SPECTR Issue 28

“Authenticity”

SPECTR

INTER NATIONAL EY EWEAR FASHION MAGAZINE

Nr. 28 // January 2020 EUR 15,– English

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CYPRIOT SEA BARTON PERREIRA Is Setting Sail

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SOULMATES 50

By Estelle Klawitter +++ SPECIAL +++ SPECIAL +++ SPECIAL +++

FAVR – PREMIUM EYEWEAR FINDER 63 Digital Relevance For The Independent Eyewear Ecosystem

THE OPTICIAN’S PERSPECTIVE 68 Karin Stehr From BELLEVUE THE BRAND’S PERSEPCTIVE 70 Sven Götti From GÖTTI INITIAL BRANDS 72 The Early Supporters

+++ SPECIAL +++ SPECIAL +++ SPECIAL +++

SPECIAL +++ SPECIAL +++ SPECIAL +++ SPECIAL +++ SPECIAL +++ SPECIAL +++ SPECIAL +++ SPECIAL

SPECIAL +++ SPECIAL +++ SPECIAL +++ SPECIAL +++ SPECIAL +++ SPECIAL +++ SPECIAL +++ SPECIAL

THREE PILLARS Timeless Philosophy Of SALT.

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INSPIRED BY ART MASSADA’S French Connections

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DRESSED BUT STILL NAKED LINDBERG Highlights For 2020

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A COLLABORATIVE CONSTELLATION OF DESIGN IC! BERLIN x MERCEDES-BENZ

TWO ByOF A KIND 96 Florian Renner HOMEGROWN

By Rachel Jiam

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THE SHELL J.F. REY – Outstanding Design Attack

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PAST, PRESENT, FUTURE Sarah Settgast By HOFFMANN NATURAL EYEWEAR

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S P E C T R // C O N T E N T

126

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SAME SAME BUT DIFFERENT Katharina Schlager For CAZAL

130

THE UNCERTAINTY OF THE POET 132

By Narènte // Lucio Aru + Franco Erre ROOM WITH A VIEW 144

By Andrea Kadler

DESIGN FROM DOWN UNDER KAREN WALKER Optical Collection

BROKEN IS SO YESTERDAY KLENZE & BAUM From Munich

THE PERFECT MATCH MAKELLOS x MERCH MASHIA

THE INVITATION MODO Turns 30

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160

164

166

CLOTHES OFF 172

By William Ferchichi

STAND TALL, RUN FREE EINSTOFFEN From Switzerland

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HERITAGE AND CREATION EMMANUELLE KHANH PARIS

188

DOWN FOR THAT 192

By Sacha Tassilo Höchstetter

VERY FRENCH EYEWEAR Interview With NATHALIE BLANC

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SPECTACULAR SPECTACLES NEUBAU Straight Out Of The 3D Printer

DOPE FITS 208

By Stefan Kapfer TWILIGHT ZONE 220

By Danny Sachtleben 38

S P E C T R // C O N T E N T

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Dorian Electra photographed by Myles Pettengill

laeyeworks.com

AUTHENTICITY Welcome to Issue 28

LINDBERG s tri p ti ta n i u m 9 7 0 0 »9743« -

coat RICH&ROYAL

“Plain Truth – Dressed But Still Naked”

by Sacha Tassilo Höchstetter (page 86 – 91)

Authenticity is the main theme for this issue. On a fundamental level, authenticity is right at the intersection between things as they seem, and as they actually are. We call things ‘authentic’ when both aspects – seeming and being – are in alignment. At the same time, authenticity is not a qualitative judgement or evaluation of content. Things that carry a negative connotation can still be authentic, as long as their negative attributes are openly visible on the outside.

Nevertheless, authenticity tends to carry mainly positive, pleasant connotations nowadays. Why exactly? Perhaps because humans, in their interactions with others, have the basic desire to know what they’re dealing with. So interacting with an authentic person offers the assurance of a true, genuine experience, as opposed to someone who’s faking it. The acronym WYSIWYG, ‘What You See Is What You Get’, sums it up perfectly. Everything is exactly as it seems. And our society rewards authenticity as a valued character trait; not just for people, but also for brands and products. This demand reflects a deep longing for something real and truthful. Consumers in the digital age – where synthetic concepts and fake news abound – are especially prone to developing a need for authenticity. For true stories. For something profoundly true.

Our main theme figures prominently in the visuals of our cover photo shoot ‘Plain Truth – Dressed but Still Naked’. It’s no accident that the images feature glasses by designer eyewear label lindberg. The Danish brand, together with several other labels in this issue, reflect a sense of authenticity that goes beyond product characteristics and marketing and comes from a real place. And that makes all the difference. Because anyone can copy shapes and materials. But the core values of a brand are unique.

Authenticity also figures prominently in our extensive presentation of the new digital platform favr – Premium Eyewear Finder. After all, the online platform only features eyewear from authentic and independent brands. It also directs consumers to a network of independent opticians to purchase said eyewear. No chain stores. No vertical retail concepts. Just real brands and real opticians with real stories. In one word, authentic.

We sincerely hope you will enjoy this issue.

SD 40

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

IMPRINT Editor In Chief

STEFAN DONGUS [Cologne] dongus@spectr-magazine.com m: +49.(0)151.14271817

Layout

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

Editorial Staff

SANDRA GAWLOWSKI [Cologne] press@spectr-magazine.com HOLGER VON KROSIGK [Cologne] krosigk@spectr-magazine.com DIRK VOGEL [Chicago] vogel@spectr-magazine.com

“Plain Truth – Dressed But Still Naked”

by Sacha Tassilo Höchstetter (page 86 – 91)

Proofreading

INSA MUTH [Dortmund] PETER ASHFORD [London] FRANCA RAINER [Berlin]

Translation

DIRK VOGEL [Chicago]

Online Editor

FRANCA RAINER [Berlin] online@spectr-magazine.com

Photographers/Producers

EDA CALISTI [Munich] STEFAN DONGUS [Cologne] WILLIAM FERCHICHI [London] SACHA TASSILO HÖCHSTETTER [Munich] RACHEL JIAM [Berlin] ANDREA KADLER [Hamburg] STEFAN KAPFER [Dusseldorf] ESTELLE KLAWITTER [Dusseldorf] KATJA KUHL [Dusseldorf] NARÈNTE // Lucio Aru + Franco Erre [Sardinia] BELA RABA [Cyprus] FLORIAN RENNER [London] DANNY SACHTLEBEN [Berlin] RAPHAEL SCHMITZ [Dusseldorf] TOBIAS WIRTH [Berlin]

Publisher

MONDAY PUBLISHING GMBH t: +49.(0)221.945267-11 f: +49.(0)221.945267-27 www.spectr-magazine.com www.facebook.com/spectrmagazine OFFICE ADDRESS Kamekestraße 20-22 50672 Köln, Germany STUDIO ADDRESS Lichtstraße 28 50825 Köln, Germany www.mondaymedia.cc

CEOs

STEFAN DONGUS, HOLGER VON KROSIGK

Print

F&W MEDIENCENTER GMBH Holzhauser Feld 2 83361 Kienberg fw-medien.de SPECTR is published three times per year.

co ver ph o tos SACHA TASSILO HÖCHSTETTER assistan t NOEMI VEROLLA stylin g TRANG CAO h air & m ake-u p LENA GEHRING m o dels LINUS WEBER, ANELIA MOOR & STEPHANIE GROLL a t MODELWERK, FLORIAN SCHWAB a t TUNE MODELS

This magazine and all its contents may not be re-used, distributed or stored in electronic databases in any way without prior written permission from the publishers. All inquiries regarding the usage of copyrighted materials, as well as the reproduction of excerpts in other formats must be directed to the publishers.

The opinions reflected in this magazine do not necessarily reflect those of the publishers. All rights reserved.

FIND & TRY-O N BA RTO N P ER REI RA AT FAV R S P ECS.COM

CYPRIOT SEA Barton Perreira Is Setting Sail photography BELA RABA

production ALEXANDER PAPACOSTA at MOI OSTROV STUDIO 1st assistant ANNA MARGUERITA SCHOEN

styling LOIZOS SOFOKLEOUS & ANDREA IOANNOU hair PANAYIOTIS ASSIOTIS

make-up CHLOE VOTSI with BABOR

models MILAN VAN EETEN & VICTORIA SAVECHKO at ACE MODELS casting CARSTEN DROCHNER at DOPAMIN

retouch FLORIAN WAGNER at BAVARIANRETOUCH special thanks to PRINCESS YACHTS CYPRUS

BARTON PERREIRA » U ten a « & » Ka n a l oa « -

dress MONSE from FIRST BOUTIQUE blazer & mini skirt OFF-WHITE from FIRST BOUTIQUE

Explaining the role of barton perreira in the eyewear universe is like bringing sand to the beach. Totally unnecessary. What is super necessary, though, is finding a nice backdrop to showcase their latest collection. Which is why we revved up our yacht and dropped anchor 400 sea miles east of the Cypriot coast.On the high seas on the luxury yacht, barton perreira’s upscale eyewear really sparkled. And as the icing on the cake, designer and co-founder Patty Perreira found the time to season our photographic journey to the Mediterranean with exclusive insights on the latest collection.

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

“ I love a classic shape with a twist. »Utena« is slightly upswept which creates a flattering look. „

»Har mon i a « -

kimono style top & pajama pants GUCCI from KULT

“ There is a retro-elegance to the »Harmonia« that I love. The unique lens shape has a slightly butterfly aviator feel. It is ultra-light on the face and the jewel-tone lens palette is beautiful. „

BARTON PERREIRA » H a rm on i a « leather jacket & skirt GUCCI from KULT

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

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Hi Patty, thanks for sending us off to Cyprus with

some lovely new eyewear. Let’s start with a fundamental question: What would you say is the special appeal of barton perreira eyewear?

barton perreira has a commitment to style, hand-

crafted artistry, impeccable service and the use of premium quality materials. We strive to continuously craft timeless, sophisticated eyewear and work with select artisans that embrace our same values. barton perreira was built with the goal of redefining the eyewear industry.

