short delivery times. Regulations surrounding taxes and customs, and problems with imports and exports are a non-issue. The hubs can also support one another if one were to break down – such

as if there is a lockdown, or if there is just more demand than one hub can satisfy.

You’re already 100% carbon neutral. Is there still any motivation for you to boost sustainability further?

Yes, of course. Every business should anchor sustainability deeply into their own DNA, always considering ways to improve. For example, since 2021 we’ve also become “plastic positive”. Not only do we abstain from using plastics as much as possible, we also remove a larger amount from the oceans. That makes us not just carbon neutral, but carbon negative. Basically, we are never satisfied with “state of the art” as it is. That’s the motivation driving us to look for ways to develop and optimize further.

Speaking of 3D printed glasses, there is a Life Cycle Analysis study by the Fraunhofer Institute about your eyewear.

Yes, we worked with our technology partner EOS and the Fraunhofer Institute to put together a big study that looks at the entire lifecycle of our eyewear – from the production of the base materials, all the way to where the glasses end up at their end of life. What are the key takeaways?

That our production is more sustainable is something we were aware of, but the results of the study really surprised us. The carbon footprint of our production process is three times smaller than that of traditional acetate production. That’s already enormous, but the most important part for us is what we learned about the direction we need to develop in, in order to improve further. We can actually combine ecological and economic advantages – what a wonderful win-win situation.

You’re going to be launching new base models in 2023 as well, which consumers will be able to customize. Is there a particular

direction you’re going to be going with the new models regarding their design?

We have four core collections with which we can serve a wide variety of customers. The Bold Collection is for more expressive characters. The Fineline Collection, on the other hand is a versatile line. The fronts, made of polyamide, weigh about as much as a piece of paper without the lenses – we developed our own patented hinge for it. Design Lab is our sandbox for new and creative ideas, and for the younger generation we have the YOU MAWO kids line. Now, starting in January, we’ll be adding our brand-new sunglasses collection to the mix.

Which collections are the most popular? Which line is the real essence of YOU MAWO?

Our strongest collection is the Air line, and that’s the one I would describe as the real essence of YOU MAWO

Have there been any models that you’ve removed from the collections over the years?

As a rule, we allow designs to phase out to keep the collections compact. However, we have all of the data saved, so if a customer comes back after five years, we can reproduce his model, no problem. We can’t make any guarantees about the exact colors, but that just means you get your favorite model in a new shade.

Besides the growing depth of your collections, what advantages do customers and opticians enjoy because of your innovations?

2023 is definitely going to be a very exciting year in our company’s history, we promise! There is really no area that we aren’t bringing new innovations – we won’t say any more than that just yet.

YOU MAWO can also do fashion – as it impressively proves with its sunglasses styles.

spring summer autumn winter

Raphaelle Customer Service Int. at MARKUS T

Lindberg Icons The Essence Of Premium Eyewear Design

LINDBERG

»Ken«

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»Ken« is an elegant squared panto, sure to be an instant classic for the uncompromising minimalist.

What constitutes iconic eyewear? An icon is not just immensely popular, but also greatly recognizable, revered and, most importantly, influential. Iconic eyewear is therefore not simply a matter of picking a popular pair of glasses, but instead it is eyewear that sets the tone for the industry, leading through innovation and design. It’s safe to say that LINDBERG has established itself as a globally recognized luxury eyewear brand with products that continually push the boundaries of the industry.

LINDBERG eyewear is best known for its minimalism and the absence of decorations. Eyewear enthusiasts, though, will always recognize a LINDBERG frame by its hinges. Across many collections, LINDBERG works with five different hinge designs, of which the spiral hinge is the original and the most identifiable. When LINDBERG’s first and highly innovative product line, air titanium, revolutionized the industry in the mid-eighties with the first hinges free of screws and rivets, it was this iconic spiral version. That made it a cornerstone of LINDBERG’s design philosophy for creating eyewear. Eyewear that not only needed less upkeep by opticians, but which was also both madeto-measure and made-to-order, to create eyewear just as unique as the wearer. The signature spiral hinge has since been adopted into the titanium rim collection.

The air titanium rim collection is wire frame eyewear – perfected. The collection embodies the LINDBERG design DNA, with uncompromising contemporary design. The concept is based on an extensive modular system that can personalize frames to the consumer, and the designs are motivated by the modern movement of functionalism and an aesthetic and minimalistic design language.

The new 2023 rim models are dominated by the two modern double-bridged models »Andreas« and »Guillaume«, respectively a rounded multi-edged aviator and a wide square frame. On the more commercial side, LINDBERG presents »Ken«, »Nathan«, and »Pablo« –all in response to the popularity of squared panto shapes, bound to be instant signature LINDBERG styles.

»Andreas« -

»Andreas« is a cross between a panto and an aviator shape, kept modern with a multiedged bottom rim and a double bridge.

The two pillars of LINDBERG – the classic rim and the new classic thintanium

»Pablo«

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»Pablo« is a larger framed squared panto, which opens the face and creates an optimistic expression while remaining effortlessly classy.

titanium rim Collection

The spiral hinge, which the Danish premium brand also uses in the titanium rim collection, is one of LINDBERG's core design icons.

»Nathan«»Nathan« is a classic squared panto with slightly larger lenses, which can easily be toned-down for a traditional look, or made bolder through color choices.

thintanium Collection

The patented, screwless hinge design of the thintanium collection also sets standards as a LINDBERG icon.

The second iconic pillar of LINDBERG is the relatively new collection thintanium. The designers and engineers at LINDBERG have pushed the potential of titanium to new heights by creating an ultrathin titanium plate eyewear collection. This is achieved by challenging the latest manufacturing technologies in production. The result is ultra-light eyewear weighing as little as 3.3 grams with the strength of a full plated front and a minimalist rim aesthetic. This is achieved by embedding the ultra-thin front in the groove of the lenses. With the final addition of a newly patented screwless hinge design that reaches new heights of minimal design solutions, the thintanium collection gives meaning to the phrase ‘less is more’.

The 2023 thintanium collection has been expanded with classical sunglasses like the »8806« and »8809«. With aviators rising in popularity for prescription glasses, LINDBERG presents two versions, the »5531« and the double-bridged »5529«. With the support of the sublime design and technology behind them, these are sure to become household staples.

