Tell us about your life and career path before OtrO Eyewear? I completed my studies in Visual Arts back in 1988. Since then, I have delved into various artistic mediums such as ceramics, straw bags, cushions, and canvas. However, my true passion has always been to explore newer avenues. Early on, due to monocular visual loss from toxoplasmosis, I required glasses. Because of that, I grew a small collection of frames. Inspired one day, I painted one of these frames – and to my surprise, orders began pouring in. Though my technique was initially quite basic, with time and experimentation I improved my skills and found the right materials. Above: Erida Schaefer, the Founder of OtrO Eyewear, wearing one of her own optical designs

After five months, I found myself featured in a magazine article. It was at this moment that I contemplated transitioning into the eyewear business. Years were spent meticulously painting, learning, and evolving. This niche remained untouched in Brazil, and my boundless creativity and knack for innovation captured global attention.

The turning point happened when I was invited to showcase my inaugural acetate collection at New York Fashion Week in 2018. Although opportunities were coming my way, I faced a major challenge: the inability to meet demand through solo painting. I started to design my own optical models and sunglasses, and moved away from just modifying existing ones. The process shifted from surface painting to incorporating painted fabrics between layers of exquisite Italian acetate, crafted in a modest Brazilian workshop.

Over four years, I produced more than 20 distinctive models – a significant achievement for a newcomer with no industrial support. Yet, this was merely a stepping stone. Driven by a fervour to demonstrate the power of individual creativity regardless of location or industry norms, I invested my savings in exhibiting at Silmo for two consecutive years. This endeavour expanded my reach globally, fostering sales across multiple countries and paving the way for future growth.

Despite encountering market resistance, particularly due to import taxes and uncontrolled shipping charges from Brazil, my sights are set on manufacturing in Europe. This strategic move aims to streamline accessibility for admirers of my work, facilitating smoother transactions barred by tax barriers. As I continue to evolve and expand, I remain strong in my mission to break new ground and redefine the eyewear landscape.

What are the origins of OtrO Eyewear? The name OtrO, derived from the Spanish word for “another one”, encapsulates the essence of a continuous desire for uniqueness and distinction and the need for one more frame in everyone’s own collection. Sonically and visually captivating, it serves as a name that resonates effortlessly. Rooted in the notion of perpetual craving for innovation, OtrO stands out for its distinctiveness in a sea of conformity.

Central to my ideas is the pursuit of artistic individuality, a facet I fervently emphasize in my creative process. Through captivating videos showcasing the intricate art of clay moulding, I offer viewers a tantalizing glimpse into the journey towards a three-dimensional masterpiece. By meticulously crafting each piece with a keen eye for detail, I strive to imbue every design with a sense of depth and character before transitioning them into production.

We would love to hear about your most recent collection…Our latest collections are Amazônia, Rio de Janeiro and Cobogó. Amazônia breathes life with its detailed references and the graceful curves borrowed from our lush botanical wonders. Rio de Janeiro exudes the vibrant spirit of our tropical beaches, showcasing unexpected colour palettes and national drinks such as the zesty “Caipirinha” and the refreshing “Aperol”. Cobogó holds a special place in my heart, drawing inspiration from a quintessential Brazilian architectural marvel of the 1920s. Intricately adorned with bas-reliefs, these pieces once adorned the facades of homes, offering ventilation and light to combat the sweltering heat of the northeastern regions.

These three distinct collections weave together elements of history, art, architecture, and design, a fusion that fills me with immense pride. Beyond mere functionality and aesthetics, these creations transcend conventional fashion boundaries, infusing each piece with deeper meaning, poetic resonance, and an artistic touch that resonates with the adornment of these frames.

What does the OtrO Eyewear customer look like in your eyes? My clientele is consistently intrigued by daring colour schemes, unconventional shapes, and audacious designs. They possess a profound affinity for design aesthetics and a craving for objects that narrate compelling stories. Rather than succumbing to the allure of mass-produced goods, they gravitate towards the essence of the creator—a distinctive perspective that can articulate their individual universe.

Gone are the days when conformity reigned supreme; my clients avoid the notion of blending into the crowd by wearing generic “uniforms”. Instead, they embrace a customised approach that resonates with their unique sense of style and identity.

If you could pick any muse for your brand, dead or alive, celebrity or not, who would it be and why? I don’t rely on a muse; rather, I take centre stage in my own campaigns. I do so because I understand that I can authentically convey this journey with my own zest for life, turning something as ordinary as eyewear into a canvas for my dreams and artistic manifestations. In this unique transformation, I bring a clarity and authenticity to my work that resonates inherently with me, making it distinctly my own.

Where do you find inspiration? My source of inspiration lies within my own introspections. I find no creative impetus in copying fashion trends or using external influences. Instead, I derive shapes and colours directly from my inner reflections, allowing my thoughts to manifest organically. Subsequently, I intertwine these personal thoughts with well-grounded themes that resonate with me deeply, be it nature, art, geography, history, or architecture. In this organic process, I forge meaningful connections and breathe life into each collection, crafting names that embody the essence and narrative behind the designs.

You have just moved into a new studio, what led up to this moment? How does it feel? Tell us a little about the space. Within my studio, I’ve essentially created an optician’s “heaven” within the confines of my own home. Here, I have my inventory and a dedicated area for capturing photos and videos; there is a separate area for sketching and painting, and an organized space for financial management.

Do you have any exciting updates on the horizon? This year, my ambition is to introduce a range of accessories inspired by the theme of glasses, encompassing silk scarves, apparel, cushions, and paintings. I am enchanted by glasses and this consumes my thoughts around the clock! Looking ahead, my aspirations involve unveiling a collection of fresh drawings, each intricately woven with allusions to modernist architecture movements.

For more information visit www.otro.com.br

Victoria G. L. Brunton spoke exclusively to OtrO founder, Erida Schaefer for Eyestylist.com. OtrO will exhibit at the SILMO exhibition from 20th to 23rd September 2024.

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Tell us a bit about your professional journey…Before arriving in the world of eyewear, I held various roles thanks to my eclectic and always lively personality, characterized by a constant search for new work stimuli. This way of being has led me to work as a stylist for various fashion magazines. At the same time, I held the role of “door selector” at the historic Milanese club Killer Plastic.

I have always had a sort of obsessive mania for sunglasses, ardently wanting to create my own line that would break the mould of the current market. My goal was to create an object that was not only aesthetically beautiful, but capable of telling a story and conveying a unique personality. From this desire was born my first collaboration with the “Celebration” project, for which I dedicated a pair of glasses to the fashion journalist Anna Piaggi. (Note: view on Eyestylist.com in 2014  at https://www.eyestylist.com/2014/09/anna-piaggi-fashion-influential/)

Subsequently, I had the opportunity to learn about Prophilo, the company that currently produces the Oscar Mamooi line, furthering my dream of innovating and revolutionising the eyewear industry. Above: portrait of the designer

Which of your frames or collections best represents you as a designer, and why? I am particularly fond of the asymmetrical and glacial silhouette that bears the name Pluto, and I believe it fully reflects my ever-changing creativity, embodying the incessant search for new horizons.

You cite inspiration in the connection between man and nature, can you explain this further? How does it manifest in physical frames? Organic shapes and lines can be key elements in the creative process, offering stimuli to generate elements inspired by nature. In summary, the connection between man and nature manifests itself in man’s vision through natural shapes, colours and textures, combining aesthetics and details that evoke the natural world. This approach creates visually and tactically pleasing products, promoting a message of sustainability and respect for the environment.

The physical frame can be manifested through the vision of what you intend to create and express. This idea guides the entire creative process and translates into an element that tells a story or evokes specific emotions. For example, a collection inspired by modern architecture might incorporate clean lines, sharp angles and innovative materials.

What is your view on sustainability across the fashion industry / with reference to eyewear? Sustainability in the fashion industry has become an essential priority, and this also applies to the eyewear industry. I firmly believe that the eyewear industry can and should play a significant role in reducing environmental impact. Many brands are already adopting eco-friendly materials such as biodegradable and recycled acetate, wood and bamboo, as well as recycled metals. This not only decreases our dependence on non-renewable resources, but also reduces waste.

Furthermore, production processes are becoming increasingly efficient and environmentally friendly, thanks to the use of advanced technologies that reduce waste and energy consumption. Transparency in the production chain and environmental certifications also play a crucial role in ensuring sustainable and ethical practices.

If you could choose anyone in the world to be your muse or campaign star, dead or alive, who would it be, and why? I can do no more than think about Grace Jones. With her perfect personality, capable of simultaneously embodying Parisian elegance and Jamaican allure, she is an immortal style icon. Her wild, dazzling, and androgynous presence made every appearance a memorable event. Her ability to transform sunglasses into a distinctive and bold accessory is unmatched, contributing to defining a timeless style that continues to inspire.

What are you planning for the new season, creatively speaking? Nature will continue to be the predominant element of my creations. There will be new concepts inspired by natural elements, infusing our collections with organic shapes, textures and colours found in the natural world. This approach not only allows us to create unique and innovative designs, but also underlines our connection with nature.

If you didn’t work in the optical industry, where do you think you would work / what would you do? If I wasn’t working in the optical industry, I think I would take up painting. Creativity and artistic expression have always been a key part of my life and give me a great sense of fulfilment. Painting would allow me to further explore my love for colours, shapes and textures, and to communicate emotions and ideas in a visual way. I believe that art, in all its forms, is a powerful medium for connecting people and telling stories, and I’m fascinated by the idea of being able to contribute to this universal dialogue through my expressiveness.

Will you exhibit at SILMO Paris in September? Yes, I will be present at SILMO Paris with many new features. I can’t wait to present our latest collections, which combine innovative design and refined details. This event represents a unique opportunity to share our passion for artisan excellence with an international audience. We are preparing a series of new models inspired by natural elements, with sculpted details that I believe will surprise and fascinate visitors. I look forward to meeting colleagues, customers and enthusiasts in the sector to discuss future trends and our creative visions. www.oscarmamooi.com

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“Listening and respect” : you say this is one of your brand’s most important pillars, how do you involve your customers in your brands conversations and consider them throughout your design process? Listening and respect are indeed my most important values: IN SANA wouldn’t exist if the people who love me didn’t respect me and listened to me when I most needed it. It is my mission to treat everyone who comes across my sunglasses to offer the same. In the future I would love to design personalized glasses for my customers and I believe it won’t be possible without observing these values. I am just at the beginning of this adventure now, but I treasure every feedback: my sunglasses are unusual, every person sees in them something different and I find it fascinating to hear what they see in them, in some ways, they give me new ideas and probably next time I design I’ll think of them. There is no bad feedback.