That’s an ambitious goal. How do you make it happen?

Through innovative technology, unparalleled design and

impeccable craftsmanship. Every frame is architecturally sculpted by hand in Japan by best-in-class artisans using only high-quality materials. Through generations of expertise and a meticulous manufacturing process focused on perfecting every detail from the frame’s foundation to its deep, glossy finish, every frame is executed with precision, fit and design.

In past collections you have drawn inspiration from

a variety of genres, while art influences often figured prominently. What is the inspiration behind your new collection?

Style is timeless. It’s less about trends but what accentuates your personal style. This collection is an homage to culture, style and generations. It’s a classic, yet modern collection that complements anyone, anywhere and of any age.

To what extent does your home base in Venice play a role in your new collection?

I am a native Angeleno. Venice Beach is home. It is where I live and work. Venice is forever evolving and it has a very strong core and DNA that I connect with. I think there is a California attitude in my design aesthetic.

With this California perspective in mind, do you pursue a specific design language in the new collection, for instance when it comes to shapes?

Shapes are key. It is important for me to design shapes that flatter people’s faces. We can play with angles and proportions to create balance and accentuate features.

Let’s talk about color palettes. In your acetate models, the use of beautiful, transparent materials in subtle colors is immediately noticeable. What do you like most about them?

BARTON PERREIRA » S otera « -

cape, shirt, pants BURBERRY LONDON ankle boots PALOMA BARCELÓ , all from TIMINIS silk shirt & skirt, sweatervest BURBERRY LONDON leather boots PALOMA BARCELÓ , all from TIMINIS 46

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

“ I am drawn to angular shapes. »Tucker« and »Sotera« look great as a sunglass and as an optical frame. They are timeless designs that are both ageless and genderless. „

BARTON PERREIRA »Tucker« -

windbreaker, turtleneck & trousers KENZO WORLD from TIMINIS sneakers MICHAEL KORS from KALOYIROU S P E C T R // C O L L E C T I O N S H O O T

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BARTON PERREIRA » Ka n a l oa « turtleneck knitted dress, belt & tote bag OFF-WHITE from FIRST BOUTIQUE

“ The handsome shape and dropped endpiece appeal to me. The larger size offers great coverage from the sun. „

BARTON PERREIRA » Cou rti er« -

parka, quilted gilet, bra & leggings BURBERRY LONDON from TIMINIS 48

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

BARTON PERREIRA »Co urt ier« -

long sleeve dress & fanny pack HERON PRESTON from FIRST BOUTIQUE

» Tu c k e r « -

blazer, turtleneck bodysuit & min i skirt HERON PRESTON from FIRST BOUTIQUE

“ I love it so much that we made it in two sizes.

There is a legacy quality to the design and craftsmanship of this sunglass model. „

I like the way light passes through transparent colors. I also like that the internal hardware beneath is exposed, which creates an architectural feel. When transparent frames are beveled, there is an interesting depth and dimension to them.

Speaking of interesting depth, your penchant for bestowing exotic names on your frames has been a constant feature. Do they all have a common origin?

Sometimes, but not always. It really depends on my mood and the character of each frame.

On some models you also like to play with material

combinations. What is the appeal to you as a designer?

I love to combine materials. Titanium is great to pair with acetate to keep frames lightweight. I also love to add enamel and foil print textures to create unique color combinations and add dimension. Some new technologies have become available which have also allowed me to design interesting details.

Thanks for sharing your insights with SPECTR, Patty.

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

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S O U L M AT E S

BY ES TELLE K LAWI TTER [Dusseldorf] digital assistant PETER HANNE styling CLAUDIA MELZER hair & make-up ELLEN VAN EXTER at NINAKLEIN models KIKI at STARS-MODELS & ANNA HAFTENBERGER at VIVIENNEMODELS

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SPECTR

ØRGREEN

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»Pomp 1 0 3 8 «

» Q u a n tu m 3 . 19 «

-

-

jumpsuit SELF PORTRAIT

jumpsuit SELF PORTRAIT SPECTR

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KAREN WALKER » H a rri et« dress MAJE 52

SPECTR

KAREN WALKER » N etti e« dress ZARA SPECTR

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N AT H A L I E B L A N C »Alexandra« -

pullover & pants ZARA shoes SCHUTZ

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SPECTR

N AT H A L I E B L A N C »Johanna« -

blouse ZARA skirt CHLOÉ shoes STEFANOE COSTA

SPECTR

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GÖTTI »DC 06 _5 3 « -

blouse MAX MARA shorts ZARA

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SPECTR

GÖTTI »R R 01_53 « -

coat GIORGIO ARMANI dress GIVENCHY

SPECTR

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FA C E À FA C E » Won d er 2 « dress HUGO 58

SPECTR

FA C E À FA C E » Ci n em a 1 « dress ROTATE BIRGER boots SANTONI SPECTR

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SCOTCH & SODA » PDMO 1475 2« -

tunic & shorts SAINT LAURENT boots SAM EDELMANN

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SPECTR

Digital Relevance For The Independent Eyewear Ecosystem

S P E C T R // F A V R – P R E M I U M E Y E W E A R F I N D E R

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FAVR – PREMIUM EYEWEAR FINDER Connecting Consumers and Opticians virtual try-on portraits SACHA TASSILO HÖCHSTETTER

THE OPTICAL BUSINESS: MARKETS AND CONSUMER BEHAVIORS ARE SHIFTING Disruption hits the eyewear segment

sign is open and attractive, eyewear displays

This may be a right move, but it’s also fun-

Over the past decades, hardly any other

are stylish and neat, and every single pair of

damentally missing the point. Because while

industry has proven as stable as the opti-

frames is openly accessible for thorough in-

most customers still prefer visiting a qualified

cal sector. Independent brands co-existed

spection. And the customers love it. To no

optician to make an online purchase, they’ve

peacefully and sold products manufactured

surprise, these new stores generate tons of

also adopted the habit of conducting exten-

with a large amount of passion through a tight

foot traffic.

sive product research online before making a

network of independent retails. But in the cur-

When it comes to designing collections

move. Most of them will enter a store with a

rent day and age, even the optical industry

and campaigns, these vertical players are

favorite product in mind. That’s the way they

cannot escape the impact of extensive dis-

also right on point. They present a flashy

shop in other segments and that’s what they

ruption. Current developments in metropolitan

brand image and win over customers with

demand from their next eyewear purchase.

centers are foreshadowing what the future

an attractive price-performance ratio. With

And who can blame them?

holds. Major industry players are taking over

that said, traditional opticians willing to put

This is exactly where the Big Players and

retail, established retail chains are adopting

in enough effort can potentially compete on

vertical stores have a two-punch advantage:

increasingly modern and avantgarde brand

all these factors. After all, they have the more

On one hand, they provide consumers with a

positioning. And as if that’s not enough, a new

diverse assortments, better qualified person-

well-sorted selection on their online channels,

generation of vertical chains are sprouting up

nel and more valuable purchasing experience.

which exactly reflects their actual offering in

like mushrooms to compete with time-hono-

But most opticians will ultimately run into the

physical stores. On the other hand, they pur-

red boutique retailers.

most striking problem: lack of digital prowess.

sue active measures to direct consumers to

But this new competitive environment,

Because on the online level, individual brands

their online offering. Regardless of which key-

from the very start, is fundamentally unfair and

and opticians are powerless against their digi-

words consumers use to search for eyewear

distorted. Because in order to survive, inde-

tally superior competitors. They simply don’t

online, paid search ads ensure that the same

pendent opticians are forced to operate in a

have the resources.

big brands will pop up in the results window

sustainable fashion. On the contrary, the new vertical players have access to generous investment funds and are free to focus on achie-

dent opticians, on the other hand, will only ap-

Channels

pear in connection with narrow, direct search

Then again, is lack of digital clout really a

terms. For this reason, the established eye-

priority over operating with a positive bottom

problem? Many opticians will argue that eye-

wear ecosystem runs the risk of losing cus-

line. That’s why these concept retailers con-

wear is still impossible to sell properly online.

tomer after customer to players who own the

tinue to open one store after the other in the

So they forego the investment of time and

top results in online searches. Simply because

most premium locations. Their interior de-

energy into their online presence altogether.

the new competitors prioritize digital relevancy.

ving growth, which for many years can take

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again and again. Premium labels and indepenConsumers are Shifting… Towards Online

S P E C T R // F A V R – P R E M I U M E Y E W E A R F I N D E R

FAVR is poised to launch on March 01, 2020 with the very best frames from SS20 collections. Opticians who are curious to check out the Beta version of our platform can request access via email to optician@favrspecs.com

POOLING OF RESOURCES BETWEEN INDEPENDENT BRANDS AND OPTICIANS no option to purchase eyewear directly on the

In order to keep track of all search results,

Platform

platform. As the ultimate point of purchase,

users can store their favorites in a persona-

the platform directs customers to indepen-

lized Wishlist. They can also check whether

Premium Eyewear Finder aggregates the best

dent retailers who participate in the system.

the frames attain the desired effect by using

FAVR: A Centralized Eyewear Consumer This is exactly where favr comes in. The

and most important products from independent eyewear brands on a single, centralized

the Virtual Try-On function. Once the custoFeatures, Features, Features

mer has found the ultimate frame, favr will

favr selects only the best products from

point out participating opticians in the vicinity

hensive view of what kinds of brands and pro-

a multitude of brands, which creates a highly

who carry that particular brand. This opens

ducts are out there in the eyewear universe.

curated selection. Because of the diversity of

up a seamless and convenient way to contact

And they also have an easy and comfortable

brands and the level of excellence in design

multiple opticians to inquire about pricing and

way of contacting relevant opticians. From the

achieved by our brand partners, the selection

availability, as well as scheduling an appoint-

opticians’ perspective, favr provides a tool for

on favr exceeds that of chain stores by far

ment for consultation. If customers would like,

digital lead generation, thereby adding digital

in terms of quality and quantity. From the in-

they can also upload a profile photo and their

customer reach to their impressive list of USPs

dividual consumer’s perspective, favr does

optical prescription details.

that already include professional consultation

so by offering the tools to narrow down an

In order to lead favr to a successful start

and on-site medical services.

extensive selection of premium glasses by

in the Western hemisphere – and to simplify

applying individual parameters. Customers

navigation for all consumers – the platform will

The Basic Idea: It’s All About User Expe-

platform. This allows customers a compre-

have the chance to filter their search results

launch in several language editions, namely

rience

by shapes, materials, colorways, or brands

English, French, Spanish, Italian, and German.