LINDBERG’s extensive modular system makes it possible for any customer to find the perfect rim or thintanium frame to fit their needs and personal style. lindberg.com

LINDBERG »8806« -

»8806« is the ultimate aviator sunglasses, with a large front and double bridge. »8809« -

»8809« is a nod to the 1990’s sporty glasses with a doublebridged square shape.

»5528«»5528« is a twist on round eyewear. It has a large frame contrasted by a narrow nose bridge, creating an open and curious impression. Add another dimension through groove color choices.

LINDBERG

»5531« -

»5531« is the ultimate pair of aviators, with a modern large frame.

»5529«»5529« is a quintessential double-bridged aviator that creates a sporty and casual look.

Velkommen Danmark & Welkom Nederland

FAVR comes in two more languages

From day one, FAVR went online in five languages, enabling people around the world to search for their favorite glasses in their own language. Since the end of last year, all content on FAVR has become available in Danish and Dutch. And why? Clearly, both countries are extremely relevant for our industry. Denmark has an exceptional eyewear design culture and the Netherlands has always been a center for innovation and production with a fascinating retail

What are the benefits of the two new languages for the more than 1,000 opticians from these two countries listed on FAVR? Well, Google and Co. honor content in the respective national languages and play it out much higher up in the search results. It is all the more important that opticians from the Netherlands and Denmark — if they have not already done so — register free of charge with FAVR and update their brand portfolio.

Advanced User Experience!

Now also in Danish and Dutch. All content on FAVR is now also available in the respective national language.

GÖTTI »Denis«shirt LEVI’S vest ADIDAS ORIGINALS

BLACKFIN

MASUNAGA

NIRVANJAVAN

photography styling hair make-up models

The Proven

Lunor Adding New Styles And Colors

LUNOR is leaning on tried-and-true designs and colors to expand its collections. Unlike many others, the Black Forest-based brand isn’t especially experimental in general. LUNOR is very aware and focused on what their customers want – and that’s timeless, classical designs above all, as Michael Fux, the CEO of LUNOR, explains.

Virtually try on LUNOR FAVRSPECS.COM

FLORIAN RENNER [ London ]

BENEDICT BROWNE

ERNESTO MONTENOVO at LONDON STYLE AGENCY using BEDHEAD by TIGI assisted by KAYLA DIXON

AGA DOBOSZ at CAROL HAYES MANAGEMENT using GROWN ALCHEMIST

GEORGIA CHAMBERS & DANNY GIBBS at LINDENSTAUB MODELS

Hi Michael, we received several new models from you for our collection shoot. Are these going to be part of a new collection?

We’re very careful about changes in our collection. Because of that, we’re focusing on expanding our existing lines with new colors and designs for opti 2023.

We do have one highlight, though: our LUMAG factory will be rolling out »M6«, a new stainless-steel model. Generally, you stay true to your design DNA when it comes to your new models. As a refresher for us: what defines a pair of LUNOR glasses?

Quality, classical design and timelessness. Our acetate and horn collection is instantly recognizable by its original

LUNOR double-rivet hinge, which is always handcrafted. Besides that, we always ensure a thorough polish, also done by hand. Functional details like the monoblock for our metal models are a part of our signature as well. We prefer to focus on traditional production methods when working with metals.

And what does that look like?

We still wire-wrap the rim, solder each of the individual components securely and electroplate the surface with a beautiful nickel-free finish.

How do your designs reflect your brand philosophy?

We emphasize reliability and value. Of course, we also adapt to trends to some

LUNOR

»M9 02« -

degree, but never to the point that we would neglect our classical overall approach.

So, what’s new and different about the new models?

As far as acetate is concerned, we have three entirely new colors for our retro line »A12«. For the first time, we’re going to combine crystal-colored centerpieces with contrasting temples. The translucent fronts, tinted with various colors, meet tortoiseshell temples. For the wearer, the interaction of the colors ensures a striking appearance at every angle.

And the Titanium Collection ?

We added a new bit of golden nuance to the titanium line »M9«: Green gold. It’s a gold tone with a slight green shimmer. It’s totally unique in the eyewear industry.

What direction do the designs of the new models take?

We strive to design glasses that are especially aesthetically pleasing. We’re expanding the acetate »A13« frame with two new models that have deeper lens designs. Due to its striking lamination in three different color options, the »A13« presents itself as particularly distinctive and masculine. Because of this, we decided on an angular and even more striking look for the new designs.

What are the dominant colors for your glasses?

The LUNOR collection spans the entire spectrum of classical colors that you’d expect to find, so various shades of brown and tortoiseshell patterns. We’ve expanded our color palette in the past few years and become a bit more daring.

jumper CHAMULA via CLUTCH CAFE shirty THOMAS PINK

508«

Today we have a wide variety with a few highlights such as our »A5 607« acetate frames, which are available in Black Forest Green and Blackberry

You do have a new model for your stainless-steel collection, though. What style do we have here?

The new »M6« line is produced in our LUMAG factory at the edge of the Black Forest and it encapsulates classical design. I made these frames for wearers who love timeless styles and who don’t orient themselves on short-term trends.

The frames combine the comfort of a metal front that’s equipped with our titanium nose pads with pliant acetate temples. The combination of colors that we get

from an antique gold or silver metal front together with acetate temples in black or with a tortoiseshell pattern provide a beautiful contrast.

You’re particularly proud of your stainlesssteel collection. Why is that?

We produce the entire stainless-steel collection ourselves. We’ve been expanding our expertise in stainless-steel eyewear production for several years. Now, we’ve managed to integrate more and more of the production process to the point where we can produce new lines ourselves. Our goal is to bring eyewear production, which has been outsourced to other countries more and more over the past few decades, back to Germany. We want

»A12 509«suit CONNOLLY

shirt ANATOMICA via CLUTCH CAFE hat AIME LEON DORE

»A12

suit EDWARD SEXTON shirt THOMAS PINK

to rebuild lost know-how and protect it going forward.

What kind of importance does the stainless-steel collection have at LUNOR?

The significance of our stainless-steel collection is constantly growing. That’s only natural considering that we produce it ourselves and we’re continuing to develop it. Additionally, the stainless-steel collection includes some of the most important models, such as the iconic »Lunor

Classic«, which Steve Jobs wore for over 14 years. That makes the stainless-steel line especially important for the LUNOR brand as well – the traditional craftsmanship of classical metal-frame eyewear is exactly what has defined LUNOR historically as well as today.

In Japan, LUNOR is known as one of the most popular European brands. What do you think of your success there? Do your models fit the Japanese mindset particu-

larly well?