Tell us a bit about what you’re doing in order to produce in a less environmentally damaging way…I always choose the most eco-friendly option available even if It is very hard in the eyewear world to have a 100% eco-friendly production. Very high minimum order quantities are applied from the companies who produce the materials you need to produce, store and ship something with the complexity of a pair of sunglasses. So I decided to produce on order – in this way I fight overproduction, which is one of the biggest problems new generations have to face, and I keep under control quality and waste disposal. In some way, producing less gives me more freedom to choose between old wasteful ways of production, and more innovative but less impactful ones, like 3D printing. All the metal components of Phase Armour for example are the results of a process that includes 3D printing, we only use the metal we need, they are almost 0 waste.

Each pair of your frames is made by hand on a made-to-order basis…talk us through your process…Yes, my sunglasses are handmade on order, meaning we have a limited stock to be able to support our customers in case of need (warranty cases etc..) but nothing more. From the moment of order, both from shops or clients online, I need between 2 weeks and 3 months to deliver, based on the pair of glasses and the quantity. This is possible thanks to a few trusted artisans in the Belluno area in Italy who taught me the art of eyewear and make each piece by hand with me.

Your two current shoppable “phases” are Phase Exeo and Phase Armour, could you tell us about these phases and how they compare / contrast? I perceive these two phases so differently, but they are very connected. Phase Exeo comes from a place of darkness, Phase Armour is what came after it. My first phase was unexpected, messy and edgy – each model is different, you can see it wasn’t thought to be a collection. My second phase comes from a more conscious place – I already had IN SANA for a year when I designed it, I was more aware of the difficulties in making glasses. These phases are completely different but they come from the same need of looking for something more meaningful, and shape myself into a better person. Find out more about the brand at www.in-sana.com An interview by Victoria G. L Brunton exclusively for Eyestylist.com. All rights reserved.

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How long have you been making spectacles? Please tell us what got you started and why it is a skill that should be carefully preserved? Is it part of your family tradition? Sawada Yaemon: I have been making eyeglasses all my life, dedicating almost sixty years to this craft. The know-how has been passed down through generations, from my grandfather to my father and now, me. It has always been a family business, started by my grandparents. We used to make eyeglasses for Japanese and American companies in the 1950s.

Throughout the years, I’ve only known how to use tools and machinery from the 50s; the same methods are still practised up to this day. I’m not good with new technology and I think it’s always good to preserve this generational family tradition of making eyeglasses by hand. I believe in every eyeglass we make lies the soul and touch of the craftsman. Using this traditional method, we ensure the unrivalled quality and sophistication of our handmade eyewear. We’ve never changed anything, just making small changes in eyewear designs for our creations to be current and loved by everyone.
In Japan, it was impossible to predict the future of the eyeglasses industry. This business has had its ups and downs, especially since many companies moved their production to other countries in the 1990s. We do what we can do to preserve our generational craftsmanship, passing it down to the next generations despite having to go against advanced technology and modernisation.

Eizo Onami: The idea is to preserve our Japanese craftsmanship in eyewear making — this is the very reason why we started TVR®OPT Japan some ten years ago. We wanted to keep this industry going as very few factories in Japan have been able to sustain the business up to today. And we are very much aware that the artistry in handmade eyewear-making is fast-fading. Many factories are closed and craftsmen get older, or retired due to old age. The fact is, the younger generation isn’t taking up this work and isn’t interested in craftsmanship.
What we have employed before and today are the same — using old machinery. We can only make small batches of eyeglasses every year, significantly inferior to machine-made ones. Because we are ‘hand-made’, we have limitations and our production will not be able to cope with larger numbers. But know that what we are maintaining and preserving are the integrity and the authenticity of eyewear history that cannot be replicated elsewhere. This is our pride and joy.
TVR® OPT (True Vintage Revival Optical) was created based on true size, vintage design and the revival of old classics, with a tagline of “The Art of Recreating Classic Eyewear”. OPT means glasses company in Japan. TVR® OPT uses only time-tested methods to create “revivals” of classic frames. At TVR® OPT, we believe that retro is not merely vintage objects, but a vision of the past and present embodied in one’s sense of fashion, attitude and being. With that ethos, we started TVR® OPT in 2013 to continue the work of the craftsmen here in Sabae, and to share our pride and joy to people all over the world.

2. Today you are working on the TVR® OPT frames, putting your skill and dedication into frames that are timeless, quality- driven, and technically very precise. What are the biggest challenges? How long does one frame take and how many steps are there? What is your favourite part of the work?
Eizo Onami: TVR® OPT is still a young brand compared with other Japanese brands in the market, most of the other brands are over 100 years old. The biggest challenge is to keep improving every detail and craftsmanship. Everyday there are more and more new brands in the market. But I think it’s good competition, and it keeps us moving stronger forward while thinking of ways to improve and to constantly innovate with new ideas each time we launch a new collection.
We only use time-tested methods to create ‘revivals’ of classics and vintage frames. These are limited pieces produced by the hands of our artisans and TVR® OPT promises a delivery of true vintage pieces that withstand the test of time. At the same time, our team constantly finds ways to keep our designs current while improving every detail on the eyeglasses.
Sawada Yaemon: One of the biggest challenges is maintaining true craftsmanship. We are not considering relocating or even replacing labour with machines. We started with handmade craftsmanship and continue to do that up to this day, and the old master craftsmen still insist on keeping the whole handmade process true to their craft and artistry. TVR® OPT has been fortunate to be able to work with them and continue passing on this craftsmanship from their hands to the final product.
Many people wouldn’t have known that each eyeglass will take between 8 to 12 months to produce and there are as many as 200 manual processes involved in making an optical frame. Some collections like TVR® SERIES take longer, between 15 to 20 months due to its complex nature. It gives me great joy to see that my work and craftsmanship have been loved and worn by our beloved customers, making every minute spent worthwhile.

3. You are working out of Fukui? Tell us about this incredible eyewear destination and how the eyewear skills of the region are being preserved and passed down to younger generations?
Eizo Onami: Yes, you’re right. Over 90% of eyewear frames sold in Japan come from Sabae, Fukui Prefecture, Japan. Sabae has always been known for inventing the concept of nose pads and developing the use of titanium frames in the 1980s. Paired with a rich history in eyewear production and eye frame manufacturing, Sabae represents the history of handmade eyewear in Japan itself.
For those who didn’t know, the art of eyewear making started during the Meiji era when this technology was first introduced in Sabae. The city is also known as the ‘City of Glasses’, and the people here have developed their own style and artistry throughout the years. The industry began as an off-season side job for agricultural workers, but the demand grew exponentially after World War I. In the late 1930s, approximately 1.5 million celluloid eyeglasses were produced annually in Sabae — the same way and method practised by the TVR® OPT artisans today.
However, it is inevitable for this generational craft to face its own adversities. Many of our master craftsmen are octogenarians, and it is hard to have them replaced. These artisans have spent their entire life perfecting this craft, using knowledge and ‘sixth sense’ in creative every detail you see on the eyepiece. This is very different from mass-produced eyeglasses. And if it’s not being preserved, it may even disappear after my generation.
Sawada Yaemon: If I may add, it is very tough to get the younger generation into making handmade eyeglasses simply due to the long hours of sitting in the factory doing the same work everyday. You need to have a very zen and calm mentality — it’s imperative. On top of that, most of the young people find better opportunities outside of Sabae city; they move out and go on different routes.
The truth is, there are many families of traditional craftsmen who wish their business will continue or be passed down to the future generations. But due to its demanding nature, many family businesses have been forced to shut down as there are simply any takers who are willing to continue the legacy.
As a fellow craftsman myself, I am lucky because my son enjoys this job and he has been trained since he was a child. Eventually, he developed really good polishing skills and has been a meticulous person who finds joy in every detail. I hope he will continue what my forefathers have started and take it to the next level.

4. What elements of the work you do are different from say 20 years ago?
Sawada Yaemon: We are still using the same technique and old machines from five or six decades ago — the same ones I used since I started too. We still prefer to keep the same legacy from my grandparents and parents. There are not many factories in Sabae who still have and use old machinery like we do but of course this has decreased significantly in the last 10 to 20 years. Many craftsmen have already retired.
Every year, we face a lot of challenges in the industry and it gets harder for us to sustain the legacy of our craftsmanship. So the constant need to innovate is another component that is different as compared to 20 years ago. That’s the only way to keep up to today’s market demands and standards.
For example, our most recent launch comes with the Dragon Metal core details. I believe we are the first brand to create such an intricate detailing in the core. It all started when we came across the pattern details but you’d hardly find the Tebori technique in its making. This has taken us 12 months to produce, including research and concepts to the final execution.
Eizo Onami: At TVR® OPT, we want to continue the legacies of master craftsmen in Sabae. We would speak to them, and find inspiration through the work that they do. Most of the master craftsmen are more than happy to share their knowledge and wisdom in eyewear making. Together with that, we are also able to get insights into original templates and blueprints, including authentic molds that will help us to truly revive vintage eyewear.
TVR® OPT is not just a business or a brand. We are a community. Over the years, TVR® OPT has started to create job opportunities for craftsmen living in Fukui to keep the Japanese craftsmanship alive for as long as we can. Additionally, in ensuring that the eyepieces meet the authentic standards of handmade craftsmanship, you need someone who understands the original construction method from the 1950s and 1960s. That’s something we do not compromise on.

5. What are your most important eyewear characteristics in Japan, and why are they held in such high esteem?
Eizo Onami: One of the main characteristics of Japanese craftsmanship is the kind of detailing that the craftsmen put into every creation. There is a tendency to pay extra attention towards the minutest of details. The spirit of Japanese artisanal craft involves spending time and effort to get the final product precisely right. The economics of the product are not so important as for these folks; the aim is to produce something faithful to the fundamentals of the craft and its authentic designs.

6. Finally – outside spectacle making – what other special crafts do you admire, and if they are particular Japanese ones, could you kindly explain what unique qualities they possess….and why the craft you mention is so highly skilled.