Several independent brands and optici-

and play around with combinations of several

So it’s safe to say our platform speaks the in-

ans were closely involved in creating the con-

criteria to find their own perfect pair of glas-

ternational language of eyewear.

cept for favr. Therefore, the platform now

ses. They can also ask for further guidance by

caters to the specific needs of both brands

activating the favr Style Assistant. It allows

and retailers. However, the biggest focus was

users to focus on exactly those glasses that

optimizing the user experience – putting the

accentuate exactly the style they’re going for.

customer at the very center. It’s the customer

Whether they want to appear classic or intel-

who needs to find favr attractive and enjoy

lectual, the ‘Match my Style’ function provides

a familiar customer journey on the platform.

instant access to relevant glasses. The same

That’s why we have designed favr in the look

goes for loud or fashionable styles – you want

and feel of an online store, although there is

it, favr will find it.

S P E C T R // F A V R – P R E M I U M E Y E W E A R F I N D E R

65

Overview Narrowing down thousands of choices. Users can compile their own personal portfolio by applying a wide range of filters and get on the fast track to finding their perfect pair of glasses.

Style Assistant By using the Style Assistant, users can take an intuitive route towards finding their personal favorites. The main factor is attitude. Behind the scenes, FAVR applies a multitude of variables to each pair of frames.

Detail Page Customers can view every frame from multiple perspectives and use the Virtual Try-On to get a direct impression of how well a pair of glasses suits their style. This FAVR feature is powered by the latest technology – virtuality Made in the USA.

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S P E C T R // F A V R – P R E M I U M E Y E W E A R F I N D E R

Contact Store Once users have arrived at their favorite model, they can easily contact one or several opticians via the FAVR platform’s chatroom.

Brand Profile Each brand can create a unique presence on a micro page containing all products and participating opticians.

Store Profile Premium opticians can also control their virtual window displays. Aside from offering a high-quality brand presence – also via a micro page – they benefit from a prominent search rank on the Store Finder.

S P E C T R // F A V R – P R E M I U M E Y E W E A R F I N D E R

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THE OPTICIAN’S PERSPECTIVE – KARIN STEHR

Always looking ahead a few years into the future with a constant drive to keep things innovative in the independent eyewear universe.

Karin Stehr at bellevue store in Ham-

also part of. We only tend to emphasize

Like many people, I have a desire for

different values and need to make these

widely known opticians in the business.

authentic brands and the need to know

more visible, as they reflect the needs of a

That’s not only due to her highly cura-

more about things that surround us and

large number of people.

ted portfolio of premium independent

that are omnipresent. Among indepen-

eyewear brands but also her involve-

dent brands, you still get this authentic

ment in the community. Karin organi-

connection to the product that we can

zes events involving prominent eye-

communicate to customers. The size of

wear designers and her input played

these labels and the mentality of desig-

mes to new developments, and this was

A few years ago, people said only stu-

dents were buying from these brands. But how is the situation today?

Students tend to be pioneers when it co-

a major role in developing the favr

ners, founders, and owners facilitates a

no exception. In large cities, these types

platform. With that said, we just had to

direct exchange. Whenever the values of

of stores – also across other industries –

get her take on the current state of the

these people align with my own key valu-

are now the norm. It’s reflective of a

industry in our SPECTR interview.

es, we are practically working towards the

society, regardless of age and educatio-

same goals. That would be unheard of

nal status, that demands uncomplicated

among the world’s major licensed brands

and affordable products ‘on the go’ while

and luxury labels.

wanting to stay up to date in terms of

Hello Karin, let’s get started by talking

about what attracted you to our industry?

In my late twenties, I wanted to make a

change and start dealing with ‘beautiful products’. Our business requires knowledge on aesthetics, technology and com-

What’s your experience with the threat of

big players on the market, especially new vertical concepts?

Our immediate surroundings have chan-

fashion trends.

Is there something these new concepts are doing remarkably well?

In terms of brand management, they’re

munications. You’re constantly experien-

ged significantly in a short time period.

actually really good across a number of

cing direct feedback from customers and

VIU, Ace & Tate opened locations nearby

areas. They have identified a demand and

your team. The industry is rather small on

and Jimmy Fairly just set up shelves in the

serve it in a state-of-the-art manner. They

one hand, but also extremely diverse and

Alsterhaus store. Fortunately, I rarely ever

did not originate from a traditional busi-

offers a great sense of personal creative

see them as a threat. I much rather consi-

ness model but have successfully applied

freedom.

der these concepts the result of econo-

the concept of ‘fast fashion’ to eyewear

mic and social developments that we’re

by using tremendous know how. They’re

You are a champion of independent 68

brands. What are your motives?

burg, Germany, counts among the most

S P E C T R // F A V R – P R E M I U M E Y E W E A R F I N D E R

investing a far higher share of their bud-

pendent brands have yet to tackle the

sing our products and services in the best

gets into their digital presence, compared

task of digitizing their business models in

possible light.

to traditional opticians. They open stores

order to be available online next to their

right where existing, active opticians are

optical retail partners.

already creating solid customer footfall.

The interior store designs and collections

So where does favr come in?

A portal like favr is exactly my own vision

are modeled after hip fashion brands. This

of how independent brands can combine

is how they can generate high frequency

their strengths and elevate their coope-

and brand awareness.

ration with independent opticians to a

Opticians with premium status on the platform can present their offering on

their own micro page and write their own blog posts. In how far do these touch

points affect the customer’s perception of a store?

Considering the amount of first-class

new level. Fortunately, this portal has now

businesses that will most likely be present

been realized by you guys with lots of ide-

on the favr platform, it’s of course rather

That’s actually a rather short answer:

alism from within the heart of the industry.

important to stand out. This also increa-

Absolute customer focus! That needs to

This significantly reduces the risk that

ses the chance of being chosen as the

be the priority, above the overall concept

well-heeled investors with entirely different

local retailer by customers in your vicinity.

and in every minuscule decision of every

motives drape it over the market from the

Blog stories provide a convenient way for

staff member. Customer focus should be

outside, which would definitely oppose

showcasing your store’s expertise and

visible, tangible, audible, and readable. It

my wishes and business interests.

curated selection in a targeted manner.

should guide all events, which are a hot

What do you hope such a platform can

Looking ahead, what are the indispensab-

With that said, what are the unique

strengths of independent opticians?

topic for us, and even the way we handle returns.

achieve?

I believe that with favr, we will be able

As an optician, you are very active online.

to meet the customer demand for digital

le qualities for opticians looking to survive an increasingly competitive environment?

Total customer focus, tolerance, authen-

But many of your peers seem to struggle

inspiration in our segment a lot better.

ticity. Plus, a continuously stronger aware-

in this area. What are some of the pain

Virtual try on tools are about to become

ness for sustainability. Defining your own

points in everyday work when it comes to

the state of the art among luxury brands

set of values as a team and putting them

digital?

and new pioneers. No independent

to work. And encouraging the personal

Our everyday workflow continues to

optician would have the financial resour-

development of each team member to

become more demanding, both in terms

ces to offer such a tool as a stand-alone

of quality and quantity. I also continue to

solution. favr offers a chance for more

fail meeting my personal to-do’s the way

people than ever to become aware of

I planned. In this dilemma, it’s a high art –

independent brands in the first place. It

and the only solution – to continuously set

opens up an entirely new world to poten-

the right priorities. I consider a well-main-

tial customers. And then it’s our mission

dent brands are trending here in Germany

tained digital presence as an elementary

to get them excited about these brands

and all over the world. People have a

part of my business and it’s also fun for

by communicating via the platform and

longing to know who stands behind the

me to invest lots of time into continuously

meeting them in-store.

products they use on a daily basis. They

learning more.

You were really involved in the development stages of favr. What was your motivation?

Independent brands are my passion and also the foundation of my business model. At the same time, they are a microcosm within the large eyewear

make this possible.

In closing, what’s your outlook for in-

dependent brands and opticians in this digitally disrupted future?

Many of the values followed by indepen-

favr displays a curated selection to

want to know increasingly more about

opticians in their vicinity conveniently.

identify with these values. I know many

respond to customer inquiries at a short

independent brands on a personal

peers for making this happen?

brands and a whole lot of them are also

customers and offers the tools to contact

what drives these people and look to

Which also means that opticians should

of the founders and designers behind

turnaround. What’s your advice to your

basis. They are passionate about their

Every single one of us makes sure to pick

considering sustainability. That provides

industry universe. So the accelerating

up the phone after the third or fifth ring

a foundation for the future, since the mi-

consolidation on the market and the

in our stores. So if we treat people who

crocosm shared by independent brands

growing strength of new players such as

reach out via favr the same way, it can’t

and opticians is interdependent. So if we

digital brands and vertical newcomers

really go wrong. We just need to keep

can now agree on shared values, at a

puts the independent brands under siege.

in mind that customers with a definite

time when outside forces are increasing

They are at a risk of losing their visibility

purchase goal in mind, whom we get

the pressure, we’re going to emerge even

as small and medium-sized businesses.

delivered to our doorstep with practically

stronger. This is where favr will be able

Aside from a few exceptions, most inde-

no effort, are a golden ticket for showca-

to make a strong contribution.