We’ve found that our smaller retro-style frames are especially popular in Japan. You could say that German products are very well-regarded in Japan in general. Additionally, we’ve been working with the same distributor in Japan for a very long time. In my view, this kind of continuous partnership is instrumental for establishing a brand and for how businesses should behave in general.

photography assistant hair & make-up styling retouch model

ULRICH HARTMANN [ Berlin ]

MATEUSZ FROLENKO

TINA PACHTA

VIRGINIA KRAUSE

JULIUS WOREL PHILIP at PROMOD MODEL AGENCY

Hoffmann Natural Eyewear New 2023 Styles

Timeless To The

Since its inception, HOFFMANN NATURAL EYEWEAR has been handcrafting artisanal glasses at the Eifel. The brand isn’t just recognized for the exceptionally high quality of their products, but also for its designs, which are kept deliberately classical. According to Wolfgang Thelen, the timelessness of a product is the highest form of sustainability. Nevertheless, his quality-oriented brand is pursuing a progressive path, pushing the development of both the brand and its products – but without allowing short-term trends to set the tone.

Virtually try on HOFFMANN NATURAL EYEWEAR FAVRSPECS.COM

The Future

Hi Wolfgang, you sent us some new models for our collection shoot. Are these from a new collection, or are you expanding existing product lines?

We have some very striking new models such as the »BLOC« sunglasses as well as some classical variants. These “evergreens” are always contemporary in a sense, thanks to their constantly evolving color and design combinations.

What’s special about the new models?

Every one of our frames is unique and speaks its own design language – for example the current models from the 300s series have a retro vibe.

Do you have any new features for the 2023 models that we haven’t seen yet?

The »BLOC« sunglasses are the first thing that comes to mind there. We gave them a striking lamination, which makes the color-blocking in 3D especially effective.

HOFFMANN NATURAL EYEWEAR has been focused on designing eyewear from natural materials for decades. You have a clear theme regarding traditional craftsmanship, but you also like to reinvent yourselves now and again, as we can see in your campaign shoots. What’s your stance on the issue of tradition vs. modernity?

At least 80 percent of our process at the atelier has its roots in traditional handcraftsmanship. We complement that with the use of modern technology, mostly developed in-house by our own team. It’s the combination of innovation and fine craftsmanship that allows us to create the elegant frames that come out of our factory.

So, for you, tradition and modernity don’t contradict one another?

No, the two concepts complete each other. You can get the best of both worlds.

One narrative that your brand is very dedicated to is “timelessness.” Is that your way to bridge the gap between the traditional and modern?

Let’s look at natural horn as an example: It is one of the oldest materials that’s suitable for making eyewear, and its earliest use dates to the 16th century. Today, in the 21st century, we create exclusive eyewear using this material. That really is timeless. What characteristics define timelessness as a good thing – why is this approach so important to you?

Timeless frames are very versatile, so they can be worn for a very long time. It’s sustainability in practice. Is timelessness more important for a brand such as yours as opposed to other brands?

We really focus on top of the line materials and workmanship because we have very high quality standards. For a lot of wearers, that also makes it especially important that the frames are timeless. Is this approach a counterargument against the fast fashion that we see everywhere today?

You could definitely view HOFFMANN NATURAL EYEWEAR as a counterweight against more short-lived collections. It’s a kind of luxury today, to be able to take the time to make something by hand. How is this overall approach reflected in your glasses?

Exclusive natural horn eyewear from HOFFMANN offers more than just timeless designs, the material is also especially sustainable. Thanks to the variable coloring and pattern of the natural horn, every pair of glasses is completely unique. Our frames aren’t just high quality, they’re also versatile, long-lasting, light, and hypoallergenic.

To better represent the narrative of time-

lessness, we conducted our collection shoot in black and white. What kinds of stylistic elements do you like to use to really communicate this sense of timelessness?

A classical presence on the part of the model and the clothing really helps to underline the timelessness of the collection effectively.

Are there any particular demographics that are especially receptive to this approach?

I think that the desire to have something with lasting value is universal in all age groups and walks of life.

What will always be timeless for HOFFMANN NATURAL EYEWEAR?

Our unique approach to exclusively natural materials, as well as the combination of tradition and innovation – our passion for natural horn and handcraftsmanship as well, of course.

ANDHIDESEEKBERLIN

ECO »Hazel«coat JW ANDERSON turtleneck CLOSED

assistant MAX NIEBERDING styling MIRA USZKUREIT hair & make-up NICOLA KURDZIEL models KSENIA LIFANOVA at MODELWERK & HAKIMA at MIRRRS MODELS

photography JESSICA GROSSMANN [ Berlin ]

YOU MAWO »Nuxada«dress KHAITE

Close Your Eyes And Sing Einstoffen Launches 2023 Collection

EINSTOFFEN is launching new 2023 models inspired by an artistic movement dating back to the early 20th century – cubism. EINSTOFFEN co-founder Christian Gisler tells us about how cubism still plays a significant role today, and what influence it has had on the current collection. The Swiss brand has also been shaped by a much more recent issue, though – the sustainability of both products and businesses.

"Close your eyes and sing" –the new collection is inspired by cubism.

Hi Christian, you’re launching a new collection this year. What is it called?

Our newest collection is called Close your eyes and sing. It’s a nod to cubism, using several core elements of this style of art. The interpretation of cubistic works plays a particularly important role in our collection.

How is that?

“To draw, you must close your eyes and sing”. This quote from Pablo Picasso was the impetus for our SS23 collection. We found these beautiful words so fitting that we chose them as the headline of our new collection. As soon as our thoughts can “sing” freely, we can start the process of realizing new ideas. We believe that means that we should always strive to work with a clear mind, letting go of all potential distractions. To paint with the heart, not the head.

What do you like about cubism and how has it influenced fashion?

Cubism has played a significant role in fashion in the 20th and 21st centuries. Many fashion designers use this artform to help

EINSTOFFEN

»Meisterdieb«

them represent abstract design principles in their creations. Cubism rapidly took over the world of fashion in the 1920s and has been unstoppable ever since.

What are the key elements of cubism that you can apply even to eyewear design?

It’s about the simplification of art in general, as well as the rejection of the idea of a single perspective in favor of several different perspectives. Artists within cubism were interested explicitly in the structure of their works. They took subjects and ideas apart and emphasized different artistic perspectives. By taking things and figures apart into separate parts, multiple different perspectives can be shown and represented at the same time, suggesting three-dimensional shapes. For example, our temple-inlays apply elements of Paul Klee’s or Picasso’s works.