Sawada Yaemon: As part of my family history, we have a lineage of skilled thatched roof craftsmen belonging to the esteemed Yaemon family. For centuries, our ancestors meticulously crafted roofs using traditional techniques, gracing Japanese homes with the beauty of thatched roofs. However, as Japan’s architectural landscape evolved, my great grandfather realized that we need to adapt and diversify our expertise. Approximately 80 years ago, with the decline in thatching materials, we took a bold step forward and embraced a new venture. Our family transitioned to become skilled artisans in the art of handmade eyeglasses, combining traditional craftsmanship with modern touch.
For many generations, my family members have been trained in eyeglass making. We have been carrying this special craft since my great grandfather’s time. Japanese are very good at crafts and we are precise. Eyewear is something that started some 100 years ago and the challenge is how we can make every eyeglass interesting? What are the next steps to make something simple and luxurious?
That’s how we incorporate the Japanese ‘Tebori’ technique into our eyeglasses — that’s the kind of attention to detail that we observe and practise for years. We also introduce gold plating on our metal core and rivets — very subtle. In other words, it is a ‘quiet elevation’.
Eizo Onami: TVR® OPT is also the first brand that is using this technique. The ‘Tebori’ technique was developed during the Edo period when Japanese arts and crafts truly flourished with its own codes of aesthetics. This engraving technique was employed in various objects including swords, hairpins, combs and many more. In order to perfect this engraving technique, ‘Tebori’ craftsmen have to first master the art of making a ‘tagane’ or a cold chisel that acts as a stencil-like tool for the patterns on the metal. Today, there is only one ‘Tebori’ craftsman in the optical field in Fukui, Japan and a few more in Tokyo focusing on pure gold products including jewelry, watch-making, ring and other gold trinkets featuring the unique hand-carving design; all marketed at very high values.
And that’s why elements like these are highly valued and prized — because they are very rare and almost inaccessible. When you wear TVR® OPT eyeglasses, you’re wearing a piece of history and heritage. You are wearing decades of craft, perfected. www.tvropt.com / www.tvropt.eu

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How have you developed such a passion for independent eyewear? Before starting in the eyewear business, I worked in a container leasing company. It was a great international atmosphere, but containers are just often dented, rusty or dirty. As a person with a sense of aesthetic and style, I couldn’t do that forever. When my husband wanted to start his own optical business, I knew: this was the right place for me. I had no idea about the profession at the time, but beautiful glasses fascinated me from the beginning. As early as 1989, we bought several independent brands for our new shop.

Tell us about the shop you owned. Why did you sell it? In 2005, I founded our second shop, Bellevue (Hamburg, Germany) because I wanted to focus exclusively on independent eyewear. For many years, this was my absolute dream job. I had a team that covered all the professional skills. I was able to live out my passions, my creativity and my strengths in customer advice, marketing and purchasing.

Of course, administration, controlling and organisation were also part of my tasks right from the start. In the last few years, however, I had to invest more and more time and energy in these areas of work. At some point I realised that as an entrepreneur I no longer felt as free as I had in the past. In the end, Covid-19 was not the reason, but it was the occasion to rethink my life planning. I wanted to start again and use all my experience, my contacts, my whole network within the independent eyewear segment as a basis for my new consulting work. I wanted to really enjoy my work again. Pictured above: Karin Stehr wearing Gotti frames (www.gotti.ch)

What are you working on now? I inspire and advise independent opticians to create their own individual and unique collection of independent brands. Today, it’s about having and communicating a distinctive positioning. If you have a personal affinity for it, independent labels are ideal for this.

Do you have an affinity with particular brands? Why are they so special? Of course, over the years I have come to know and appreciate some brands and the people behind them very well. I have a very trusting, friendly relationship with some of them. No matter whether they are designers or the creative heads of their companies: they are all passionate about what they do and extremely consistent in the implementation of their vision.

I know many others more fleetingly and always have the same spontaneous impression. They are creative, demanding people. They have a broad horizon, are open and communicative. I am very happy that I can now get to know many more of these exciting people through my new work.

How do you inspire other people to have the same passion as you regarding creative, artisan eyewear? I think there are many more opticians who would love to sell independent labels as well, but don’t dare to throw out the supposedly safe, well-known fashion brands. Many also have the desire to no longer be dependent on the global eyewear industry, to have a different, more attractive offer than the neighbouring shops. I show them the versatility, the stylistic range, the authenticity of the independents. This makes it possible to put together an individual selection of collections for each shop, perfectly suited to the location and the customers.

It is particularly inspiring to get to know the people behind the brands and to be personally introduced to their history, design philosophy and future prospects. That’s why I’ll be offering guided tours of the major trade fairs in future, which I’ll tailor perfectly to requirements beforehand. This way, even newcomers can quickly and deeply immerse themselves in the independent cosmos. Every personal trade fair conversation with a founder, owner and/or designer, and even more so every visit to a headquarters or even a production facility, inspires and inevitably leads to wanting to share this exciting background with one’s customers.

What frames do you wear personally, and has your eyewear journey along the way included many different styles of frames? Are you wearing bolder frames than ever before? I am one of those eyeglass wearers who has a large personal collection and wears them all. In total, I have, reasonably correctly glazed, about 30 pairs of glasses and 20 sunglasses. There is at least one of every brand I have had in the store during that time.  I have collected them for about 20 years, some of my earlier treasures are unfortunately now lost.

Besides the basics in black, grey and silver, I like to wear more unusual shapes, materials and colours. I choose my frame daily to match my clothes and mood. I love bold styles, but with my relatively small and narrow face, I don’t like a look that is quite so radical on me.  In suitable weather, I almost always wear a La Loop glasses chain so I have my sunglasses with me all the time.

Give us your top tip on what you believe is super hot in 2023? It took a few months, but now I love the revival of flat, angular shapes, especially in sunglasses. I still have a cool red and white Face a Face, which is about 15 years old. I’m having them re-glazed now! To find out more about Karin’s work at True Eyewear visit https://true-eyewear.de

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First, can you explain your current role at Mazzucchelli and how long you have been working there? What does it mean to you to be part of such a historic family business? I am responsible for product development, one of the beating hearts of the company. I work with a super professional and passionate team, made up of people with different interests and passions, but all united by an innate sensitivity for the product. I have been working for the company for 13 years.

Mazzucchelli1849 is a family business that next year celebrates an important anniversary: 175 years. I can say that it is a great pride to belong to the sixth generation of the family who works in the company. On the one hand I feel very lucky to be part of such an important reality, able to create beauty with values, on the other I know I have a great responsibility towards the people who work in this large family.

What are the most creative elements of your job and what do you enjoy the most about it? In my role, I have the fortune to range from the creativity necessary for the creation of a new product, the ability of laboratories to create prototypes, from the most artisanal to the most technologically advanced, up to the production of what I like to call mass-produced uniqueness.

I think creativity is a very special value with which we are lucky enough to be born, it must be cultivated and everyone has to do it according to their own inspirations.

One of the fundamental moments for the birth of a new product is the idea: that feeling that does not leave you until it is realized. It must not remain something abstract, it must be shared and if, after discussing this idea with your colleagues, with the laboratories, it still conveys the same strength to you, it means that it must be created. And seeing the first sample made from this idea is one of my favourite moments.

Changes are underway in the optical business with the switch to more sustainable materials. Can you summarise how Mazzucchelli is committed to this switch? It is now quite a long time that Mazzucchelli is committed to sustainable materials, since well before the market and the customers asked for such a change. M49 is our sustainable material on the market now since 2010. During the years, we have continued to improve the performance of M49 material and to promote its usage among the customers, even if at that time the approach to bio, natural and sustainable materials was definitely much less sensitive than what it is today. Mazzucchelli is committed to improving sustainability of the materials through continuous improvements of its iconic M49 as well as the general improvement of its processes, with the increased usage of sustainable energy and improvement of the efficiency of the production processes.

What is your view of the opportunities offered by – for example – M49 – a bio-based and biodegradable material produced by Mazzucchelli? M49 is the only material capable of fully responding to the demand of a more sustainable material. It is a natural material, coming from wood and the plasticiser used is from natural origins, while the “normal” acetate has a plasticiser with fossil origin. Besides, acetate is a recyclable material and, within some technical limitation, can be re-used in some production processes, thus improving its sustainable footprint.

What other sustainable developments can you tell us about? We think in the coming future there will be a much wider usage of natural and sustainable materials, replacing the other materials. This is a no-return decision of the market. Therefore all the efforts will be to sustain this market change by enlarging our offer of M49 together with other solutions aimed at improving the global sustainability not only of our materials and processes  but also of the entire supply chain. The usage of acetate Renew helps to improve the sustainability through the Chemical Recycling Technology developed by our supplier Eastman. In this way it is possible to recycle the cellulose acetate waste without affecting the final quality of the Renew material.

Regarding 2023, what are the highlights in terms of trends and colours for eyewear? What for you really stands out for Autumn/Winter, and do you think there is one particular trend that we will see continuing into next year? I think this Autumn/Winter will give us the desire to seek out timeless pieces, which move further and further away from what does not coincide with our commitment to sustainability, which have stories to tell and preserve. We do not have to think of a basic and hyper-classic product, but of a contextualised product that looks towards the future. A combination of material and colour, tones that manage to lighten and give a boost of energy to any pattern. I believe this is not a fleeting desire, it is, in any case, the result of the stimuli we receive from nature on the one hand and from digital technology on the other. The basic colours are sophisticated and transversal, we can think of a rich palette of browns, rusts and greys, combined with brighter tones, contaminated by digital and at the same time empathic.

What are your passions beyond eyewear and eyewear creativity? My passions affect my work and my work affects my passions. I understood that the love for this job is something that is part of my DNA, my roots. And it was a discovery that I gained over the years, because my education goes beyond this world, I trained as a lawyer. Since I joined the company, and got to know the reality of product development, I can say that it was love at first sight.

Just as I love travelling, getting to know new places and different cultures. My father is Italian and my mother is Dutch, so I experience different influences myself and I like to look for beauty in the things around me especially in those I don’t know.

I love to fill my eyes with beauty: whether it’s a painting that attracts the eye, a walk in nature with my children, a city by the sea, a good local dish or people who spend happy time together. I never get tired of looking around. And I have a thing for colour, in everything I do. Professional deformation….

www.mazzucchelli1849.it

The post Elena Orsi Mazzucchelli, Mazzucchelli 1849 appeared first on Eyestylist.

Tell us a bit about yourself; how you grew up, what put you on the path you’re currently on…I come from the Northeast of Scotland, it’s an area full of colourful characters, great music, and lots of talented designers. I studied graphic design in Dundee and spent a lot of time in London, so it was an eclectic path full of inspirations.

How would you describe yourself? Committed.

What is your earliest memory of fashion? Fashion for me was always tied closely to music. Blondie, Patti Smith, Keith Richards, Vivienne Westwood. I always had a good understanding of colour and aesthetic; punk was a strong source of inspiration for me, it still is.

Have you always been a creative person? Yes, I think so. I was always drawn to colour, fabrics and aesthetics, as well as art and music.

What stands out to you most about the eyewear industry? That there is a place for everyone. You can be free to design in an understated way, or a really bold and outgoing way and people will support you and be open to your ideas. I love the pace of change and how new ideas emerge.

Does your culture and home country influence your work in any capacity? Definitely. Scotland is a small but strongly independent country. No nonsense and full of contrasts: gritty backstreets and noisy bars, but then spectacularly beautiful landscapes. My work is generally understated, but if you look closely, you see the quality and the effort that has been put in to create the relationship between the frames and the wearer.