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THE BRAND’S PERSPECTIVE – SVEN GÖTTI

Down-to-earth ‘Swissness’ VS. creative designs and innovative approaches: Designer Sven Götti contains multitudes.

Switzerland-based indy label götti

heart and create a product that you’re ba-

caters to a global audience of opticians

cking 100 percent, customers can feel it.

and works exclusively with independent stores. When it came to cooperating with favr, head designer and

I operate on the economic principle that

You started out as a trained optician.

competition stimulates business. That

rating as a brand?

specialty store needs to focus predo-

Does that experience come in handy ope-

applies to all players on the market. A

company owner Sven Götti was actu-

Sure, I know the market and the

minantly on its strengths. These include

ally the first person from the industry

optician’s need from my own experience,

first-rate optical services and an amazing

to join as an official partner. In our

which provides some orientation. But in

selection of interesting collections, which

interview, we ask Sven about the digital

order to be able to survive in the long run,

a mono-brand store just can’t offer.

challenges facing the eyewear business

a product or an eyewear collection most

and götti’s preparedness strategy.

of all needs to be authentic. That’s why I’m gladly involved in every little detail in

Hello Sven, many in our business consi-

der you the personification of an independent eyewear designer. How come?

I had no idea, but it’s true. I’ve been designing götti eyewear for 25 years now

frames by götti.

How should independent brands respond to this new competitive environment? Or should they respond at all?

Independent brands need to focus pri-

How many opticians do you supply

marily on creating wonderful and innova-

typical optician?

customers and opticians. There have

worldwide and how can we imagine your

tive eyewear that resonates equally with

We have around 2000 customers in our

been and will always be people looking

and continue to pursue an independent

database, although we work more closely

to splurge on something special. Plus,

course with my company and my people.

with some than others. Our customers

eyeglasses are worn smack in the middle

Without an investor or other obligations.

are exclusively specialty stores that owe

of one’s face and say more than ever

That enables us to do what we feel is

their competitive edge to a selective eye-

right every day in a quick decision-making

wear collection.

process. I believe that if you follow your 70

the new vertical chains?

S P E C T R // F A V R – P R E M I U M E Y E W E A R F I N D E R

In how far do you sense competition from

about the personality of their wearers.

As a premium brand you also maintain an active online presence. How important

are digital initiatives for a brand and what is their predominant purpose?

has access to a specialty optician, it’s always going to be much easier to put

have been following your path as an independent brand without compromise. Why

Digitization enables us to reach opticians

on and feel the different glasses and their

on all continents and spread the word

construction. We will see what kind of

about our products. Plus, we can com-

technical possibilities the future holds.

dent labels has been on our mind for

municate directly with end consumers,

Also keeping in mind that RX-frames are

some time now. Karin Stehr at Bellevue

who reach out via our Instagram or

semi-finished products that rely on expert

Optik counts among the pioneers in this

Facebook, which creates a positive brand

counseling in terms of lenses, fit, and

field. There are so many different and inte-

experience.

framing. So far, customers prefer to get

resting independent labels with a diversity

this service on-site.

of ideas and approaches. So I’m simply

What are the biggest challenges facing your opticians in the process of digital transformation?

Every optician needs to find ways to remain visible in this digital landscape.

The biggest challenge is without a doubt being open to new things, keeping up to date on new approaches and finding

is it worth it?

Creating a shared platform for indepen-

Taking the consumer’s perspective, the

happy that favr creates a common plat-

can be hard to navigate. The new ver-

clever implementation of specialty stores

online searches from interested consu-

enough reason for me to commit rather

problematic?

customers to the platform and showing

sheer number of brands and opticians

form and brings everyone on board. The

ticals are also well-versed in directing

as the final point of purchase alone was

mers to their digital storefronts. Is that

quickly. When we all succeed in attracting

It’s indeed rather difficult for end consu-

them the full scope of independent eye-

The most important part is to keep the

mers to find information about numerous

wear labels – and in an ideal case send

content as authentic and informative as

independent brands and arrive at a

them to the right specialty store – it would

possible. Retailers should approach it as

decision. So there’s always a risk for con-

an extended window display in the digital

sumers to land at a mono-brand store,

ways to apply them to one’s business.

space.

And what are the biggest challenges for you as a brand?

The biggest challenge for us is visibility.

How can we show the largest possible amount of people out there what we do and where they can buy our glasses?

Since we sell our eyewear exclusively through specialty retail and do not operate our own stores or online shops, this communication involves a few detours.

which tend to be rather active online.

Starting this spring, favr creates a centralized online eyewear repository with

be a wonderful achievement.

What will it take for independent brands and opticians to remain viable in the future?

We have to show all that we can offer. In

the goal of optimizing the user experi-

today’s age of fast consumerism and in-

to choose their personal favorites from a

tive optical store run by well-trained staff

to a stationary optical store in the next

with captivating stories can become an

ence. Users now have a convenient way

terchangeable goods, a visit at an attrac-

large number of choices and are directed

with exciting eyewear collections replete

steps. Is involving the opticians important

unforgettable customer experience.

to you?

Yes, very much so. We want to sell eye-

Will specialty stores succeed?

I’m confident that innovative specialty

wear right where we know that customers

stores, regardless of how they implement

prescription glasses, continues to be

enjoy the best level of expert advice. It’s

this sense of innovation, are going to sur-

not just the frames that make a customer

vive. But just leaning back and waiting for

change in the future?

happy. It’s also about finding the exact

customers to walk in the door is no longer

We’re already seeing the first virtual

prescription and lens type, which will

cutting it nowadays.

try-on applications, but a face is a rather

keep wearers satisfied in the long run.

The majority of all eyewear, at least

sold in stationary retail. Is that going to

delicate thing. Whenever a customer

You committed to favr really early and S P E C T R // F A V R – P R E M I U M E Y E W E A R F I N D E R

71

THE INITIAL SUPPORTER BRANDS

Every new project depends on people who lend their hands-on support and get the fire started – including favr. The following 33 eyewear brands have committed to favr in our very first season. They have provided valuable feedback on a conceptual level and made their key products available. Their initiative also primarily supports independent opticians, which is why major thanks are in order for their early and strong support.

path with a unique way of seeing the world –

quality frames like the legendary label made

and many Hollywood A-listers have come to

famous by founder Cari Zalloni in the 1980s.

appreciate this as well.

The brand DNA remains unchanged today: iconic designs, first-class materials such as

BLACKFIN | Italy

gold or titanium and an intricate manufactu-

design and frames crafted from titanium. The

cazal.

blackfin represents a love for nature, Italian

BAARS | France

BAARS is a French eyewear brand mostly known for two things: simplicity and quality.

In order to remain true to this company philosophy, the design team had to go to some length to fully reinvent hinges in eyewear frames. After several months of research, development, and countless prototypes, the resulting design features a unique magnet mechanism that will make the eyes of design aficionados sparkle. It’s also no accident that

ring aimed at uncompromising quality. That’s

magical landscape of the Dolomite mountains surrounds the brand’s headquarters and strongly informs the blackfin aesthetic.

CLAIRE GOLDSMITH | England

Based in London, claire goldsmith

For the founders, ‘Made in Italy’ is a mark of

continues to produce one of the most historic

pride, which is why they raised the bar by

eyewear collections in the world as a fourth-

labelling their frames ‘neomadeinitaly’. The

generation family member in an eyewear dy-

characteristics? Titanium eyewear at the

nasty. claire goldsmith eyewear remains

highest quality level, manufacturing based on

on the faces of rock stars, movie stars and

expert craftsmanship, extremely light weight,

royalty, with the fashion world embracing the

durability and flexibility in confident and per-

classic timeless designs. Her collection has a

fectly executed frames.

unique sense of style. It’s dynamic, humorous

such pioneering innovation coincides with a

and bursting with energy. claire gold-

smith is the epitome of independent spirit.

maximum dose of minimalism.

As the great-granddaughter of design pioneer Oliver Goldsmith, she continues a legacy while pursuing her own path in the industry.

BARTON PERREIRA | USA

The Los Angeles-based label founded by eyewear industry mainstays Bill Barton and Patty Perreira is celebrated by fans across the globe. That’s because the two visionaries

EINSTOFFEN | Switzerland

The natural beauty of the Alps collides with

cazal has once and forever proven that a

urban lifestyles in today’s metropolitan cities:

in every single collection: Casual California

consistent design language holds the key to

Welcome to the world of einstoffen. The

luxury, precise craftsmanship, and high-

carving out a unique niche in the eyewear

underlying contrast not only reflects the

end materials blend together in innovative

business. And no other brand owns extrava-

personalities of the label’s founders, but also

designs. barton perreira follows its own

gant, bold, slightly vintage and always high-

shapes their products. The resulting frames

have created a strong brand DNA reflected

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CAZAL | Germany

S P E C T R // F A V R – P R E M I U M E Y E W E A R F I N D E R

are a mixture of classic design, Swiss dedi-

expansion also generated a loyal following

Horn’. But horn is far from the only raw mate-

cation to quality, craftsmanship and a healthy

among celebrities, including Madonna and

rial implemented into beautiful frame designs,

dose of extravagance. The up-and-coming

Princess Diana. eyevan feeds on this strong

which also incorporate wood, silk, alpaca

brand places a focus on natural materials

heritage, but also remains in synch with the

hair, buckhorn, gold or titanium. All frames

such as wood and stone, often treated by

current zeitgeist with a penchant for timeless

are Made in Germany, always with a focus

hand to create the unique einstoffen look.

designs and interesting collaborations.

on enhancing the wearer’s natural beauty, which also means that logos are entirely

FLEYE | Denmark

The name fleye stands for ‘Fine Looking

absent from hoffmann natural eyewear products.