Your designs are built on times long past – how is it that your styles are so modern?

I think that mainly has to do with the influence that cubism has

continued to have over the past decades. Cubism is still strongly represented in modern art today. It’s even found in architecture and poetry. In my opinion, we’ll still be enjoying this artform for many decades to come.

What designs and colors are most dominant in the current collection?

It’s a bit more colorful than we’re used to. For example, we use lamination to create color accents. The designs really have everything. A lot is new, but we also reinterpreted existing ideas.

What materials do you use?

Mainly we use acetate, titanium and wood. Are you using this new collection to reinvent your design DNA, or is it more of an evolution?

Our DNA is and always has been our love for detail. Of course, we also want to reinvent ourselves and break new ground. Cubistic elements have fascinated us for years, and I think they really give our eyewear that extra little something.

Would you say there is an overarching narrative for different brands?

We can definitely see that the concept of sustainability is becoming a part of our lifestyle more and more. Consumers are trying to integrate habits, such as sustainability-conscious consumption or waste reduction, into their daily lives. Even large brands are moving more toward sustainability. They’re committing to using higher quality materials from recycled and renewable raw materials, reducing waste and emissions, and even integrating environmentally friendly packaging into their entire supply chains. Your environmental footprint is a priority for you as well. Eyewear is pretty low volume, though, so why do you make the effort?

Yes, a pair of glasses is honestly fairly low volume, especially because you’ll ideally wear it for years. Every take-out dinner you have probably has more emissions associated with it if you’re using plastic utensils. Still, we do have measurable CO2 emissions we want to be responsible for and pay what it costs to offset that.

How do you do that?

We’ve found a reliable partner in ClimatePartner. They support a number of important projects internationally, for example building ovens in Rwanda, subsidizing communications and transport systems in Columbia, and reforesting parts of Switzerland.

Describe for me again how you manage carbon neutrality.

We have to confront the unfortunate fact that consumption goes hand in hand with elevated CO2 emissions. Because of that, it’s important to find out where that’s happening. Our CO2 emissions are measured annually and then offset. That’s the short version.

The whole thing is pretty complicated – it’s done partly on the company level and partly on the product level. The larger our footprint, the more expensive it gets for us. Because of that we keep a close eye on all our processes, looking for better solutions. Of course, that also raises some of our costs, but we also save on the other end.

einstoffen.com

EINSTOFFEN »Fakir«

Attention to detail as part of the DNA –EINSTOFFEN designs have been elaborate from day 1.

The Wave

The feeling of boundless freedom paired with high design aesthetics: the gradient effect of the lenses is taken up in the temples.

SILHOUETTE

photography assistant styling hair make-up models

post production

WILLIAM FERCHICHI [ New York ]

AIDAN TAN

ANISSA SILVAS assisted by MAX DONAHUE

ANIKE RABIU at SEE MANAGEMENT using ORIBE

KYLE SHEEHAN at SEE MANAGEMENT using PATH MCGRATH LABS

ZUZANNA KACZMAREK at NEW YORK MODELS

& JACE CARSTENS at MARILYN NY

ANNA GALIMOVA

Empowered

SILHOUETTE glasses have been synonymous with lightness since their inception. Unsurprisingly, this central tenet of their products also plays an important role in the premium brand’s new campaign in Austria. The new collections, LaLigne and The Wave are a perfect expression of SILHOUETTE’s mindset, as brand director Atissa Tadjadod explains.

Hi Atissa, you adjusted the brand image of your company in the past year. What is the new motto?

“Empowered by lightness.” This claim is the basis of our marketing communications. It expresses our vision clearly, but it’s also very multifaceted. What’s behind this newly discovered lightness? The topic of “light eyewear” isn’t really something new for SILHOUETTE, after all.

That’s true. Lightness has always been the core and also the most important aspect of our products. Each pair of

our glasses is noticeably unnoticeable right after you put it on. Now, though, we’ve integrated this idea of lightness into our marketing communications in order to give this functional aspect of our products more of an emotional impact. We want to express lightness in many different ways, using it to bring more emotion to our brand. In the new campaign we bring up some unfamiliar perspectives, presenting our products in a totally new and more modern look.

We featured glasses from the LaLigne Collection in our collection shoot. What’s

distinctive about these models?

With the LaLigne Collection, we want to rejuvenate the brand. That also means introducing new products. Our new collection LaLigne is an excellent example of that. LaLigne represents minimalistic design, building on our iconic Titan Minimal Art. With this collection, SILHOUETTE is showing just how versatile TMA – which has represented SILHOUETTE’s incomparable lightness for nearly 25 years – can be. The Accent Rings offer our brand’s icon a new, very expressive aspect and overall composition. It’s not

a typical rimless style, but it’s also not a pair of classical full-rim glasses thanks to the three-dimensional accent rings in bright conspicuous colors, inspired by the latest eyeliner trends. In this, the collection lends innovative expression to the concepts of lightness and character. You say you’re accentuating the designs with Accent Rings . Are these purely a decorative element, or are they also functional?

Mostly, the primary function of any pair of glasses is served by the lenses. It’s all the other elements that we focus on with regard to design, statement, and look.

Pure Wave »2953« -

bodysuit LARUICCI shorts MARINE HENRION jewelry MING YU WANG

That’s also true for our award-winning Accent Rings, which we primarily view as a fashion statement. They provide unique aesthetic effects without adding any additional weight to speak of. It further adds to that sense of lightness: We have a “rim”, but not one that sets any limits.

On the contrary, it provides even more possibilities for modern, custom styling. The LaLigne Collection models are hingeless. What are the advantages of this feature?

SILHOUETTE has always had a very minimalistic approach to design, driven by an

Pure Wave

Ultra-light purism and urban aesthetics with a new color concept. The expressive full-rim eyewear of the Pure Wave collection inspires with soft shades and surfaces.

unshakable conviction that less really is more. We apply that even to the smallest details and invest uncompromisingly in quality, research and technology. That’s what allowed SILHOUETTE to revolutionize the eyewear industry in 1999 by inventing an especially high-tech solution: hingeless eyewear technology. Not only does this eliminate the need for maintenance, is also improves comfort for the wearer in a totally unique way.

The shoot also contains some beautiful models from The Wave Collection . What’s special about these?