From where do you draw the inspiration for your collections? Women, always. Again, a lot comes from the music I listen to; certain era’s and looks will inspire me. But it all comes back to women I see in the industry, or friends I meet. I travel between Scotland, London and Paris quite regularly, so I absorb different looks, and from that breeds new angles.

Tell us a little about your most recent line-up… My collections have evolved over the past few years from being heavily 60s and 70s inspired to being more unique to my personal design aesthetic. I have worked hard with my French factories, and I feel I have created a language in my collections that is strong but also understated and unique. Some of the shapes that seemed very strong in earlier seasons have developed into becoming best sellers. Obviously, colour is a signature as well as a consistently high-quality finish.

What do your designs say about their wearer? (Name one, two or a few) I think on and consider my customers a lot. I create clean and uncluttered external finishes and put more intimate details on the inside of the frames. Jean and Stevie are strong and confident frames; they’re bold, whereas Teddy and Stella are more 60s inspired; softer and pretty.

Your brand seems to be extremely bold, fashion-forward and exciting; would you be open to expanding into other areas of the industry at some point in the future? Actually, I have been designing fabrics and clothing all of my career, it’s just been in the background. I have enjoyed focusing on eyewear but, with my Scottish roots, fabric and pieces that are particularly inspired by music and punk culture will never be far away. This year, I released a collection of knitwear working with one of Scotland’s oldest knitwear manufacturers – the results were incredible. That capsule is on sale now as part of my Spring ‘23 collection.

What’s next on the horizon for Danielle Rattray? I hope lots of travel, and continued progress in finding great stores to work with. We will keep our focus on the United Kingdom and France this year, but we have strong demand coming from New York and I would love to see Danielle Rattray present there. I have some new design elements coming into the collections this year, so I am looking forward to Silmo.

For more details about the brand visit www.daniellerattray.com An interview by Victoria G. L. Brunton exclusively for Eyestylist.com

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Capote Eyewear is becoming noticed internationally for its fusion of ideas, qualitative production and its one-of-a-kind design and design philosophy. Can you explain a little bit about how it all started? I’ve always been a vintage sunglasses collector. In 2014, I decided to open my own vintage sunglasses store, a key transition to the building of my own brand that started that summer. Capote slowly started in 2015.

What does Ibiza mean to you and how is it so intrinsic to the feeling of the brand? Ibiza’s fascinating art scene attracts inspirational and fashion-conscious people. It is therefore fertile soil for pushing the boundaries of conventional design and fashion. It was thus through a natural process that Capote flourished on the island.

Has Ibiza always been your home?  Ibiza has been my home since 2008. I grew up between Caracas and the countryside. After leaving Venezuela, my interest in getting to know different cultures pushed me to travel around the globe. That’s also why Capote’s community is so diverse and multi-cultural.

Capote has a store in Ibiza and it has existed for some time. Can you tell us about it and what your plans are for it? It is a flagship store that we are currently renovating to bring in some freshness for summer 2023. The main idea behind this store is to represent as much as possible the Capote vibe. The space is divided in two: the physical store is downstairs, and our lab occupies the first floor. The lab is dedicated to the development and customization of the frames.

As a brand, what have been your challenges in getting to this point? The main challenge is to bring an innovative approach and materials to our collection. This is why we’re taking the best out of aluminum, acetate, recycled material, stainless steel, titanium, rubber, etc. We explore a variety of techniques to shape those into frames and make them unique. Another challenge is keeping the link between the brand and the custumer as direct as possible, by encouraging a micro-production that involves few intermediaries. Last but not least, we aim to develop and maintain a strong community around Capote, which is an enjoyable journey but sometimes quite tough.

You have a particular notion of eyewear design, materiality, harmony and inspiration such as nature…how would you describe the frames in your current eyewear collection for Spring/summer 2023? By incorporating nature-inspired silhouettes, colours and textures, the new collection’s roots mirror Ibiza’s natural architecture. The new frames are formed by the combination of two or more simple shapes, giving more dimensional strength to our designs. In this geometrical collection, angles meet natural shapes and lines cross curves. Harmony is found in an area of contrasts and juxtapositions, providing fertile ground for limitless creativity.

We noticed you recently did a cool looking pop-up in Paris. How did that go, and what did you learn about the Parisian consumer? We decided to develop the Parisian pop-up during Fashion Week. This super exciting new chapter is meant to get closer to our community by offering the Capote vibe within easy reach.

About the Capote Eyewear collections for 2023: This year’s collections comprise ‘Animism’ titanium and acetate ranges and ‘Area’, inspired by the sun-soaked landscapes and architectural style of the island of Ibiza. The selection of angular, textured frames includes titanium/beta titanium geometric pieces in a palette of black/brown/bronze and antique silver. The Amour style breaks up the minimal direction, but perfectly sits with it as a charming, heart-shaped design worked artfully in titanium. Quite a different story from the ubiquitous ‘commercial’ heart glasses, the result is an eccentric artisan statement of design, fun and free-spirited.

The Animism Collection – Animism derives from Latin, anima means ‘breath, spirit, life’ –  perfectly embodies the feeling of the brand with the concept which attributes inner life to both animate and inanimate elements of the world. The eyewear in the line – which includes nicely proportioned artisan styles in acetate or titanium, suited to sun or optical lenses – also presents the INCUBUS mask, constructed in steel and rubber with Carbolite lenses – and originally designed by Capote for the desert festivals and Burning Man. Find out more about Capote Eyewear on our link at https://www.eyestylist.com/2021/02/mens-glasses-capote-eyewear and at www.capoteeyewear.com

The post Eyestylist Exclusive: Alexander Capote, Capote Eyewear appeared first on Eyestylist.

What are you working on this week? As usual I’m working on several things at the same time. The priority is to finalize, together with our Sustainabiliy department and Graphic Designer, our first Sustainability Report regarding the year 2021.  I’ve also been working a lot this week on our new office building project. This year we have bought a 600sqm space in a post-industrial building in the city of Porto. It’s an ongoing project work we started several months; we are  transforming this old industrial space in a beautiful new office.  I’m also finalizing the designs of the SILMO 2023 collection, which we need to start prototyping now. Designing product is always a big responsibility, and this week I need to finalise the collection! I’m very happy with the new concepts planned for SILMO 2023.

What was your most important release at SILMO 2022 and what was the feedback? Our most important release at SILMO this year was model BL0034, which was nominated for a Silmo d´Or. A small unisex square sunglass shape, with round lenses, this minimalistic model stands out for its super small silhouette, nonetheless, the model is interesting because it can fit a great variety of faces due to its generous width of 145mm.

The feedback we received on this style was extremely positive. Customers liked the uniqueness and the avant-garde concept of the model. They were surprised that such a small sunglass could fit so many different faces. The best market feedback for us was the fact that this model was totally sold out by the second day of SILMO. We are bringing it back again for the MIDO fair in February, with new colorways.

VAVA is involved in projects outside eyewear…..what was the NEOPOP installation? Do particular styles or concepts of art work inspire you? We have always collaborated with Electronic Music Festivals. Back in 2014, the year of VAVA’s launch, we did an important installation at SONAR Barcelona called “RE-ENVISION”. This year we did a beautiful installation at the first SONAR Lisbon. This summer VAVA presented the SPEED – SLEEP installation at NeoPop festival. This space seeks, ultimately, to become a converging point of exchange between customers, artists and music lovers. The installation aimed to explore the dialect between Speed and Sleep. When one first examines the history of the modern age, its seems to be predominantly a history of SPEED. Avant-garde art and design has been visibly in the vanguard of this development and has produced plenty of inventions and innovations that keep the world moving. We are witnesses to the fact that the fascination for speed has been tied to its exact opposite – the desire to pull back and slow down, SLEEP, the craving for relaxation and contemplation. Modern life increasingly imposes itself as a flow of two complementary tendencies: speed and sleep. VAVA’s installation at NeoPop reflected this dualism in a unique way, moving towards a critical theme of modern society.

My keen interest for the Bauhaus movement and minimalism goes back a long way. Basic shapes played a pivotal role in Bauhaus ideas and the way they taught art.  Basic and simple shapes, like squares, circles and triangles, the most common shapes in the industrial world stimulate my vision in design. Much of the man-made world is composed of these shapes. On the other hand, I’m very much inspired by science fiction, films like Metropolis, Blade Runner and Space Odyssey, that results from an excessively one-sided belief in technological progress.  I wanted to make a label that could associate the highly conceptual language of machinery and the arts. Ultimately, the brand aims to achieve a contemporaneous basic look and at the time an aesthetic which is conceptual and timeless.

Sustainability has become an important focus in what you develop. What is VAVA doing that is over and above the ordinary in this field? Back in 2014, VAVA was already putting efforts into creating a more sustainable product – a task in which we succeeded – but since then we have put so much of our energy – as so many start-ups do – into trying to navigate through the big waves of the industry. But WE – and society as a whole – need to do much more because the changes required simply are not happening fast enough.

Today VAVA shares this sense of urgency. We must act now. In 2021, with the launch of THEOREM, we entered a new phase, an era where sustainability plays the leading role, and this will be our most important project in the coming years. We are working hard to play our part in the global transition and create a more sustainable product, all the while being a business who truly lives by its values. Protecting our planet must go beyond downsizing our own environmental footprint.

“It is vital that independent labels lead the way and implement advanced sustainability programmes. We are very proud to be launching our first ever sustainability report….”

As we head towards Xmas and then a series of optical fairs (opti/100% Optical and MIDO) what are you preparing, can you give us a sneak peak? We are pleased to announce that at MIDO 2023 we will be showcasing a very important collaboration with an American Musician. She is a pioneer of electronic music who has been pushing the boundaries of music. She is a musician, sound designer and composer, who found early success in the 1970s with her electronic music and sound effects for films and television commercials. She has been also Grammy Award nominated. We will announce more about her before MIDO!

At  the same time, and in time for opti, we will be presenting our newest models from the aluminum series – they had been completely sold out for some time. Our customers will be happy to have them back again. We will launch some ‘carryover’ models in new VAVA colours. Find out more about VAVA Eyewear at https://vavaeyewear.com. Portrait photo (top) by Amanda Sellem (at Silmo 2022), exclusively for Eyestylist.com. 

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What is the current focus at SALT. Optics? At SALT. authenticity is paramount. 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 along the way.

How have the collections evolved in the last years and through the difficult times of 2020/21? Well, in this current global situation every industry is feeling a crunch on raw materials and production. Even in a pre-Covid world though, eyewear requires such a long lead time to produce. The process of bringing a style all the way from design concept to a frame on a shelf can easily take up to a full year. If you don’t truly know why you’re making a frame and what customer that frame is meant to serve, then you can find it may be lost before you even launch it. With that kind of investment of both time and resources, you really need to have conviction for what you’re making.