Eye’ – the guiding principle for more than 15 years. The designs follow a consistent aesthetic that is explicitly Scandinavian: classic and reductionist, but at the same time daring and unconventional. fleye also mixes innovative production methods with time-honored craftsmanship in eyewear concepts created in an idyllic countryside manor outside of Copenhagen for a global audience.

EMMANUELLE KHANH | France

emmanuelle khanh was a French fashion

designer, stylist, and model. She made over-

IC! BERLIN | Germany

sized eyeglasses her calling card and was

There’s no slowing down for one of the

heralded as one of the definitive young de-

definitive brands in Berlin’s buzzing eyewear

signers of the French New Wave movement

scene. Driven by the restless zeitgeist of the

in the 1960s. After her passing in 2017, her

German capital, ic! berlin stays in touch

signature aesthetic lives on with a signature

with current trends in art and music while

dose of Parisian attitude in every frame. From

expanding on their reputation as pioneers

oversized to cat eye and butterfly frames

of screwless hinge designs. Amidst all this

to elaborate print patterns – emmanuelle

wanderlust, a few characteristics have

represents the eternal spirit of luxury only to

remained constant throughout the years: ic!

be found in Paris.

berlin still relies on intelligent and reductio-

GÖTTI | Switzerland

nist designs, realized in ultra-precise frames

For the past 25 years, premium eyewear

‘handmade in Berlin’. Their fan base appre-

label götti has built a reputation for Swiss

ciates the forward-looking aesthetic and their

craftsmanship, intelligent product design and

robust, lightweight and straightforward frame

technical innovation. Under the guidance

designs.

of company founder Sven Götti the brand creates eyewear with a focus on precision and quality, while striving for sophisticated minimalism. One of Europe’s definitive eyeEYEVAN | Japan

wear brands.

almost half a century of experience in the

HOFFMANN NATURAL EYEWEAR |

Outstanding quality, timeless designs and eyewear industry: eyevan can safely be

Germany

called an institution on the Japanese optical

Sustainability may be trending, but hoff-

market. Ever since the label’s founding in

mann natural eyewear has been crafting

1972, eyevan has played a strong role in

frames from natural materials since 1978.

the rise of eyeglasses from mere visionary

The level of unmatched expertise has already

approaches things from a different angle. It’s

aid into stylish fashion accessories. Global

won the brand the moniker ‘Masters of

a bold and modern eyewear label at the inter-

KALEOS | Spain

Mainstream taste? No, thanks. kaleos

S P E C T R // F A V R – P R E M I U M E Y E W E A R F I N D E R

73

section of fashion and luxury. The inspiration

their innovative frames in Munich’s equivalent

for this endeavor comes from a very special

of Williamsburg, the trendy Glockenbach

source – the brain of creative director Claudia

neighborhood. Their unique 3D-printing

Brotons. Every six months, she introduces

process relies on laser-melted polyamide

new themes that define the kaleos collec-

powder shaped into ultra-light and flexible

tions. The resulting frames can be complex

frames layer by layer. Customization options

constructions and are entirely manufactured

are plenty, even including text laser etching in

by hand on the basis of unique acetates and

the lightweight temples.

titanium. Claudia Brotons founded the label together with CEO Joan Gassó in 2013 and it has quickly developed into a full-fledged brand with an unmistakable handwriting.

LEISURE SOCIETY | USA

Luxury is more than a brand strategy for leisure society founder Shane Baum. It’s

a lifestyle replete with deeply held personal values; enjoying leisure time, experiencing special moments with friends and family including pastimes like fly fishing and playing polo. In all these pursuits, eyewear by leisure society is the perfect companion.

Replete with lux touches such as titanium, 24-karat gold coating, buffalo horn and diamonds, they make sure that every hour is a happy hour.

KERL | Germany

MARKUS T | Markus T

Operating from its own workshop in a redeveloped grain distillery within Germany’s East Westphalia region, designer brand markus t is driven by a passion for eyewear. Owner and namesake Markus Temming insists on exclusively using the best materials such as TMi and titanium, while placing a strong focus on functionality, appealing designs and utmost comfort. Realizing these ambitious goals, markus t continues to experiment and innovate to redefine the status quo in eyewear design, with the patented and screwless push-in connection just one milestone among many.

Upstart German eyewear label kerl is a relative newcomer to the business, but at

MASSADA | Switzerland

the same time backed by several years of

Only very few brands in the world live and

research and development. It took a while for

breathe art as intensely as massada. The

material engineers Dr. Jaromir Ufer and Dr.

refined sense for aesthetics and artistic

Johannes Dillinger to perfect the use of car-

expression cultivated by designer duo Kate

bon fibers in eyewear frame manufacturing.

Lupinsky and Chris Mastaler is the common

But it paid off: Now KERL is manufacturing its

denominator behind every creation from

frames at two locations in Germany in close

this Swiss eyewear manufactory. Frames by

cooperation with Markus Moser, the resident

LUNOR | Germany

massada challenge conventional shapes

Hailing from Germany’s Swabia region, tra-

and constructions while seamlessly blending

label. What about the frames? KERL glasses

ditional eyewear brand lunor has become

the realms of art and luxury.

are lightweight, extremely lightweight. The

the darling of Hollywood stars. And it’s no ac-

striking, delicate frames only weigh a few

cident. Because the classic retro designs at

grams and seem to float on the wearer’s

the heart of every product are equally unique

face.

and timeless, reflective of a true passion for

eyewear design expert at the Alpenglühn

the craft. Eyewear aficionado Gernot Lindner started lunor in the town of Stuttgart in 1991, drawing on inspiration from what was already an enormous private archive at that time. Informed by centuries of eyewear history, every piece from this brand is an homage to the tradition of manufacturing spectacles.

MASUNAGA | Japan

The town of Fukui is today’s epicenter of

74

KLENZE & BAUM | Germany

Japan’s eyewear manufacturing indust-

klenze & baum is an innovative eyewear

ry. How come? Because in 1905, pioneer

manufactory based in Munich, Germany, and

Gozaemon Masunaga recruited workers from

specialized in 3D-printed eyewear delivered

Osaka and Tokyo to raise quality standards in

in an ‘on-demand’ concept. Label founders

manufacturing at local factories to entirely

Aurélien Mierswa and Stefan Roesinger craft

new heights. So it’s due to tradition that

S P E C T R // F A V R – P R E M I U M E Y E W E A R F I N D E R

text, the frames bear melodic names such

masunaga still places the utmost care in

in tribute to the legendary Wassily Chair.

meticulous quality and manual processes.

While the first frames consisted of metal,

No compromises. No shortcuts. Instead, the

metropolitan’s material selection has

label’s output includes gorgeous hand-po-

grown to include acetate and more complex

lished acetate, pure titanium, durable hinges

composites.

can attest.

MODO | USA

NEON BERLIN | Germany

and the symbiosis between form and func-

images of big city lights, the team behind

as »Marie Elodie«, »Edith« and »Capucine«.

Critics don’t like these frames – they love them, to which multiple Silmo d‘Or awards

and signature rivets implemented in exclusive eyewear worthy of the masunaga name.

modo represents a passion for great design

tion. Founded in 1990 in New York City, the label now also operates offices in Stockholm and Milan. The zeitgeist of these three cities exerts a strong influence on the creatives behind modo – and thereby the overall vision.

Minimalism is fundamental to the brand’s DNA, all the way to foregoing the use of its own logo. What else? Innovative materials, high-tech production processes and a strong commitment to charity such as ‘buy a frame, help a child see.’

Although the term ‘neon’ might conjure up neon berlin took inspiration from the

ancient Greek meaning of the word, meaning ‘new’. Which is why innovation is more than just an empty marketing phrase for the label.

The concept revolves around modular frames in which all components are totally compatible and interchangeable. The central element is a special type of screw that lends balance to the design and figures prominently in the form language, which remains understated and minimalistic. Blending the best of two worlds, NEON BERLIN has perfected an innovative blend between digital technology and analog craftsmanship.

MAYBACH EYEWEAR | Germany

Legendary car pioneers Wilhelm Maybach and son Karl laid the foundation for one of the world’s preeminent luxury brands. Their highend automobiles set the standard for luxury and quality, still appreciated by big name rap artists and billionaires across the globe.

The enduring brand values are also alive in maybach eyewear – and it’s apparent at first

sight. Love for detail, exquisite materials, extraordinary designs and a hint of extravagance raise the bar for luxury eyewear.

NATHALIE BLANC | France

The eponymous label created by revered French designer nathalie blanc is a masterclass in French savoir-faire; the traditional knowledge of how to create things perfectly.