The Wave embodies that sense of limitless lightness that you might feel in a boat as it’s gliding over the waves. The collection is meant to surprise and delight with its refined, lovingly crafted details. The gradient effect on the lenses is carried on by the multicolor surface of the ultra-light temple. It has a special, metallic color gradient that hints at the whitecap of a wave. Otherwise, the models all feature a characteristic zero-maintenance snap-on hinge, clean lines and a slim profile. How do the new collections fit into the overarching design DNA?

Our design team always applies SILHOUETTE’s design philosophy as a guiding light in the ideation phase of each new SILHOUETTE collection: Sensual simplicity. When working on a rimless collection, our designers focus heavily on the temples – color gradients, special effects such as laser features or combining matte and glossy surfaces, and architectural design elements. The front is also a central focus that we emphasize with striking shapes, colored lenses, unique milling and other design elements.

SILHOUETTE

TMA LaLigne

Lightness and comfort at its best. The hingeless design of the LaLigne collection is uncompromising minimalism.

photography assistant retouch styling hair & make-up models location

JONAS SIEGMUND

SERIK RETOUCH

HALIUNAA ORKHON

JOE ONDE

KAROLINA CZARNECKA & LUIS SCHEINS

STUDIO ALLMOST BERLIN

The Roots New Modo 2023 Drops

International eyewear brand MODO launches its new 2023 products, completing its existing collections. CEO Giovanni Lo Faro gives us an exciting insight into the updates.

PATRICK WALTER [ Berlin ]

Virtually try on MODO FAVRSPECS.COM

Hi Giovanni, with your new SS23 collection you are building on your previous collections. What are MODO’s key brand assets that we find in each of your collections?

Heritage, design, quality, innovation, lightness.

What is MODO’s typical brand heritage?

There are a few elements. First, independence. We are an independent global company with unique mix of inspirations from the cities we live in – New York, Milano, Stockholm. This gives us a different angle from most competitors and a range of assets and resources usually available only to the larger groups. Second, history. Past mixed with future – we were founded in 1990 and built a history of striving for innovation. Third, an uncompromising approach to design and quality. Fourth, a sense of purpose beyond business. Our Buy a Frame – Help a Child See pledge has provided comprehensive eyecare to over one million children in need, through our partnership with the Seva Foundation.

Why is innovation important to you? Hasn’t everything already been invented in glasses?

Innovation is part of our DNA – the goal is to offer our customers something new and relevant that brings a tangible benefit that didn’t exist before. We strive to experiment with new materials and new design techniques to improve how our frames look, feel and weigh. This is our goal and it seems like it is relevant to others too. We serve over 25,000 opticians in over

80 countries worldwide. Our innovative materials and technologies matched with fine craftsmanship have been recognized with awards such as the Red Dot Award for Product Design. We are the only eyewear brand included in the Museum of Design in Milano. As we know our city is a world capital for design, and it was an honor to sit next to some of the best design brands like Ferrari, Ducati, Vespa, Boffi, Cappellini and so on.

That’s an impressive track record. You also mentioned quality and craftsmanship. Can you elaborate on your approach in these departments?

We founded our brand along the idea of bringing a level of quality that is unparalleled at this price point. We believe that quality – even more so than price – is part of the definition of luxury. We want to bring this experience to a broad public, part of which may now be buying mainstream brands with an average level of quality. In this scenario we may be the first step into the world of independent boutique brands. Or in many other cases, our customers may be the ones that navigate this world already and enjoy how we constantly evolve our range, while still maintaining the highest possible craftsmanship standards.

Is there a new design direction for the SS23 collection?

For SS 2023 we are strengthening the design direction we have introduced last year. We are convinced this approach is enhancing the power of our families: Air,

Bold, Sun

Tell us about Air MODO’s Air frames have long been an attention-grabber, and SS 2023 is no different. Innovation fused with comfort and style – that’s what we’ve always sought to deliver with our Air frames. For SS 2023, we are introducing five new styles in multiple new colors. All benefit from our patented hinge technology to make them more durable and comfortable to wear.

What distinguishes the Bold collection?

Our Bold frames were first conceptualized to help our customers show off their sense of style and flair. Since then, we’ve contin-

ually updated the category with new additions that offer intense colors, unique shapes, and uncompromising construction materials. In 2023 we are having seven more stunning styles.

And the sunglasses?

At last, the Sun collection. In 2023 we will have five more options of frames that protect the eyes from the sun while showing off our sense of style at the same time.

HCD (High Chromatic Definition) is our top-notch proprietary technology which makes our lenses stand out in the market for quality and technology. Together with polarized and anti reflective features it

sets us on a different level from most competitors.

You put a lot of focus on materials and use material to define your collections. What do you currently prefer to work with and what are the advantages of the individual lines?

We work with noble materials like Titanium, Beta Titanium, the finest acetates and hi-tech plastics like our own resin R 1000

At the moment R 1000 is what we and our customers are having more fun with.

It is an incredible material that we picked from aeronautics, a memory plastic, very resistant, flexible and light with a wide color range. This allows us to create the lightest thin and bold frames in the market. Our R 1000 + Titanium line won the Red Dot Award, the iF Award and brought us amongst the finalists of the Compasso D’Oro Award

Which technical features are typical for MODO?

We like to play with small technical details that are usually loved by opticians and experts and make our frames special for consumers, like our hinges for example. Our hidden screwless hinge delivers several key benefits – starting from no longer having to deal with a screw, which falls off and leaves you “eyewear-less” –including significantly increased stability, strength, and resilience for eyewear. The use of self-lubricating metallic surfaces ensures fluidity of motion and the smoothest rotation possible for a difference that can be felt each time the arms are folded or unfolded. It also enables a

sleeker, more streamlined design. The resulting “invisible” hinges foster the ability to create entirely new designs, allowing us to use opaque colors to completely hide the hinge or translucent colors that showcase the hinge’s form and operation. What are other special features that can be found in your glasses?

There is something big we started developing in SS23, it is a project we

very much care about and it is all about customization of our Paper-Thin Rimless collection. This collection has grown to be a bestseller for us and is a real alternative to the leading brands in the market. We thought there still was some unexpressed potential. That’s why we now offer customers the possibility to compose their own frames, by choosing the lenses’ shapes, color combinations, the bridges’ and

temples’ sizes.

What is the core of your new SS23 campaign?

Our roots are the core! We were founded in NY and later expanded into our three cities – NY, Milano and Stockholm. We shoot our campaigns rotating across each of them. For the SS23 campaign, we decided to build on our heritage and go back to where we were founded in 1990 – New York City.

