Creative spirits

Erida Schaefer is a visual artist turned optical entrepreneur. From a lightbulb moment resulting in taking a paint brush to her own frames, to debuting at New York Fashion Week and exhibiting at Silmo two years in a row, Schaefer’s artisanal brand OtrO takes a curated, artistic approach that is not seen elsewhere in the industry. The brand will return to Silmo in September 2024.

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. (more…)

A multi-faceted designer, Oscar Mamooi has lived many lives as a stylist, illustrator and door selector of a prestigious Milanese nightclub, among other ventures. Since 2020, Mamooi has harnessed his flair for life and channelled this energy into producing fearless, avant-garde eyewear collections that embrace the power of self-expression, each frame empowering their wearer to see life with clarity, light and positivity. Eyestylist’s feature writer Victoria G. L. Brunton speaks to Mamooi on sustainability, dream muses and upcoming projects…

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

Eyestylist Exclusive: Silvia Fresco is the founder of IN SANA, an emerging Italian independent eyewear brand with a distinctive, handcrafted aesthetic. IN SANA frames are handmade to order. Victoria G. L. Brunton asked her about her approach to fine eyewear design and what made her launch her very own designs.

“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.

Celebrating its 10th anniversary in 2023, TVR®OPT continues to uphold its focus on the preservation and revival of traditional spectacle-making in Japan, creating an eyewear collection that is already renowned around the globe; via a translator, we asked Sawada Yaemon (Mastercraftsman) and Eizo Onami (Head of Production / President), at TVR® OPT Japan about their work and dedication to the traditions of their craft – pictured above, Onami Eizo and Sawada Yaemon at the TVR®OPT factory in Japan

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

Karin Stehr is an eyewear consultant with a passion and enthusiasm for independent design labels, much like our own. A former optical store owner, she has a wealth of knowledge about specialist optical retailing and loves the idea that she is able to inspire other opticians to fall in love with the independent eyewear collections – as she has. Her next unique launch are guided tours of the optical shows….

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