Although the cosmopolitan designer dreams up her signature frames in Paris, manufacMETROPOLITAN | Germany

turing takes place in time-honored manual

Countless eyewear brands are named after

processes in the Jura region, the birthplace

their founders. metropolitan pursues a

of French eyewear manufacturing excellence.

different direction and pays tribute to a miles-

Incorporating a blend of upscale materials

tone in cinema history: 1927’s Metropolis by

such as high-grade cellulose acetate,

director Fritz Lang. Supplemented by strong

nathalie blanc crafts a diversity of styles;

Bauhaus influences, the resulting frames

from classic aviator frames to eye-catching

are marked by highly minimalist designs.

butterfly shapes and metal frames with

Milestones so far include an entire collection

22-karat gold plating. For a high-fashion con-

NEUBAU | Austria

neubau was founded as a celebration of

the creativity and lifestyle of urban neighborhoods such as Le Marais in Paris or Brooklyn in New York. This kind of spirit can also be found in Vienna’s Neubau district, which serves as the namesake of this up-andcoming eyewear label. Aside from of-themoment designs, the Austrian label also emphasizes sustainable practices. According to the motto ‘See & Do Good,’ it’s all about conscientious use of natural resources and regional manufacturing.

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75

NIRVAN JAVAN | Switzerland

Eyewear designers and visionaries are the foundation of the optical business. Up-andcoming eyewear label nirvan javan, named after a designer with Persian roots, was created to celebrate this tradition. Reducing designs to the max and eliminating superflu-

eyewear to a point where pioneering design allows for eliminating metal and screws from its frames. rolf’s stone and horn frames are equally unique, and crafted, like all their products, in a manual process in their Tyrolean workshop true to the business philosophy of keeping operations local.

vagant designs that are distinctly unique, distinctly different. The artistic vision behind the label is courtesy of designer Patrick Hoet, whose last name serves as an anagram of the moniker ‘theo’. Having successfully carved out its own niche, the label continues to surprise, for instance by enlisting desig-

ous elements are the keys to crafting frames

ners from outside the eyewear universe. The

that place the natural beauty of their wearers

message remains the same: Theo Loves You.

at the center. Focused on essentials, the resulting shapes are characterized by clean

VAERK | Denmark

and of-the-moment designs.

Danish brand vaerk combines classic eyewear manufacturing with state-of-the-art engineering. The minimalist aesthetic of the brand’s frames reflects a passion for miniscule detail. The foundation for stylish frames crafted from acetate, stainless steel and carbon-wood blends is an innovative hinge, created in cooperation with industrial design team Harrit-Sørensen. Entirely functional without the use of screws and other distracting elements, the hinge allows VAERK to focus on the essentials.

OLIVER GOLDSMITH | England

oliver goldsmith (est. 1926) has one of

the most influential design histories of any eyewear company still in production. Over the course of 90 years, OG has created some of the world’s most iconic and famous sunglasses and spectacles. Some designs in the family archive are as iconic as the tastemakers and style icons that have worn them. Advocates of OG range from Audrey Hepburn and Grace Kelly to Lady Gaga. The great-granddaughter of the company founder, Claire Goldsmith, resurrected the brand’s sunglasses business after it was in a sleeping beauty slumber for two decades. Her carefully curated collections consist of handpicked remakes and new originals.

SALT. | USA

salt. represents timeless style, casual ele-

gance and genuine beauty. In other words, quintessential California cool. The brand’s aesthetic has won over a global following and draws on sources of inspiration such as art, music, cinema, and architecture. But because style and elegance only reach so far in the optical trade, SALT. is also committed to the highest levels of quality and elaborate finishes. That’s why every pair of SALT. glasses originates from a 130-step process, which in itself is also quintessentially cool.

VERONIKA WILDGRUBER | Germany

Futuristic, extravagant, and architecturally inspired: These are the characteristics of eyewear by Berlin-based designer and brand founder veronika wildgruber. As the winner of multiple Silmo d’Or awards, she describes her frames as “simple and surprising”. The collections are marked by three-dimensional designs with bold and deli-

ROLF SPECTACLES | Austria

Masters of wood? rolf spectacles! For the past ten years, the family business from

combinations to create a sensation of depth.

Minimalist and reduced to the max? That’s

Every frame is crafted in Italy in a process

own innovative course. Refusing to com-

other eyewear labels, not theo. The Belgian

meticulously documented down to even the

promise, the label has perfected wooden

brand likes to play with rich colors in extra-

smallest individual part.

the Vorarlberg region has been charting its

76

cate lines, realized in experimental material THEO | Belgium

S P E C T R // F A V R – P R E M I U M E Y E W E A R F I N D E R

S A LT. »Joe«

THREE PILLARS Timeless Philosophy of Salt. photos RAPHAEL SCHMITZ

»Andy«

salt. enjoys a reputation for timeless, always of

the moment eyewear designs for two reasons: First, the California-based brand emphasizes quality, which lends longevity to products to

» Cou rtn ey «

the point where they can be passed on to new generations. And second, the design language is timeless without ever appearing predictable, thanks to nuanced details that lend classical styles that special salt. something.

When it comes to defining the design philosophy behind salt. three main pillars emerge.

This foundation affords the brand a unique sense of consistency in a market otherwise marked by fleeting trends that change at a fast pace. To withstand the test of time, every pair of SALT. eyewear is built on the following three pillars: F I N D & T RY- O N SA LT. AT FAV R S P ECS.CO M

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FIT

QUALITY

Natural simplicity is at the heart of the new collection, in which individual models add up into a coherent narrative. In other words, these glasses complement each other so nicely, it’s a natural whole.

The use of highest-grade acetate and titanium from Japan ensures strength, flexibility and lasting color. All SALT. sunglass lenses are 100 percent polarized.

Every frame is shaped to achieve the perfect personal fit for its wearer.

» Ly n ette«

» G erry «

DESIGN

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F IN D & T RY- O N MASSADA AT FAVRS P ECS.CO M

INSPIRED BY ART Massada’s French Connections stills KATJA KUHL, artwork MASSADA

It’s not a secret: The two founders behind eyewear brand massada have a burning passion for art. For this reason, Kate

and Chris keep a hands-on approach when it comes to everything creative inside their company. They continue to find constant inspiration from fine works of art and paintings. At the same time, the two are sponsors of a variety of projects in which artists from several disciplines are invited to participate in a collaborative creative process. The main goal lies with pooling diverse resources in order to attain results, which in turn stimulate a vivid discourse between creative individuals and observers with an interest in art. What’s more, creating excitement for their projects and pushing the limits of human imagination is also part of the mission for the founders of massada.

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“French Connections” is the name of MASSADA’s current collection and it’s an interpretation of 26 famous arts images – united into a contemporary collage.

MASSADA

»L’Ét at C’ e st M oi«

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MASSADA

»L a L ibe r té «

In their current collection, titled French Connections, the independent eyewear brand draws inspiration from famous paintings from French masters and offers new interpretations of these works. The project conjoins 26 paintings of French artists – or artists residing in France – into a collage with a modern touch. The resulting artwork draws intellectual references that may only become apparent

“ We are only travelers with a dream of reaching a goal called understanding. „

with him gazing longingly glance into the distance while she takes a photo of the pink macaron on her plate with a smartphone. And we suddenly find ourselves meeting the famous grin of Joseph Ducreux, except that he is now wearing eyeglasses (you can guess by which brand). The overall result is an artefact that plays with compositions and perspectives, representing the French royalism but

at second or third glance, while the essential

also the republican system with a barrage of

inspirations are visible at first sight.

heady references, both historic and critical of

We see Van Gogh’s ‘Potato Eaters’ seated around a roulette table, as one of the prota-

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woman by Edgar Degas planted at a table,

modern-day society.

Based on this massive work of art, MAS-

gonists from Paul Gauguin’s ‘The Fruit Harvest’ offers casino chips. All

SADA has developed the French Connections collection with its five

the while, one of the female ‘Potato Eaters’ is wiping her mouth with the

models »L’État C’est Moi«, »Origin of the World«, »La Liberté«, »The

coattails of Louis XIV. As a backdrop, the famous female private parts

Swing« and »Fruit Gathering«. Much like paintings tend to stand for

from Gustave Courbet’s ‘Origin of the World’ are nestled within a moun-

themselves, each of these frames makes its own statement, aimed at

tainous region without drawing much attention amidst the rolling hills and

a specific wearer. For instance, the Louis XIV-inspired »L’État C’est

Hubert Robert’s ‘Ruins in Nîmes’. We also see the ‘Absinthe’ man and

Moi« is made for everyone who believe in themselves and their success,

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

Every model of the “French Connections� collection consists of a pair of sunglasses along with its optical companion.

MASSADAesque: The semicircular nose bridge.

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

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The sunglasses entitled »Origin of the World« feature lenses with a unique bluish tint.

MASSADA

» O ri gi n o f t h e Wo r l d «

French painting meets delicate craftsmanship.

just like the 17th century Sun King of France. The message behind Courbet’s provocative »Origin of the World« painting is: You are at the center of your universe, you set the standards. Meanwhile, the »La Liberté« frame wants to remind us that we need to fight for our freedom, as it is not to be taken for granted. All models in the collection are explicitly based on certain paintings, while each one is also crafted by hand in Japan from a variety of exclusive materials including titanium, 24K and 18K gold. The frames are also fitted with special temples in the image of Jean-Hans Arps sculptures. Overall, this ambitious and reference-heavy collection is once again proof that massada is equally at home in the eyewear fashion universe and the art world, while being able to elevate the two to new heights.

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Discover our latest collection at MIDO PAV. 2 STAND P51 R56

kaleoscollection.com @kaleoscollection

PLAIN TRUTH – DRESSED BUT STILL NAKED LINDBERG Highlights 2020

Danish eyewear label lindberg is part of the country’s legacy for timeless designs and materials with a penchant for constant innovation. The premium label’s philosophy includes a sense of reductionism; casting aside all non-essential elements. That’s why lindberg frames function entirely without rivets, screws or welds. Together with the exclusive use of premium materials, often involving titanium, this reductionist agenda results in the label’s signature ultra-lightweight and awardwinning design. Aside from state-of-the-art technology, lindberg’s latest collection also makes a strong statement by updating proven design principles with a refined, modern aesthetic.