We have noticed some really beautiful new details appearing in the frames. What is your hope with these elegant additions? Thank you! We’re glad you noticed them. The idea is to offer a timeless, original style that delivers the highest optical experience possible. 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 elevate it with design features and quality materials such as custom stamped core wires, proprietary colors of Japanese acetate, and functionally engraved Aerospace grade titanium. Timeless doesn’t have to mean boring. This should be a product that you are excited to wear a few decades from now.

Is California still at the very heart of the brand? How does your retail / optician background continue to influence the collections at SALT.? We both live, work, and raise our families here in California, so it is a big influence on our day to day lives. That is inevitably going to make its way into anything we do. However, SALT. is really only one-half California, with the other cornerstone being Japan. Aspects of Japanese culture such as integrity, discipline, and respect very much inform the SALT. design process. We spend a lot of time in Japan each year to ensure that the production of our frames and our partnership with the factories is as excellent of quality as possible.

Our backgrounds in eyewear will always inform our process and priorities in design. As opticians, we were frustrated that it seemed many designs were based on looks and not optical performance. Our goal is to combine the two. There are a number of features that are built into the design to ensure that integrity of the lens, and the Japanese material selection and manufacturing support this. Each piece of SALT. eyewear is specifically crafted to help the dispensing optician provide the most elevated product possible and deliver the highest optical experience to the end consumer.

What activities are important to you for the brand close to home? We believe the most impactful way to share the brand philosophy is to experience it in person. As such, we recently opened the first flagship SALT. retail store here in California. We love speaking about the brand and our philosophies around eyewear, but it’s amazing when someone can walk into our space and experience the passion, expertise, and quality of SALT. without having to be told about it. That’s a really exciting thing to see.

What are your plans coming up into 2023? We’ve got a lot planned for next year, new product we’re very proud of, and a major collab that we can’t wait to tell you about. SALT. is growing and evolving in very exciting ways. Stay tuned!

To read our feature on the new SALT. store, visit https://www.eyestylist.com/2022/10/salt-optics-opens-first-flagship-store/ – to find out more about SALT. Optics visit www.saltoptics.com

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“I started working at DITA Eyewear in 2006, and my own brand Diffuser Tokyo was created six years later in 2012,” says Masaki Hirose, the Japanese founder of Diffuser Tokyo, an innovator in accessories who has changed the face of what these products once were. “At that time, many people around me were working with Japanese clothing brands, and I think I learned a lot from them. When I was in charge of domestic sales, I was in constant communication with many people across the eyewear industry. They were looking for something the current market didn’t provide: fashionable eyewear accessories. I researched the accessories market and discovered many high-end eyewear stores didn’t carry eyewear accessories: they were unavailable.”

Masaki discovered that the number of stores looking for new designs and fashionable eyewear cases in the Japanese market was increasing rapidly, but there were only cheap and ordinary accessories which were mostly manufactured in China.

So he embarked on a journey to make on-trend, stylish eyewear accessories for the stores himself. “I had no design experience, nor any knowledge of how to procure raw materials. There are some suppliers out there who do not welcome inexperienced people, and I had a hard time finding the right ones to work with at first. Many refused to sell materials to us. Now I feel blessed that Diffuser has gained so much support from the eyewear industry and consumers, making it the popular brand it is today.”

Masaki started out with an interest in optics and fashion retail, which helped. “I was interested in both so to speak. Both have philosophies rooted in fashion per se, so I found both industries interesting even if the way of thinking and perception of each one is actually completely different. Of course, as I mentioned, there were not many options in the field of optics when I started this brand; I couldn’t find eyewear accessories that men like me were enthusiastic about or wanted to wear. I therefore focused on design concepts and materials used in other types of products…my products were based on the idea that the customer who purchases it will feel some kind of excitement and joy…”

Realising the limitless potential of something more stylish and design-focused, the range became extensive and more orientated towards gender-fluid design. “We are not aiming to segregate our products according to gender. When we start our design process, we start with the choice of the materials before moving into texture, shape and other aspects of sourcing to create a style suited to anyone. At the present time we have many female customers; some of them tend to lean towards our more masculine products and we’ve welcomed this from the start.

The brand has also differentiated itself by collaborating with small artisan studios and creators in Japan. They work with leather specialists outside Tokyo. “Many of the leather artisans had reached a turning point when I started this brand, so I started working with them. Some of them had never made eyewear accessories before. Our cord factory, for example, takes on new challenges every day in order to respond to my requests. We believe that this initiative can improve their sustainability and in turn ours, and lead them to acquire new technologies and opportunities.”
Masaki adds that he also sells a product that can easily be repaired. “Effective and valuable usage and reduction of waste is a kind of Japanese value in the present day. We provide the customer with after-sales service repair and technical advice, and we’ve seen from the few repairs we’ve made so far that customers want to continue using our products even if they were purchased a long time ago. Like taking care of a favourite leather shoe, this is another way to reduce waste and remain eco-friendly.” An exclusive feature by Victoria  G. Brunton and Clodagh Norton – Eyestylist.com

To find out more about DIFFUSER TOKYO visit https://diffuser-tokyo.com/en/

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 Tell us about your early life, and the journey you have taken in order to get to where you are today? I studied industrial design in Bolzano, Northern Italy. I think when I applied, my first intention was to be a graphic designer. I had liked my classes in industrial design and communication design and actually right up to the first half of the year, I realized that I really wanted to do product design and create objects. So, I graduated in industrial design and my plan was to become a furniture designer or a household object / interior designer. Then, I started to work in Paris doing an internship with a designer who was working with fashion as well as in product design.

I intended to stay in Paris for four months, and in the end I stayed for years. After the internship I got into working a freelance job which rolled into another freelance job and so forth. Eventually, I began working for an Italian designer who shared his space with an eyewear maker Jacques Durand who was working alongside Mikli at the time. He was a big name in the city – everybody was talking about Mikli. To be honest, I didn’t really know Lee’s glasses because I was not involved with and didn’t have any contact within the industry. I never truly thought about working with him. It was all very new for me. In the moment it was more like an arrangement, sort of like “let’s share the space and maybe my assistant can give you some assistant work as well”. Then, from my perspective, it was solely about a paid job – you know, of course a rarity in the design area. So I said, yes. I think he also believed it was interesting to have somebody who was a designer, but didn’t know anything about his area – something that would make it interesting, and someone he would actually quite like to do some projects with.

He asked me to help on some collections and to design with my own eye. I have to say it wasn’t something I was always yearning to do, but I thought I’d like a bit of a challenge. It wasn’t at all a window into my future career at first, but it was more like, why not try it?

I crafted my first design with cardboard because I didn’t really know how to approach it. So, then we created the prototype frame with a model maker in acetate and presented it at Silmo in 2010 – and it won a Silmo D’Or! It felt like my first real moment after joining the eyewear world. It was a big surprise.

At the time I didn’t have a brand or a name in the industry, so the frame was just a number, without even a title. I think that kind of led me to believe I had a talent for design in this area, and pushed me to start this journey. I thought, if I am going to do it, I’ll do it with my own name – not as a collaboration or in a position working for someone else – but to try it for myself. From then on it was a strange and slow start: four pairs of glasses and two years later another four pairs of glasses and so on. It was never really a launch, you know, or a collection. That’s why I consider my growth into this world really organic; I wasn’t jumping in the deep end, I wanted to keep up my work in furniture design too – I would’ve felt as though I was cheating on my original dream if I had neglected it.

I understand you design for a number of luxury labels across a multitude of areas, one of which being Hermés – what is your opinion of luxury / fashion house eyewear brands VS independent labels, in terms of how they work? That’s an interesting question, especially in terms of comparison with Hermès. I can only speak about that brand, because I have only worked within that brand and it’s my own reference. But to be honest, I think they work almost like an independent label. I mean, they’re still mainly family owned, they produce a lot of things in France and they have really high standards in terms of morals and ethics regarding their employees as well as their production process and materials. So, I really admire them.

Since being invited to and attending their silk screening process (in making their famous scarves); the final setup, the drawing and it’s printing, I really understand now why all of this has a certain price. There’s so much craftsmanship and so many steps and work that goes into it. I really appreciate that they do this. I think they’re a very good example of how a big scale company can work.

Of course, I know for other luxury companies this same perception is not valid. They have to make certain turnovers, they have targets and of course they produce so that the cost is lower and the production is cheaper. So I think Hermès is maybe not the best company to compare independent labels to, because, as I said, I think they act quite like an independent label themselves.

I actually think maybe this approach, the money saving approach, serves independent labels as opposed to threatening them. I mean, opticians are aware of the discrepancies between both luxury monopoly brands and independent labels; if someone is looking for a frame that is more authentic, handmade or with a narrative, they’re going to suggest an independent label. In short, these luxury labels don’t really cloud the industry for independent brands, it actually gives them an opportunity to shine through.

As aforementioned, you work within a multitude of areas – did you always want to explore eyewear or did you simply want to work within design in any capacity? I still work across all those areas, so I always kept my design studio work ongoing and then I realised at a certain point that I quite liked to create not just one but multiple aspects of a brand. So of course the eyewear itself, but then the whole communication, the imagery, the logo etc. Yes, the product and the thing I design is glasses, but I like taking care of the entire brand; trying to reinvent certain things, add things as well as to establish and reinvent new things. I have to say in the beginning, I wasn’t so sure I wanted to be in this world – completely. Sometimes I have these moments still, I can loathe my design for several days and then all of a sudden, after sticking with and trusting the process, the following day I really love what I do and what I’ve created. It’s funny. Ultimately though, I think what I love about eyewear the most is that it’s something people actually need. I mean, it’s almost like a prosthesis: it helps people to see, so you don’t have to question yourself about what you’re designing and why. The answer is simple – like people need food, they need quality eyewear, they wear it all day every day and it’s necessary to be able to see. That’s what I love the most, and probably – a big part of why I’ve stuck around.

Do you have a preferred area of work? I can’t really say. I like eyewear, and I think now sometimes I feel a bit more comfortable with it because I’ve been doing it for 10 years now, but when I take on a new project – one I’m less experienced in – I also really like the challenge of that. Somehow though, the process is a bit more painful because I’m more insecure and I have to think more or I have to really work hard to get the result I want. That being said, perhaps that even satisfies me more? It really depends on the project. As long as I’m interested and enjoying whatever project I’m working on, on a personal level, then I consider it to be a positive one. If I wouldn’t buy it myself or if I don’t love it myself, my job is not done. It’s like picking your favorite child, you cannot pick one. Right?

How do you find your work in jewellery design influences your work in eyewear if at all? Well, the thing for me was that it went the opposite way. I was designing eyewear and then I was asked to do one jewelry project for Hermès, and the rest is history. I don’t have a background in jewelry, but then the pieces we did for Hermès were crafted in horn which is quite thick and similar to acetate in terms of manipulation and use. Also, we actually did design a rim that we had to put the rope through in the same way you would put the lenses into the frame. It’s all on a really small scale. So, I suppose perhaps in terms of technique as opposed to design approach, it was quite similar to my experience in making glasses.