Why?

Because there’s no place like home. And because New York City’s environments and people are just as diverse as our collection of frames. Inspired by elements as varied as a rooftop in the heart of SoHo to the celebration of craftsmanship in Brooklyn’s Industry City, the SS23 campaign brings a vibrant new look and mood to the MODO brand. But one thing that will never change is our commitment to delivering quality, durability, and lightness, no matter where we go.

We can assume that MODO will continue in this direction in the future, right?

Probably yes. We were founded in 1990 along the concept of “Eyewear for the Individual”, which we feel stands fresh and relevant over 30 years later. Our mission to bring the best design, quality and innovation possible in our world remains the same – how we will roll it out along the way is what will evolve constantly. This is what excites us about the future and why we love our job!

MODO

outfit DANNY REINKE

NEW COLLECTION

ROOMBATHPROLOGUE

BARTON PERREIRA »Parker«oufit MARIE-LOUISE MÜLLER

photography art direction assistant styling hair & make-up models

SONJA MUELLER

[ Berlin ]

CLEMENS BARTH YANAE REICHARDT JAKOB SCHAEFER assisted by MARIE-LOUISE MÜLLER

MELANIE

HOPPE DARYA ROSENFELD at PEARL MANAGEMENT & LINUS ROSENBAUM at CORE MANAGEMENT

BeMy Muse

Barton Perreira 2023 Highlights

BARTON PERREIRA is a high-end eyewear brand from Irvine, California. It has that refined touch of luxury and relaxed sophistication, which is so typically Californian. None of that is coincidence. Rather, it’s the result of the special synergy between the two founders: Bill Barton and Patty Perreira. We asked Bill and Patty about the genesis and philosophy of their brand.

Virtually try on BARTON PERREIRA FAVRSPECS.COM

BARTON PERREIRA »Donnely«coat IMPARI jacket & shirt C.P. COMPANY

Patty Perreira: We’ve always been independent freethinkers. We wanted this same free-spirited independence for our brand. I live and work in Venice Beach. Venice is forever evolving, and it has an extraordinarily strong core/DNA that I connect with. I think there is a California attitude and influence in my design aesthetic. California luxury is unique. It’s sophisticated yet relaxed, refined yet subtle, using high-end sustainable materials.

BARTON PERREIRA

Speaking of California luxury, please tell us about some of the prominent BARTON PERREIRA clients!

Patty Perreira: I love the roster of influential people and celebrities that wear BARTON PERREIRA. There is such a range of personalities, from Ryan Gosling to Michelle Obama, Brad Pitt to Lady Gaga, Young Thug to Maluma, and so many more. It shows the depth and range of the collection, which complements so many unique styles.

How do you divide the tasks and responsibilities between the two of you?

Patty Perreira: We have a great partnership as well as mutual respect and admiration for one another. Bill motivates, challenges, and inspires me. We both have many years of experience in the eyewear industry. His expertise is in the business aspect, while I am in the creative.

Patty Perreira: I love working with Japanese cellulose acetate – it's durable, flexible, available in a range of stunning colors, and has a luxurious polished finish. Our acetates are made of natural materials, making them a more sustainable option. For our metal frames, we prefer alpha titanium because of its strength, adaptability, and hypoallergenic benefits. Our sun lenses are coated with a Japanese AR coating called "VIOFF." It absorbs 95% of UV light compared to traditional AR coatings that only absorb about 57%. We also use Japanese lightweight titanium, and our gold frames are plated with 0.3 microns of 24K gold.

Both your titanium and acetate glasses are manufactured in Japan. Do your quality

»Noula«coat IMPARI

jumpsuit DAWID TOMASZEWSKI

REINKE

How much does the Californian lifestyle influence your brand and your products?

You are also very demanding when it comes to materials and processing. Are there any favorite materials?

BARTON PERREIRA

»Cora«

standards require this?

Bill Barton: Yes, we believe Japan has the best eyewear manufacturers globally. Adding to that, our relationships with our people in Japan go back over 30 years. We work with our artisans, who lean heavily on their heritage of crafting the best eyewear in the world. In Japan, it’s all about attention to detail in order to have every pair fit perfectly.

What is especially important to you in communicating with your customers?

Bill Barton: We are trying to give our retailers every tool possible to be successful with our brand, thereby creating success in their stores. It’s a partnership. The more success our retail partners have with BARTON PERREIRA, the more knowledge the consumer has about our very special brand!

You also operate your own stores. Where and why?

Bill Barton: Our retail stores give you an amazing view of the complete BARTON PERREIRA experience. One of the things I enjoy most is store design and working with amazing retail talent (which we have!). I’m very proud of the quality and service that we provide.

What is it that drives you both, apart from the subject of glasses?

Bill Barton: Creating a respectful, kind environment for family, friends, and our brand BARTON PERREIRA [...] bartonperreira.com

Read the full length interview here:

»Darine«dress IMPARI sleeves VIVAENI

»Thea«

The designer brand from Copenhagen convinces not only with its color tones, but also with a balanced mix of modern playfulness and classic craftsmanship.

A Safe Havn Stunning Hues In Ørgreen’s Steel Collection

We’ve selected the gorgeous »Thea« model of ØRGREEN’s Havn Collection as our Editor’s Choice for the current issue, in the beautiful shades of S076 and S078

»Thea« was named after one of the many boats moored in Copenhagen’s harbor – just a stone’s throw away from ØRGREEN’s headquarters. The oversized women’s frame is available in a classical rounded design with a modern twist. The colors that we selected for it serve to underline its feminine, fashionable appearance.

The Havn Collection generally features models with fronts in bright and daring colors. The Copenhagen-based designer brand has long been renowned for their expertise in colors – something that’s also reflected in their relatively new stainless-steel collection. The creativity applied to the brand’s color designations alone is enough to show ØRGREEN’s dedication to all things color. With the color code S076, the front is in Matte Metallic Red, with the frame in Matte Rio Red S078, on the other hand, combines a front in Shiny Rose Gold with a frame in Matte Metallic Pretty in pink.

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photos RAPHAEL SCHMITZ

Götti Bionic Slow Eyewear From Switzerland

Over the past few years, the 3D printed collection Dimension has allowed the eyewear premium brand GÖTTI to collect some very valuable experience. Now, GÖTTI is taking the concept one step further with Bionic, which features a special screwless hinge. As the collection’s name – Bionic – implies, the collection’s designers took inspiration from nature. Here is our interview with founder and designer Sven Götti.