For the customer, the designer label’s new collection offers a treasure trove of possibilities, thanks to the modular structure of the new line. Tailor-made to order, each lindberg frame is individually crafted by experts, allowing customers to combine the right features into their personal perfect frame.

For a close look at select models from the new lindberg collection, we created our cover photo

shoot Authenticity. The theme ‘Plain truth – dressed but still naked’ applies both to the understated and lightweight lindberg frames as well as the ambiance of the photo shoot.

In order to help navigate the new offering, the Danish brand has created the following collections.

LINDBERG acetanium »1260« photography SACHA TASSILO HÖCHSTETTER assistant NOEMI VEROLLA styling TRANG CAO

hair & make-up LENA GEHRING

models LINUS WEBER, ANELIA MOOR & STEPHANIE GROLL at

MODELWERK, FLORIAN SCHWAB at TUNE MODELS

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-

coat BELSTAFF

hat SPATZ HUTDESIGN

LINDBERG a ir tit anium rim » S a sha« -

scarf ANTONIA ZANDER

air titanium rim This collection embodies the lindberg core values of timeless and minimalistic design. lindberg’s designers have revisited 1992, when the lindberg air titanium rim debuted. They added a stylish edge by evolving vintage motifs of distinctive outlines into a refined look.

In some models, the titanium frame is encompassed by an acetate coating, which adds a modern-style dimensionality to the shapes.

LINDBERG s tri p ti ta n i u m »9745« -

turtleneck TOM FORD

seen at BRAUN HAMBURG

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

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strip titanium A unique blend of acetate and titanium at a high level of craftsmanship. The resulting designs are award-winning as well as visually striking, marked by ultra light weight and adjustability to the individual wearer.

LINDBERG aceta nium »1 0 46« -

skirt 8 BY YOOX

pullover BAUM UND PFERDGARTEN

s tri p3 p ti ta n i u m »2404« -

panty ORABLU

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

s tr ip t it anium »9744« -

jacket DRIES VAN NOTEN

seen at BRAUN HAMBURG

strip 3p titanium Streamlined and ultra-lightweight – to the point where models in the strip 3p collection are almost invisible. But in order to add a strong presence to the frames, lindberg relies on tinted lenses

and rather extravagant shapes in a blend of advanced craftsmanship and minimalistic design.

LINDBERG s tri p3 p t i t a n i u m »2413« -

coat 8 BY YOOX ring COCII

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

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LINDBERG n . o. w. ti ta n i u m Âť6547ÂŤ -

skirt ZARA

poncho KARIN ROCKE boots LEMON JELLY

n.o.w. titanium This collection blends an ultrathin composite front section with ultra-light titanium temples in a minimalist design that weighs only 2.3 grams per frame. The extra lightweight front segments are also available in transparent material with color gradients.

underwear OYSHO

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LINDBERG a c e tanium » 1 0 4 6« -

blouse STEFFEN SCHRAUT blazer TIGER OF SWEDEN jacket BRIXTON

acetanium Innovative designs, in which the acetate front is in harmony with the semi-polished titanium temples. The ingenious titanium reinforcement of the acetate bridge has allowed lindberg to create the slimmest and most elegant acetate bridge ever seen. The result is an acetate look in an unprecedented lightness at only 5.5 grams per frame.

LINDBERG a ceta n i u m »1257« -

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

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FI ND & TRY-O N IC ! B ER L I N AT FAV R S P ECS.COM

A COLLABORATIVE CONSTELLATION OF DESIGN ic! berlin x Mercedes-Benz photos RAPHAEL SCHMITZ

You can see it and feel it – the Mercedes hood ornament adorns the end of every temple of this collection.

IC! BERLIN X MERCEDES-BENZ »M B Shi el d «

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

» MB 0 2 «

»M B 0 1 «

»M B 0 3 «

What do automobile mainstays Mercedes-Benz and eyewear trendsetters ic! berlin have in common? A whole lot,

actually, including a design philosophy

Hello Harry, as the lead designer at ic! berlin you have the last word in the

creative process. But what about the design workflow in a collaboration?

standing relationship in a collaborative constellation.

How did the opportunity to cooperate with Mercedes-Benz arise?

MB showed interest by approaching us

marked by high performance and per-

Collaborative projects are uniquely diffe-

fectionism down to the most minuscule

rent. When working together with another

at the Milan eyewear fair. We both share

detail. Since they were already trave-

brand, I encourage a free-flowing concept

common visions in design and brand, so

ling on similar paths, it made sense for

phase. From the point of ideation to the

a collaboration seemed inevitable. After

the two brands to join up for a collab

execution of the design, both sides inter-

visiting their headquarters and taking a

eyewear collection, which consists of

act openly and decisions in most cases

deep dive in the Mercedes-Benz design

five frames created in perfect symbi-

are made through mutual agreement and

philosophy, we were excited about the

osis. To see what drives the collabo-

collective problem solving.

prospect of creating an eyewear collection

ration, we get the lowdown from ic!

If the communication breaks down, then

berlin head designer Harry Skinner in

so does the product. What’s important

our interview.

for me is ensuring a trusting and under-

together.

What sealed the deal for you?

It is ic! berlin’s strategy to work with S P E C T R // I N T E R V I E W

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IC! BERLIN X MERCEDES-BENZ »AMG 01«

The red color accent is AMG’s trademark and taken up again in the rubber bridge.

other German brands, particularly names that are pioneers in their field. MercedesBenz is constantly innovating not just in the automotive industry but also across

Benz Classic.

Classic How did you transfer the

combination with high performance and

models?

driving a Mercedes, then this collection is

peculiarity of each line to the eyewear Good question. Mercedes-Benz Style is

the exhilarating ride you would get from for you.

a number of ‘beyond the car’ disciplines.

the conceptual and multifaceted side of

Mercedes-Benz is fascinating in terms of

MB, and gave us the freedom to explore,

conceptual work and design approach,

innovate and create a showpiece that pu-

particularly within the realm of interaction.

shes the boundaries of eyewear. We play

Their style identity evokes an emotional

with light and material combinations to

that help highlight contrasts in material

reaction that adds to a unique user expe-

achieve an evocative performance shield.

finishes. For example, matt and glossy

rience. The biggest challenge was, how

Mercedes-AMG represents high per-

combinations achieved by using rubber

could this be translated to eyewear? Also,

formance, precision and efficiency. The

and polished stainless steel helped give

the idea of blending handmade precision

frame embraces these key attributes

a depth in material impression within the

with innovative expertise was a highly

through its use of quality materials and

designs.

motivating factor.

lightweight comfortable fitting. The sheet

Another goal from the start was to use

metal frame is combined with a textured

performance lenses specialized in im-

rubberized bridge detail picking up the

proving vision while driving in all weather

Actually no. The design philosophy and

signature AMG color accents and grill

conditions, because the frame should be

guidelines set by Mercedes-Benz made

aesthetics. The lenses used are perfor-

considered as a tool for driving as well as

the project briefing clear and intuitive.

mance driving lenses giving an optimum

Both design teams shared common

vision experience to the user.

goals and expectations. Aesthetically, the

Mercedes-Benz Classic frames are

frames needed to relate to the design

timeless sunglass pieces that pick up

language of Mercedes-Benz while also

the shapes and lines from the brand’s

encapsulates the essential features of the

upholding the key design attributes of

historic identity. The styles are classic and

line through product detailing and overall

ic! berlin.

understated.

styling. It’s a bold and energetic sunglass,

Were there any restrictions set by MB that you had to abide by?

Speaking of attributes, which three key-

words describe the collection perfectly?

Engineered. Sensual. Performance.

The collection implements three MB lines: Mercedes-Benz Style, Style AMG and Mercedes-

What type of customer did you have in mind for these models?

Does your choice of materials also reference Mercedes-Benz as an automobile manufacturer?

Yes, we picked material combinations

a lifestyle piece.

What’s your personal favorite in the new line?

The »AMG 01«. This sunglass model

making it a satisfying experience to wear.

I am delighted with the outcome and

Anyone who wants the Mercedes-Benz

believe the key elements of AMG automo-

experience. If you want high quality

biles are visible in its aesthetics.

hand-made craftsmanship from Berlin in

Thanks for the interview, Harry.

MASSADA » O ri gi n of th e Wor l d « jacket DASHING TWEEDS vest YMC trousers DAKS necklace ALICE MADE THIS vintage tie STYLIST’S OWN

TWO OF A KIND

BY FL ORI AN RENNER [London] styling SARAH ANN MURRAY at CAROL HAYES MANAGEMENT assisted by FRANCESCA MARTIN KANE & SIAN WILKINSON hair ERNESTO MONTENOVO at THE LONDON STYLE AGENCY using UNITE HAIR CARE & DYSON TOOLS make-up AGA DOBOSZ at CAROL HAYES MANAGEMENT using DOCIEM models KING & LEO at STORM, HOPE P at BOOKINGS,

JADA at NEXT, NONTOBEKO & DAYANE GOMES at PRM, AKUAC, TRINITY & FLOSSIE at NEVS, HIDETATSU, NICK & JACK at SUPA

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SPECTR

MASSADA » L’É t a t , C ’e st M o i « jacket, tie & pocket square DAKS striped shirt PENGUIN trousers YMC

SPECTR

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REIZ » Ju ra « jacket WRANGLER 98

SPECTR

REIZ » Ki es el « jacket PERRY ELLIS SPECTR

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EYEVAN » Ma cDou ga l « -

jacket BARENA VENEZIA shirt YMC jumper WRANGLER cocktail rings ALICE MADE THIS

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SPECTR

EYEVAN » Webb« -

jacket WRANGLER shirt NEEDLES at MR. PORTER

SPECTR

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CAZAL »90 8 3 « -

suit, shirt & belt ZARA vest BRIXTON necklace ALICE MADE THIS

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SPECTR

CAZAL »717« -

jacket DANIEL W. FLETCHER vintage shirt & vest STYLIST’S OWN earring KITSCH BITCH JEWELLERY