Where do you source inspiration from? It’s not so easy to say. I think I have a great need for aesthetics, clean and pure visuals. I only feel good when certain things are a certain way, I like clarity and contrast. It could be a lamp in the street, a smooth surface by a rough one or even a strikingly nice colour, or one I hadn’t noticed in a while. The other day, for example, I noted the colour of our house. It’s really nice! I haven’t seen it for weeks. I’m even more inspired when I’m somewhere else for that reason. When I’m home I’m used to my surroundings, whereas when I travel I am more observant, taking everything in and actively looking around. I find myself less inspired by other objects and more inspired by abstract sources like these, the finite details and the little things.

What is your opinion on sustainability within the eyewear business? Good question. I think this is another reason why I like working with eyewear in general. In itself it is already quite sustainable; it’s a small, mostly metal or acetate object that people wear daily, so it’s already not so bad. You don’t throw glasses away after a week or two. I think it’s more the production waste and packaging that we need to focus on, in terms of the environmental impact. We need a more circular system. How we produce and where we produce needs to be scrutinised. Reusing leftovers and discarded materials as well as being conscious as to where we source them in the first place, for example. There are things like Dermo lenses, for example, that are still not recyclable and I really do think there should be a better way by now. There are solutions out there that make total sense, we just need to find them.

Do you see sustainability becoming more of a ‘given’ for eyewear brands rather than a trend or selling point? I see it coming for high end brands I think. Simply because I don’t think you can justify disregarding the environment and remaining unconscious to the world around you when you’re that big. It should be more of a given in the future for sure, we’re not there yet, but we’ll get there. I think a demand for local production and the fact that customers are more interested in the origins of their frames is going to spark this change.

What are your predictions and hopes for the future of eyewear? I hope and believe that there are still a lot of surprises to be had in terms of new materials we haven’t discovered or used yet. More innovative methods of manufacturing or production. I think we’ll look back in a few years and say why didn’t we do this before? Speaking of aesthetics, I think more ‘invisible’ eyewear could be next. Not everyone wants to make a statement or wear a piece of art, there’s a demand for minimalist frames and I think combined with my prediction of technical innovation it could be exciting – I hope it’s exciting, anyway. I am working on a new recyclable material for my own frames. I can’t say too much because it’s a work in progress, but that would be a really interesting material too – if it works out. So, hopefully you’ll see the results very soon! Find out more at www.eyewear.veronikawildgruber.com Interview by Victoria Brunton exclusively for Eyestylist.com

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Rolf Spectacles, one of the pioneering small companies in the eyewear business, which remains true to its focus on quality and innovation in producing natural products with respect for the natural environment, has launched the first texture for its 3D printed plant-based frames. “This is the first release in the 3D printed substance mount collection made from castor beans,” Bernhard Wolf told Eyestylist. “There are more to come.” This first texture announced in March (https://www.eyestylist.com/2022/03/rolf-spectacles-adds-texture-to-plant-based-frames/) has a detailed pattern that reproduces the textures of natural structures like rock, dry earth. “If you look closely the pattern fades out towards the temple tip, this has taken a lot of tests and trials to get right, all done in our workshops in Austria. We are now working on new texture effects, always inspired from nature around us – the next one will appear in the regular substance line.”

In true Rolf style, away from the eco hype, the team has continued quietly through the last months in developing the possibilities of the 3D printed plant-based eyewear, while also turning attention to the development of 3D printed titanium designs. “We are always building our skills to create everything here in one place….we are completely self-reliant, everything is done in-house and finishes by hand with a process that strives for quality, continuity in innovation and always with transparency and  a genuine respect for nature and the environment. Above:  Brothers Bernhard and Roland Wolf, Rolf Spectacles

Meanwhile, other new projects have been evolving successfully. With several new dads among the team at Rolf, a kid’s collection was inevitable. “The great thing about the plant-based 3d material is its comfort and durability, it’s ideal for youngsters,” Bernhard told Eyestylist. “We are going to launch five new shapes for kids in four colours. We have also studied the possibilities of a really extremely comfortable Asian fit, this material offers the right versatility, strength and style.”

In the  wood collection too, time and effort has been spent in researching bestsellers, whether shapes or particular colours of natural wood to further develop the line to accommodate what the customer really wants. “We have been able to put a lot of work into creating combinations of favourite wood colours, and the results are really something – you can play with two types of wood on the front and the lining for very different effects in the mix of colours and grains.” Rolf Spectacles will exhibit at the trade fairs MIDO and Opti. To find out more about their natural collections, visit www.rolf-spectacles.com By Clodagh Norton – All rights reserved.

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We have read that your love of visual expression started out at a young age. When was it that this passion first ignited and how has it continued to develop over time? Well, I think it probably started before I can remember. I say this because I’ve been visually expressing myself for as long as I can remember; whether it be drawing, painting, ceramics – whatever! Nowadays, I believe it is referred to as “a maker”. I’ve always been making things because although I liked the academic world as well, I fell in love with the feeling of actually creating something. It’s the fact that you can see it right in front of you, what has come from your work, from your imagination, you know? You have something you can literally touch, that started out as an image in your head.

Where do you find the inspiration for your work? It’s difficult to answer actually because it comes from a buildup of expressions from various sources. It can be, if I can find a word – it can be something like a type of light, for example; if I go for a stroll in the woods, it can be the way that light hits the trees or, how it falls down through the leaves and makes a pattern on the path that you’re walking on. Or it can be colour; there’s always such a lot of shades of green in nature, it’s in the trees, it’s in the leaves and it grows in mushrooms and fungus – the textures of those natural entities too, are incredibly special and inspiring. If I’m feeling totally lost, I go to an art museum because there’s always something there to spark my imagination – if I go and see what other creative people do, then it inspires me to go home and do something just as amazing. The same thing is true for architecture, I think a city like Paris that has all those beautiful cast iron balconies and details like that, it’s always going to make you feel something. Above: Charlotte Dokkedal Leth, Co-founder

As someone who is passionate about design, was creating a career specifically in the eyewear industry always your dream? No, it wasn’t ever ,actually. I ended up there by accident; if I hadn’t married Bo, I would have never got into the business – I think it would have been something else, something creative of course. When I was very young, being a designer or an artist was not really taken very seriously, it was not considered a “real job”. My parents said you will live a good life  if you go to this school and complete this course, and I thought ‘okay, I’ll do this and see what happens’. So, for many years I was in the IT business; my education is in Software Programming and I have worked within that industry for twenty years, in different areas. The fun thing about the IT sector is that one of the reasons there is so much freedom for creativity is that it’s a young business, so there are not many rules. When I started working in it, around twenty five years ago, there were not many options for education, or pathways; you had to build the business for yourself and find out how things worked, and what you can do with them. After doing this I married Bo, and he was in the eyewear industry; we went to all the fairs and shows and started discussing why we couldn’t find any of the frames we were looking for, and that’s how Carlotta’s Village started.

Could you tell us about your current collection of eyewear?  Of course! Right now we are focusing on acetate because that is where we started. The colours are translucent – I love the effect translucency has because it can reflect light and other colours; they can reflect what you’re wearing, they let your own skin pigment come through the frame, so they always somehow fit in. I love how our frames allow their wearer to play the main role, they don’t take centre stage. We want our frames to further accentuate and enhance the features and the style of those who wear them.

How would you describe the regular customer, or the client base of Carlotta’s Village? I think it’s hard to say something generally with any client base, but especially for us as our clients range from age fourteen to ninety four. However, I think the one thing our customers have in common is their attitude, they have an opinion, they are not afraid to take a stand. Of course they care about their appearance but they don’t necessarily want it to be what they are wearing – more so a reflection of who they are, a statement, but in a more personal sense. When we hear from some of our dealers they say “We have customers that once they’ve purchased a Carlotta’s Village frame, they’re passionate about it and want another – nothing else will suffice.”

We would love to hear about the founding of Carlotta’s Village; the steps it took to get where you are today… Well, we started off discussing the visible gap in the market for the frames we desired, but also the fact that being a couple was a factor to consider; it’s always risky entering into business with someone you live with and love. Bo had been an independent agent for many years and I did his bookkeeping and stuff like that, so in a sense that actually was a benefit to us because we already knew that we could work together. Then there are other things that are similar to work that also show you are compatible in a working environment like housekeeping, cooking, gardening etc. We started out very small with three frame styles in three colours. So we took our small tray of frames to the clients Bo already had and went from there. We had a bit of an advantage starting out, over other small eyewear brands. I still had my job as a software consultant on the side, but it was hard to do both things to a high standard, so I gave it up – I like to give my entire self to my work. I think it was a controlled kind of risk because we didn’t start out with a huge investment that could have made us bankrupt, or left us with nothing; we started with a small investment that was controllable. We didn’t just do it, I mean, we were talking about it for years.

Would you ever consider branching out with the brand of Carlotta’s Village into another area of design? That’s funny that you should ask that, because that was actually our initial idea! Calling our brand Carlotta’s Village was done so it could be seen as a virtual, global village of products for our customers. We wanted to ensure we would not be limited by our brand in the future. There are some creative people who are only in one line of work; they are painters or clothing designers or whatever else. I’ve always been doing many different things, I’m never only doing one thing – I like to have multiple outlets for my creativity. I crave variety, and I’m not good at having only one focus. I always say I could never have been a ‘tennis pro’ or something like that, because having the restraint and dedication to playing tennis seven or eight hours every day, seven days a week and never doing much else – that would kill me. So yes, I think our original idea of Carlotta’s Village is still something I would like to explore, and something we will likely do in the future – I can’t say when just yet, but it’s definitely on the horizon.