The Bionic line is part of the successful Dimension collection – two basic shapes in two rim thicknesses each.

GÖTTI

»Bond«

3D printing makes it possible: the »Bond« as a powerful panto style is surprisingly lightweight despite visible volume.

Hi Sven, you’ll be launching GÖTTI Bionic in the spring of 2023 – a brand new concept. Which collection does it fit with?

GÖTTI Bionic is a complement to the GÖTTI Dimension Collection So, Bionic is all about glasses that are made with 3D printing?

That’s right. Everything from the initial concept to the finished pair of glasses is done right here in-house. You’ve had the Dimension Collection on offer for several years now. What significance does 3D printing have for GÖTTI?

3D printing has become as important as acetate, though 3D printing is clearly a complement to acetate, rather than a direct competitor.

What advantages of 3D printing are especially important to your customers?

The custom sizing, down to the nearest 1/2mm is something that our customers have become very attached to. But the unique feel and light weight of the models is also very popular.

And what benefits do you see for yourself as a producer?

We can be much more flexible with regard to warehousing and react quickly to any sudden changes. This allows us to achieve an efficient but also high supply capacity. Also, it’s just exciting to watch how a pair of glasses is made from start to finish, right in front of you.

What technologies are behind Bionic , exactly?

The printing technology is essentially the same as that of the Dimension Collection. The process, called “Selective Laser Sintering” (SLS), is especially well suited to eyewear production. The challenges in the production process are mainly achieving an even surface and uniform coloring.

What’s special about the concept of Bionic compared to other

models from the Dimension Collection ?

The difference is in the material that we use. The base of that material is made from the seeds of the castor plant – a renewable resource. The temples also have a cleverly designed hinge at the front that takes full advantage of the flexibility of this material.

What exactly does the hinge look like?

The glasses are made up of just a front and a pair of temples. We don’t use a screw or any other additional pieces to secure the hinge. Despite that, the temples can be crisply and smoothly opened and shut. Our research and development department achieved this by taking inspiration from nature and using a ball joint.

That’s why it’s called “Bionic “?

Yes, exactly. The term bionic is about applying phenomena from the natural world to technology. It assumes that the evolutionary processes occurring in nature have already developed structures and processes that humans can learn from.

You’ve also mentioned the concept of “slow eyewear” in this context, as a contrast to the “fast fashion” trend. What’s that about? Reduction and simplification allow us to develop a more sustainable eyewear collection. That goes for everything from the materials, construction, packaging and the production site’s location all the way to the original design concept, which can be customized precisely to the customer’s preferences. All of these factors work toward this same goal, enabling the creation of sustainable and resource-efficient eyewear in accordance with this idea of “slow eyewear”.

How many different designs and colors does Bionic have?

The collection is made up of just two basic designs, which we offer with two rim-thickness options in four colors. Also, each design

Bionic – inspired by nature. The screwless hinge works like a ball-and-socket joint.

GÖTTI »Bowy«

can be custom sized to fit the customer’s head perfectly. The idea behind this is to excite customers with the variations inherent to this customization process, allowing us to release new designs more slowly, with care and deliberation.

Sustainability plays an important role for your 3D printed eyewear. Is the release of the new Bionic models bringing any new developments regarding this issue with it?

We’re happy to report that the waste material that’s produced in the 3D printing process can now be reused as a base material for artworks. You can find more information about that here: www.hotwireextensions.com.

So, not just made, but also recycled in Switzerland?

Right, everything. To stay true to that, we also went ahead and developed a matching case, which is also produced in Switzerland. This allows us to customize it somewhat to the buyer, since it can be folded in a few different ways. The customer simply tells their optician their preference, who can then finish the case for them right there. gotti.ch

GÖTTI »Bora«

Sustainability through “Slow Eyewear” – the »Bowy« and the »Brus« are also 100% manufactured in-house at GÖTTI.

GÖTTI »Brus«

SPY

VYCOZ »OKI« -

dress & blazer HALLELUJA.BERLIN necklace SYLVIE EDER

SPY

VYCOZ »TAKO«sweater MASSIMO DUTTI vest & suit HALLELUJA.BERLIN

styling CLAUDIA HUBER hair & make-up JOE ONDE assistant JONAS SIEGMUND models ZHONG YANG at MEGA MODELS BERLIN & LUCAS ERNST at PMA HAMBURG location BAZAR NOIR

photography PATRICK WALTER [ Berlin ]

BARTON PERREIRA »Donnely«turtleneck & bag MASSIMO DUTTI trousers BALENCIAGA

SALT. »Rhine«vest HALLELUJA.BERLIN suit AZIZI

NATHALIE BLANC »Victoria«coat, gloves & belt HALLELUJA.BERLIN

For Men Only The Origin Story Of Talla

TALLA is a brand exclusively designed for the fashionable man. Founder Gianluca Gualandi’s label has Italian roots, but his creative heart is in Paris. The former optician explains the history of his brand and why he designs TALLA as a men’s-only brand.

Virtually try on TALLA

TALLA

»Armonico«

»Ondulato«

Hello Gianluca, where does the name TALLA come from?

TALLA is a nickname I was given in my hometown Bologna, Italy. That’s what my friends on the football team used to call me when I was a child. The years have gone by, but the nickname stayed. What is your personal background and what inspired you to start your own eyewear label?

I have been an optician since 1987 in Italy, where I opened two optical shops in 1989 and 2005. In 2000 it was a concept

store for niche glasses and accessories. In 2016 I felt like exploring another side of the optical industry – I wanted to design my own collection. Since then, I have been dressing faces with the skills I acquired as an optician and transposing my passion into my creations. It is my life and my passions that create the sparkle and guide me in my creative process.

What do you miss the most from your time as an optician?

As an optician, I loved the relationships you created with your customers – under-

STAINLESS STEEL

The Arabesco Collection is inspired by Carlo Mollino. It pays tribute to the visionary creations of the famous Italian designer. The thicknesses change with the rhythm of the colors, and the thin, irregular stainless-steel structure offers lightness and maximum resistance.

»Onirico«, »Ondulato« and »Puro« evoke the style, shape, or materials of the designer’s iconic works. Sinuous lines and asymmetry are the essence of this collection.

standing them and advising them on how to arrive at the best choice for them.

You are originally from Italy, but you live and work in Paris. Is TALLA now more of a typical Italian or French brand?