Carlotta’s Village prides itself on being a conscious eyewear brand. What would your thoughts on that be regarding sustainability and how do you implement it within your products / or brand? Well, I think ‘sustainability’ is a word that has been so misinterpreted and taken as a hostage for all kinds of marketing speculations. It’s funny because we attempted to launch sustainable packaging for Carlotta’s Village about five years ago, before it was ‘cool’ – it really wasn’t received well then;  while it probably would have been welcome and encouraged today. I’m of the opinion that there isn’t actually a fixed definition of what being sustainable is other than that you shouldn’t leave the planet in a worse condition than it was when you arrived. I’m someone who is allergic to so many things, so in that sense I’ve always been very attentive to what materials are used in whatever products I am purchasing or consuming. So, it was important to me from the beginning that we didn’t use any materials that we couldn’t vouch for – luckily, acetate is biodegradable and today you can create really high quality acetate with no bad chemicals or anything in it so it’s very skin-friendly. In the business of eyewear, there is also the other advantage that it’s a small product, with a long life-cycle that doesn’t weigh much, meaning transport is not as huge ca oncern as it is for many other companies and manufacturers. I also think you get what you pay for; if you want the cheapest product and the fastest delivery you’re not going to get the highest quality, most beautiful and durable frames – it just doesn’t make sense to think otherwise. That’s why we have such a strong, good relationship with our manufacturers, we never doubt their costs or timelines and they never fail to meet our expectations – that respect, that line of chain production, is sustainable in itself. Find out more  about the brand at https://carlottasvillage.com

A Zoom interview by Victoria G. L. Brunton exclusively for Eyestylist.com

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What was the beginning of your journey? Did you always know you wanted to work in accessories?  Oh, I think at that time in my life the word ‘accessories’ didn’t even exist in my world; I was young, it was 1985. In terms of the ignition of my journey, I knew I had to learn a lot about design and production. After high school I started an apprenticeship as a watchmaker – I was really thrown in the deep end, learning how to fix watches with a monocle on my eye on an extremely technical level. Although the technical drawing really stood to me later in life – when I first started in eyewear this experience and background was invaluable. The technicalities in watchmaking and eyewear are not the same, but the method in which they are practiced is almost identical. I didn’t stay in watch making because… my watches never really worked! I’m not such a technical thinker, more of an aesthetic constructor. That is why goldsmithing was more my world; that’s where I went next. I worked with the jewellery designer Wilhelm T. Mattar in Cologne who I still admire deeply today. I think of him as more of an artist, he creates art in the shape of jewellery. I learned a lot from him that I practice in the creation of my frames today.

Would you say that you implement your learning from that period in your life into your designs now? Yes, absolutely. I think it’s more in the aesthetic rather than the technical side – the base is beauty – you bring what you feel inside and create something beautiful with it. First, you need to understand what it is, what makes something beautiful; something is beautiful when it reaches your heart – not only your eyes, like a beautiful person – it’s deeper than that. Mattar and I discussed this a lot in our work together and I still think about it when I design and create.

You’ve worked for some absolute giants in the fashion industry, tell us about your time there…Yes! I worked for Prada, Tom Ford and Yohji Yamamoto, being a part of these brands was exciting and a highlight in my life, absolutely. For Prada, I worked in a team of designers, we worked on the theme “minimal baroque” – the theme of Prada’s show that year. The team worked tirelessly to contribute to and design a pair of truly iconic frames. I complemented the spiral design on the arms with the best matching fronts. The frames ended up being sold really successfully, so much so they are still copied to this day. Of course seeing the success of my designs was a huge confidence boost; it erased any doubts I had and proved to me I was capable of creating something special. Design is a process; you have to try, try and try again to find something that is widely accepted and adored by the market, whilst still creating something innovative and new.

Was it the success of these iconic frame designs that encouraged you to start your own brand? It was and it wasn’t – I mean that in the sense that the desire to do so was always there, but of course this success brought me reassurance and confidence as I mentioned. I think it only pushed me further towards finally getting the courage to do what I had always wanted to do. Even when I was in Cologne all those years ago, I met with a producer from Denmark who created some prototypes of my designs – of course at the time I didn’t have enough money or experience to start my own brand – but the urge to do so was certainly there. I realise now the amount of work and creativity that goes into inventing a revolutionary and iconic frame. Although my earlier design successes are credited to another label, I know that’s what I signed up for. You put so much into something, and then you give the work up and it’s gone. But I am proud of that.  All the same I feel thrilled to see my own name on my own work for a change.

Tell us a little about LEINZ Eyewear? I mean, to put it simply; my brand is me. There is not much else to add!

We’d love to hear a bit more about your latest collection…The inspiration for my latest collection came from my desire to “re-invent” 3D printing, giving it a bit of a “glow-up” as my daughter says. I am also in love with acetate as a material, so this provides the perfect contrast to the 3D printed material – I think contrast is necessary in all design, in materials, colours, tones and textures; that’s what my work and my design is about, it’s important to me. This collection brings that contrast to another level; the frames are deconstruct-able and they each incorporate two tones / colours, this is not something typically done in 3D printing. There are a lot of brown tones in the collection, it’s incredibly on trend at the moment and I love the colour. The structure of the frame itself has a fluctuating wave of density throughout, flowing seamlessly from lens to arm. Each section of the frame was printed as its own independent shape – endless combinations of contrasting colours. I’m eager to see how this will succeed in the market, because I love bulky frames.

In terms of sustainability, where does LEINZ Eyewear stand?  I am passionate about sustainability and the world we live in, it’s nothing other than fact to say we are part of a world that over-consumes. However, I think in the world of eyewear over-consumption is not the major problem – some people hang on to glasses for years, there isn’t as intense of a desire to keep up with trends in comparison with the rest of the fashion industry. Packaging, display props, care tools and cases is where our area of waste and destruction lies, and it is here that I am trying to create as little waste as possible within LEINZ Eyewear; our display stands and cases are made of recycled leather and are recyclable. I hope to have zero-waste surrounding my frames in the near future. For more information visit www.leinzeyewear.com. (Instagram: @leinzeyewear) This feature interview took place on Zoom after SILMO 2021. Written by Victoria G. L. Brunton exclusively for Eyestylist.com.

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What was the path that led you to eyewear design and how do your formative experiences shape your design style?  Drawing was always a way of communication for me. I have a Persian background, it was not easy to talk German with the other kids in kindergarten. So I mostly expressed myself through small sketches. Over time this turned into a fascination for design and fashion design, everything from jewellery to clothing. Later on, I began an apprenticeship to be an optician. Then the future was clear to me ‘I will design eyewear’ I decided. How this design finally looked was largely inspired by my past, the multicultural aspect of it to be exact. Putting various, different pieces together to create something new, this will always be fascinating to me.

Today Nirvan Javan is a well-known Swiss frame brand. When you first launched, what was your focus, your approach and your goal? When we started, the approach was centered around purism. The glasses themselves stood in the forefront, while details were discarded. The glasses were freed from any kind of excess, not even a logo. Clear lines and a timelessness in design that survives the decades, that is what made the early models unique. Since then, the brand has evolved. This philosophy of purism transformed into a lifestyle, into a concept of ‘enablement’: to let others experience the world at its best.

What has been the most inspirational part of your journey, and what has been the most challenging? It’s the literal journeys I take that offer me immense inspiration. Every time I come to a new destination it is an amazing moment for me. Traveling through foreign streets, while trying to be as open as possible, without any kind of preconceptions, makes unique experiences possible. You’re taking in the architecture, the culture and the way of living and let them merge with your own experiences. This year and the past year didn’t make it easy to live this openness though. The pandemic closed the world of and made it difficult in some places and even impossible in others to experience them. But in the end, it has increased our anticipation for visiting the world, when borders open again.

Can you give us an example of your most enjoyable collaboration to date? This summer we created a new collection with Kochoptik – a well-known optician in Switzerland. Our inspiration was the Arabica coffee bean!

How do you reflect on the last 18 months (of pandemic) and what did you find in that period that has had some positive bearing on you or your company? Last year was a challenge, as well as a great opportunity. One could go deeper into oneself, get inspired and let this inspiration flow into the collections. Nevertheless, I am looking forward to the year ahead with great expectation.

Craft and design are at the very heart of your independent label. When you’re not working, what other passions do you have that relate to these artistic tendencies? Travel is one of my biggest passions. Going to distant places and experiencing different cultures will always be a great pleasure. I would also add storytelling and film. The visual creativity and coordination that goes into the creation of a film fascinates me; I hope this passion translates into our own video production for the brand.

As the new launches arrive, can you pick out for us the theme in your collections that point to the way ahead for your brand and your collections for autumn/winter. The brand counts creativity as one of its guiding principles when translating cities into frames. Capturing the pure essence of a metropolis and then turning it into a material representation of the city, with everything that makes it unique, that is creativity. No matter what new destination the brand is trying to capture in the frames, elegance will always be a defining factor. There’s nothing as elegant as walking through life with an open mind, taking in all the impressions of all the vastly different locations and forming something new out of them. So the act of experiencing new cultures is deeply rooted in my design process. Every aspect of a city and its culture are reflected not only in the shape, but also in the material of the glasses. Tokyo’s interplay of tradition and technology for example can be found in the extravagant forms and high-quality titanium frames. Nirvan Javan will show the new collections at Hall of Frames in Zurich this weekend on 12th and 13th September 2021. www.nirvanjavan.com

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Did you always envision venturing into business together as brothers?  Alexis: My brother and I have always been very close and family spirit is very important to us. So, venturing into business together was not planned but it was not a surprise either; it just happened naturally.

Was eyewear something you both always felt drawn to? Tell us a little about your journey that led to the creation of Lunettes Alf? A: I have been working in this industry for almost 20 years now, and I am truly passionate about the product and its history. After my training with the “Meilleurs Ouvriers de France” (“Best Workers of France”) I instantly knew I wanted to introduce a brand into the market, to tell my story and to share the way I see ‘the perfect eyewear’. I believed in putting quality first as a tribute to the craftsmanship and noble materials used in creating our frames. As for my brother, he has been working in the fashion and accessories industry for over 20 years in both sales and marketing positions. When I shared my vision of the project, he was as enthusiastic as me and I saw that our dreams would match perfectly – that was the beginning of the journey, three years ago now.

The classic ‘panto frame’ is a recognisable crowd favourite among creators and consumers of eyewear alike; a quirky shape with a nod to twentieth century vintage style. Lunettes Alf includes a ‘panto frame’ in every collection – what are your thoughts on this design and why do you think you feel drawn to it as designers? A: Alf draws its inspiration from old glasses frames; the panto shape has marked the history of eyewear as an evolution of the original frame – the round one. This evolution has occurred in two areas; a lens shape offering wider fields of vision and the introduction of the pantoscopic angle to keep a constant lens-eye distance. This angle is generated by a high temple anchor point (this is different from the typical medium position anchor point on a round scope). These developments have increased the wearer’s comfort of vision. For all these reasons, it made perfect sense to have the panto shape as a principle part of our collection. Comfort, innovation and a nod to the origins of eyewear – all ideas that strongly resonate with us.

Who do you design your eyewear for and what do you believe separates your brand as well as your target consumer from the rest of those on and in the market? Germain: We create our eyewear for customers who care about quality materials and craftsmanship, those who cherish time and longevity, those who don’t want to over-consume and those who prefer to repair than replace. To meet these criteria we have chosen a combination of Japanese acetate and French manufacturing to create robust sunglasses with a timeless and chic design. Beyond the product, we are passionate about eyewear. We believe that being close to our customers, maintaining a sense of rigorous service at heart and delivering high end products are key points of differentiation.

What are your thoughts on sustainability within the eyewear industry or even within the fashion industry as a whole? Do you think your brand makes an effort to produce sustainably, and how do you do so? G: Over the past years eyewear has become a consumer accessory and often loses out to over-consumption. Some glasses are sold so cheaply that many consumers consider them as a disposable product. “I paid 30 euros for this pair of glasses, if I lose them or break them, I’ll buy another one”…. We too have consumed a lot in our lives; the countless clothes we purchase, wear a few times and end up giving away almost unused, for example. We find it absurd that we can still think like that in the times we now live in. Today, I feel that we buy much less, but better / this is why we are supporters of slow fashion. We care about sustainability in that sense. Of course, every day we are working on improving our impact with less packaging and bicycle deliveries when possible – for two examples. At ALF the best way we have found to make our glasses sustainable is to focus on three criteria: timeless design, the quality of materials and manufacturing. When we started developing our brand, our goal was to make our eyewear an object that would be passed on from generation to generation. That is still a goal we dream to achieve one day.

Was eyewear always the end goal for your creative vision, or do you have any plans to venture into other areas of the fashion industry? A: The day I came up with the idea of creating an eyewear brand, I thought I needed to surround myself with people to manage the distribution. The same evening, I called Germain to tell him my idea and I concluded by telling him: “I’ll make this brand with you or I won’t make it” – for the past three years we have been working together perfectly. We remain humble and try to build a consistent brand that will last over time, but it doesn’t exclude us from venturing into other areas such as collaborations with other fashion brands who share the same values as us. That being said, we are very excited to share with you very soon a collaboration with a fashion brand that we love – stay tuned for Summer 2022!

Where do you typically seek and source inspiration from in designing your collections? Has the pandemic impacted your motivation and creativity in any capacity? A: To me, eyewear inspiration can be found everywhere: old magazines, trade books, movies, family photos and of course nowadays social media and the internet. I try not to look too much, I don’t want to be inspired by my peers. The different confinements we have endured have provided us with the advantage of time, time to think, to invent, to be creative and to improve.

Can we expect anything exciting in the world of eyewear from Lunettes Alf in the near future at Silmo? G: As a young brand we will keep on developing our collection. We are excited to share not just two but three new models and two new colours in our upcoming September collection to complete our palette. Lunettes Alf are available worldwide in selected retailers including Kitschenberg (Munich), Frank Lo (Rome), Pour Vos Beaux Yeux (Paris) and Blick Brillen (Rotterdam).  https://lunettes-alf.com  An exclusive interview by Victoria G. L. Brunton for www.eyestylist.com

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I understand you have trained as a painter and a graphic designer – were you always a creative person at heart?  Yes, I think I have been imaginative since I was a toddler. Then, I began traditional art classes when I was six years old, which was the foundation for my artistic exploration. My creative abilities have never been limited to one area of art or design.

Tyche + Iset is marketed towards ‘searchers, thinkers, stargazers …’ How would you illustrate the typical Tyche + Iset customer?  I have been so lucky to have met the majority of my customers in person! This has been a grassroots brand, and it has been awesome to get to know them. They come from all walks of life and are of all ages, they aren’t afraid of colorful styles, they love to stand out from the crowd, they’re funny and kind but most important of all – they enjoy life. Above: Morganne Leigh, founder of  Tyche + Iset Eyewear

I have learned that the origin of Tyche was the name of a Greek Goddess and Iset was the name of an Egyptian Goddess… Where did you find the inspiration to delve into history and why did you choose the names of these specific ancient heroines? History is among my favorite subjects and I’ve always enjoyed mythological stories because they are filled with adventures and lessons about life.

I am not traditionally from the eyewear or – more broadly speaking – the fashion industry. When I first started the brand, I had no network to open doors, zero guidance and no financial help. I had no idea what I was doing, but I needed to find a way to survive and take care of myself. It was also a necessity for me to find success in something I was passionate about; so I turned to my love of art and design. Each of the Goddesses represents my willingness and determination to find my destiny using my own creativity – they guide me, in a sense. It is all about taking a risk and perhaps being rewarded by being prepared when opportunity arrives. Plus, a little luck along the way (or bad luck in the form of a lesson learned). I am always learning, even when the process is difficult. The origin stories and histories of each Goddess are linked to me in serendipitous and very personal manners, further strengthening my belief that they also chose me.

Tyche + Iset encourages their wearers to ‘follow their cosmic intuition’ – where did you first find a connection with your own spirituality? We would love to hear a bit more about what following ‘cosmic intuition’ means to you, and to the brand as a whole… Throughout my whole life I have had spiritual experiences and received ‘messages’ through dreams as well as in the physical world. My intuitive and semi-psychic sensibilities are very strong. Our minds are magnets and we attract what we consistently think about. To me, following your cosmic intuition is allowing the Universe to connect with you, to guide you, and to teach you so that you can move forward through life in a positive manner. Internal journeys require patience and there will be difficulties. But, if you trust in the Universe, it will always take you to where you need to be to find your happiness.

People are paying more attention to their zodiac signs than ever before. Having founded such a spiritually driven brand – what are your views on astrology?  I have been a fan of astrology (birth charts) and tarot since I was a teenager. I also believe in Numerology, which reflect our life cycle journeys and challenges. I often make decisions for the brand using tarot cards – I trust in the answers I receive!

What do you think makes Tyche + Iset designs unique? Our eyewear tells a vivid story through design, color, and details. As an artist, I create work in order to connect with someone and share my vision. My goal is to design products that people have an emotional connection to.

Tyche + Iset has just launched some gorgeous new sustainable packaging – how important is sustainability to you? What do you see for the future of fashion and sustainability?  Sustainability and environmental protection has been of lifelong importance to me. These goals are also within the brand and my plans for its future. We only produce products with integrity. We do not want to be a part of the problem.

There is a lot of “green-washing” within the fashion industry. Many brands also want fast, easy money for the cheapest investment. But, the price we pay is environmental damage with communities suffering. I hope that companies will become more responsible in how much they produce each year as well as their own carbon footprint. Slow-fashion and small-batch production is what the industry needs to focus on. For the past several years, I have been experimenting with recycled materials for new products or eyewear. I want to create things that people cherish and do not want to throw away. It is unfortunate that producing new plastics is much cheaper than cleaning and re-using excess waste that is destroying our world. Many recycling centers have closed down and manufacturers do not want to deal with the difficulty of using recycled materials. But, I will never give up hope on my ideas. I’d love to inspire more designers/brands to participate in innovative practices. Let’s find solutions to problems we all face. If more people ask for these things, we can be effective in modifying consumer culture into a more positive future.

Can we expect anything new and /or exciting that may be on the horizon for Tyche + Iset? Yes! We are working on our next collection and some exciting new projects. I am superstitious, so I’m not able to share too much information before launch. However, we are thankful to continue our creative energies in design and innovation. We appreciate those who support Tyche + Iset – we are a small brand with a big heart! Find our more about the brand at www.tycheandiset.com  Interview by Victoria G. L. Brunton for Eyestylist.com

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What have been your biggest personal and professional challenges throughout the pandemic? Do you think the past year has had an impact on the fashion industry as a whole? If so, what impact? From a work perspective and a personal perspective, I’m a really in-person kind of person. I really respond to the environment I’m in; energy, movement and things like that are so important – especially in an industry like fashion, that is so vibrant in nature. I think it’s difficult for us to have such an integral part of our professional atmosphere taken away; fashion week, events, presentations, photoshoots – they’re all the reasons we want to get into fashion, most of our inspiration is taken from real people doing real things – when that’s gone, what are we left with? Everything is online, you have to see the world through a screen; the environment created is one that doesn’t really promote inspiration. However, although there has been a significantly negative impact, the positive progression regarding sustainability within the industry is immeasurable. In terms of technology capabilities like VR and AR which have really evolved, and also I think we have learned what works and what doesn’t – we have seen that though it is possible to make fashion week virtual, attendance is really low and there just isn’t an appetite for it – people crave the real time, lived experience and are eager to get back to that. One thing I am sure of is that when we do come back into the real world, we’ll take a lot of these learnings from this time with us, and in applying them we will create a better industry as a whole.

The ‘sustainability’ buzz words are everywhere at the moment – without making this a leading question – I personally do try and be as sustainable as I can be and would consider myself pretty passionate about sustainability, but, in the nature of the industry we both work in – that can be hard. What does sustainability mean to you? What do you do if anything in order to “consume consciously” / be sustainable? I think everyone is at home, plugged in and really focused on what is going on outside their windows; now more than ever people are wanting to improve the world we live in, so that when we can go back out there it’s ready to greet us with open arms. Highlighting the problems and inconsistencies within the industry regarding sustainability is necessary and I welcome it – it’s at the forefront of everyone’s mind, designers, manufacturers and consumers are taking it into account more than ever before. One of the main things I have done myself to ‘consume consciously’ is eliminating any / all fast-fashion from my purchasing totally. I think that really happened when I joined Vogue Business – it’s like a switch flipped; once you know how bad it is, you can’t really go back to it. The biggest obstacle we face in this area is how to reduce the price-point of sustainably made clothing; we need to make it more widely accessible to more people – apps like Depop and eBay are an amazing resource for this reason, but if we want sustainable fashion to replace fast-fashion, it needs to be able to compete with it at that price point where younger consumers can engage with it. I can see many exciting changes happening in the next months and years to come.

It’s no secret that we admire your style and wardrobe! Your extensive collection of sunglasses is something we’d love to know about; what is your favourite pair of sunglasses? Is there any standout label that you look forward to wearing in 2021?  Good question – I think my favourite pair would be my brown ombre-tinted Chanel visors; they’ve got the interlocking C’s on the side, they kind of make me feel like Aaliyah and they’re what I grew up looking at and seeing so it was nice to re-engage with them as an adult again. I’ve also got a really nice pair of vintage Ralph Lauren visors – they’re black and silver, and a pair of the massive square Gucci ones – I love them too they’re really cool. When I purchase any item of clothing, I want to know it will be in my wardrobe for a long time, so a frame being ‘timeless’ is a big factor to me – sunglasses are essential throughout the year, so investing in a good pair of high-quality glasses is key. Recently I’ve really been trying to put my money into black owned brands as well – so that is also a major consideration for me.

From what I can see our generation seem to go all or nothing in regard to accessorising; less is more minimalism to layered chains or playful strings of coloured beads – what accessories trend is catching your eye right now?  For me I suppose – I generally like to keep my jewellery quite neutral. That being said, I have just bought a Vivienne Westwood single string pearl necklace – it’s something I never really thought I would buy, but that is a trend that has caught my eye this season that I really didn’t expect… I do love Vivienne Westwood too – so I couldn’t say no.

An exclusive interview by Victoria G. L. Brunton for Eyestylist.com. 

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