No matter where I am in the world, I am driven by my Italian roots. They’re part of my soul, my DNA. I believe I’m also influenced by the different cultures that surround me, so I wouldn’t put the brand in any tiny box.

To what extent does your experience as an optician positively influence the development of your eyewear?

I believe that having a background as an optician provided me important opportunities. Over the years, I worked with many different products and brands, which helped to develop my technical understanding. I know what’s comfortable and what’s not, what customers expect and what could be missing on the market. When I design, I keep style and the comfort in mind. I believe it helps me provide

a product that will satisfy both opticians and the final customer.

What is especially important for opticians to be able to sell eyewear well, besides the pure product features?

Quality, comfort and style. How does your brand live up to that and what is the philosophy of TALLA?

La sprezzatura. It is an Italian word to define an elaborate style that seems to have

required no effort. At first, the designs stand out, however at second glance, the intricacy of the frames shines through. Why do you concentrate exclusively on eyewear for men? This clear focus is rather unusual.

I consider glasses to be the ultimate accessory of masculine elegance. I’ve been carrying this vision with me for years and it was my vision when I opened

COMBINED

Coffee time represents the most delicious moment – it’s a true way of life in Italy. The international language of coffee is actually Italian: Cappuccino, Ristretto, Moka ... these are the names of the models I gave to this Café Collection. In Italy, you drink your coffee standing at the bar, “Il caffè buono si beve al Bar”. I share this tradition in an altogether smooth and intense collection. All the aromas of Café Collection are diffused through 6 models in titanium and acetate.

the concept store. Being fully dedicated to a men’s collection helps me to better define their needs and to focus on their expectations and the universe I want to create within. It also allows me to focus my communication on men, which I really appreciate.

TALLA is closely connected with the brand Caroline Abram. What exactly is the connection and how does it influence TALLA?

ACETATE

The Americani Collection is a reference to the nineteen-fifties, when American actors arrived to star in movies being filmed in Rome. This meeting between the USA and Italy inspired me to create a 100% HDCA acetate collection. The colors are a combination of opal and glossy crystal, and the hinges are in the Japanese style – stainless steel for comfort and flexibility and the hinges and temples add a rough sense of volume.

We are two independent brands and designers, sharing our personal life. Our teams work in the same offices and many of the agents and customers work with both of our brands. Meanwhile, Caroline Abram has never designed for TALLA and I never have for her line. TALLA grew alongside her these last six years but focuses on its own identity and style. And what does that look like?

What I care about most is the details. So, you won’t find one specific design, but rather a multitude of small details changing between the collections. Sometimes in the temples, sometimes on the front or in the hinges. This is what I love. Subtlety. Besides, I love exploring different materials and working on elegant shapes. When I sit down at the table, to cook or to create my accessories, I am guided by my

memories, my travels and my passions. Can you describe your eyewear in one sentence?

TALLA is today’s vintage. Your frames often appear three-dimensional. How do you achieve this three-dimensional effect?

It is part of my fascination with detail. On acetate I love to work with bevels and steps – they give the material a very deli-

TALLA

»Power«

»Flynn«

TALLA »Shaker«

cate aspect. It takes a bit of the boldness out and steps more into elegance. On the metal, I love cuts and asymmetry. Arabesco is a titanium collection I imagined as a freehand drawing where lines aren’t perfect – where you might bump into a little cut, a little accident.

Are there certain color worlds that you prefer?

I love deep ones. I’m not about flashy and garish colors. Being passionate about food, I’m mostly inspired by the colors of fruits or veggies: pomegranate, blueberry,

kale… nature is so rich.

In which countries are your designs particularly well received?

France, Germany and Italy are our best markets. I know that Germans love the sobriety of our collections, the French always love vintage, and Italians probably understand my vibe. (laughs)

Is there a certain type of man that you see as predestined for TALLA?

I design for those who are looking to be distinguished and discreet. I imagine the TALLA man as being urban, charismatic, sociable, curious and attentive.

What materials do you work with?

Materials are a luxury that I like to meticulously select. I like weaving and combining a mix of origins. Alternating between high-density acetate, resistant and light, and long-lasting steel or titanium, sometimes softened by nicely grained leather. Acetate, stainless steel, leather, titanium...

tallaeyewear.com

TITANIUM

The Seven Collection echoes to my love for cooking. It is named for the weight of its titanium frame. The models themselves are named after my favorite cooking tools: »Wok«, »Shaker«, and »Zest«. Titanium offers lightness and resistance for an elegant and timeless look.

»Doeskin«

A Match Between Art And Sport Etnia X FC Barcelona

What are two things we immediately think of when we hear “Barcelona?” FC Barcelona, obviously, and – for any eyewear connoisseur – the cult eyewear brand ETNIA BARCELONA! We’ll overlook the Spanish Metropolis’ many other highlights, such as the Sagrada Familia or Güell Park, for the moment.

The city of Barcelona, with its liveliness and unique culture, is a fundamental part of the respective DNA of both the world-famous soccer club and the eyewear label. Neither the club nor the brand would exist in their current form, if they weren’t so deeply rooted in this city. Adding the name of the city to the brand itself is a way for ETNIA BARCELONA to show its love and commitment to its hometown.

There’s no better way to express that sense of unity and common heritage than working together on a project with a common purpose. In this spirit, FCB and ETNIA BARCELONA dropped a collab at the end of the past year to express this sentiment. The Barca collaboration is made up of seven models, six of which are part of the sub-line “Los colores de nuestra historia” – the colors of our history. This allows ETNIA to indulge its passion for color in full measure. The vintage frames, made of natural acetate from Mazzucchelli, as well as the mineral lenses –made with HD color technology – reflect the manifold colors of the Catalan people. The six models of this line are meant to serve as an homage to the greatest achievements of the FCB: six champion’s league titles, the latest of which was won by the women’s team in 2021.

The seventh model from the capsule collection is the »1899 Gold« model. The highlight-model is named for the founding

year of the association and features a black acetate frame, decorated with gold applications. The design also incorporates elements of the FCB’s emblems. It’s a must-have item for FC Barcelona fans, though not everyone will get one. »1899 Gold« is a limited-edition model. With a fanbase as massive as that of FC Barcelona, getting your hands on a pair may prove difficult.

HORIZONCATALAN

HORIZONCATALAN

CARLOS PINEDA

ALLPOETS

»Bishop«coat ZARA turtleneck ARKET

ETNIA BARCELONA »Romanova« -

coat ZOE FILLAUDEAU

LINDBERG