SPECTR

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H O F F M A N N N AT U R A L E Y E W E A R »2 3 0 7 « -

tuxedo jacket DASHING TWEEDS vintage scarf & chain STYLIST’S OWN rings MODEL’S OWN

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SPECTR

H O F F M A N N N AT U R A L E Y E W E A R »22640Z« -

top STYLIST’S OWN earring KITSCH BITCH JEWELLERY

SPECTR

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MARKUS T »A1017« -

suit THOM SWEENEY turtleneck & jacket JOSEPH

MARKUS T »A1 0 3 1 « suit THOM SWEENEY striped shirt LOU DALTON neckerchief STYLIST’S OWN earring MODEL’S OWN 106

SPECTR

UNIQUE EXPERIENCE

lookocchiali.it

H

MASUNAGA » GMS - 8 3 0 « dress MARCEL OSTERTAG 108

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OMEGROWN B Y R ACH EL J I AM [Berlin] styling KEMISSA RACINE hair & make-up SABINA PINSONE assistant SANDRA ANKERSTEIN models LOUISA at MODELWERK & HANNA at PLACE MODELS

MASUNAGA » A pu s « coat NEXT, dress BRACHMANN, neckerchief HNY HANY SPECTR

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MODO »4532« blazer MULBERRY, blouse & skirt BRACHMANN 110

SPECTR

MODO »4099« coat BRACHMANN, turtleneck SOFT REBELS, skirt NEXT SPECTR

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SPECTR

MODO

MODO

»4 0 9 9 «

»4536«

-

-

coat SLY010, turtleneck SOFT REBELS

coat NADA DEHNI & IGA SZUBIAK

NEUBAU » Eri n « blazer SLY010 SPECTR

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RODENSTOCK » R7 1 0 1 « jacket & skirt SOFT REBELS, shoes KURT GEIGER, scarf ALTITUDE 114

SPECTR

RODENSTOCK »R26 2 9 « coat NEXT, blouse BRACHMANN, skirt SLY010, boots NEXT SPECTR

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PORSCHE DESIGN » P’ 8 3 6 5 « sweater SLY010, dress FRANZISKA MICHAEL 116

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HOFFMANN N AT U R A L E Y E W E A R

HOFFMANN N AT U R A L E Y E W E A R

»T 8 7 0 3 «

» 4 0 - II«

-

-

coat MARCEL OSTERTAG, sweater NÜMPH, skirt SLY010

blazer & belt SLY010, skirt MARCEL OSTERTAG, bag FRAU FRIEDA SPECTR

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I - S PA X » Ju l i e« & » A s h ton « 118

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THE SHELL J.F. Rey – Outstanding Design Attack photos ULRICH HARTMANN assistant AUSTIN FASSINO

hair & make-up DIRK NEUHOEFER at NINA KLEIN styling GAETANO ACCURSIO

models LINDA SLAVA at MIRRRS & MARIIA V. at HER MANAGEMENT retouch CAROLIN HORNHOFF

With the recent Shell Collection, Collection French designer label J.F. REY has launched one of the most eyecatching concepts of the year so far. In the feminine shapes, extravagant form language pairs with delicate lightness and bold avantgarde influences. SPECTR learned about the origin of the collection from designer Max Bouillet, who played a major role in shaping the form language.

Hi Max, with the Shell Collection you have truly created something special. How has it been received so far?

Just fantastic! Our sales team was very enthusiastic when we presented this new concept. This initial positive response has been confirmed at Silmo by our customers who really loved the three models.

Would you say Shell is a typical j.f. rey project?

Yes, I would say that. j.f. rey’s design approach is

definitely not locked into always creating the same style, the same codes. We use a lot of different highgrade materials which all offer their own way of being

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

J . F. R E Y » JF2 8 8 6 « -

leather top ACNE STUDIOS

nude longsleeve DANNY REINKE trousers COS

boots CALVIN KLEIN

J . F. R E Y »JF2 8 8 6 « -

tulle blouse ZARA

corsage DANNY REINKE pants KAVIAR GAUCHE

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

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“ A striking, distinct shape with a very feminine silhouette. „

shaped because of their various material properties.

The common denominator of our models is creativity.

We try to design frames that always surprise and amaze. With the possibility of bending stainless steel, I think the Shell concept is built to be surprising at first sight.

What exactly is surprising about the design?

With the »JF2884« and the »JF2885«, we designed two round frames in two different sizes. These shapes are soft and delicate. The third one, the »JF2886«, is a large square. Butterfly shaped, with personality and strong character. All styles are for women.

How did you come up with the idea of the double

frame design? Have you been inspired by products outside the eyewear market?

As its name suggests, the concept has been designed in the spirit of a shell. I spend a lot of time in natural environments practicing sports in the mountains and by the sea. And I’m always amazed by the perfection of shapes, of colors, of the harmony that creates

J . F. R E Y

nature. Everything is just in front of our eyes and it’s

»J F2886«

sents the idea of protection, of toughness and soft-

-

tulle blouse ZARA

an inexhaustible source of inspiration. The shell repreness at the same time. It’s a harmonious cocoon for the eyes. A few years ago, Jean-François Rey worked on shell frames for men; shells crafted from acetate or metal, for instance in the Factory concept. The idea here was to transpose this approach for women.

What are the visual effects of this concept?

It depends from which angle you look at them. You will notice thinness and round shapes in the front or

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

J . F. R E Y

J . F. R E Y

»JF2 8 8 4 «

» JF2 8 8 5 «

sweat dress VANESSA BAERNTHOL

ruffle blouse ACBY BY SAMUEL ACEBEY

-

-

bikini top COS

skirt VANESSA BAERNTHOL

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“ Two rounded shapes while the »JF2884« is smaller than the »JF2885«.

The roundness is perfectly controlled. This shape particularly seduces young people. It’s in the air. „

J . F. R E Y

J . F. R E Y

»J F2884«

» JF2 8 8 5 «

-

blouse DANNY REINKE

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

-

net sleeve dress COS

pvc gown VANESSA BAERNTHOL

side view. But turn a little and you will see all the depth and the volume of the frame. This is the real particularity of the concept. It’s a hidden visual effect, not visible immediately.

Usually volume comes with heavy weight. How is that in the Shell line?

The thinness of the curves in stainless steel allows exactly this wedding between volume and lightness.

Moreover, the concept uses extremely thin metal temples without any end tips. That is part of the design but also adds to the overall lightness.

What’s special about the material?

To obtain such a fineness and lightweight in the design, we selected finest quality of stainless steel.

What about your choice of color palette?

j.f. rey is known for its very colorful color charts that

can be shocking and always unexpected. It’s the color DNA of our brand. But for the Shell concept, we have chosen a sophisticated combination playing with different shades of gold, for instance a shiny or patinated effect, and pure colors that blend elegantly with the lofty constructions. The handmade colorization highlights the elegance and the precious style of the frame.

Sunglasses often have unusual designs, but optical

frames tend to be more reserved. The designs in the

Shell line are very striking, nothing for wallflowers, right?

Yes, indeed. It’s a way to wear oversized and remarkable shapes without hiding your eyes. These frames

J . F. R E Y » JF2 8 8 6 « -

tulle gown DANNY REINKE

are definitely destined for women who consider prescription glasses as a jewel. Striking but just enough to supplement the pearls in the shell.

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

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i

Y PAST, PRESENT, FUTURE Z Sarah Settgast by Hoffmann Natural Eyewear photos STEPHAN ZWICKIRSCH F I N D & T RY- O N HO F F M A N N N AT U RA L EY EW E A R AT FAV R S P ECS.CO M

Berlin-based designer Sarah Settgast counts among the most familiar faces in the European eyewear business. This is not only due to her striking appearance – she is an officially registered image and word trademark – but also due to her professional career that has been closely linked to eyewear for the past 13 years. Her path to eyewear design included classic training as an optician and continues to find new creative outlets. The latest milestone is an eponymous eyewear collection, Sarah Settgast, in close collaboration with horn eyewear specialists hoffmann natural eyewear, which is the recipient of this

issue’s Campaign Award. Here’s Sarah in our SPECTR interview.

Hello Sarah. Let’s start a bit off topic: You’re also an

illustrator and author of children’s books. Is that a job or a passion?

ding to the highest quality and environmental standards, in harmony with nature. I’m often called an ‘eco mommy’. Although I may not look like the usual ‘crunchy granola’ type of mom, I definitely am one at heart. I always have to know where and how something was manufactured. Which is also conducive to my passion for all things vintage.

Your personal appearance also has a sustainable edge.

After all, tattoos are forever.

That’s right, these tattoos have always existed in my mind. So they come rather natural in a sense. For me it’s sometimes strange to see photos on which all the tats are visible. I can’t help but think here and there: Wow, you’re pretty heavily tattooed!

But that’s how people know you in the eyewear univer-

se, of which you’ve been an active part for years. When did it all start?

In 2009, I completed my training as an optician in Berlin.

It all started three years ago with a passion for painting

The city was a real mecca for eyewear design at the

and drawing, which I had rediscovered after a long-term

time. Almost all the great brands back then were based

hiatus. The desire to publish my own children’s book

in Berlin. After my training I immediately made the switch

emerged from my private experience. I wanted to send

into design and have been in the business for almost ten

my daughter on her life journey with a special story by

years now. I’ve always been attracted and fascinated by

her side. The book was manufactured in Germany’s last factory for cardboard books.

So sustainability is important to you?

Of course. But I’m also intrigued by leaving something

the multi-dimensional nature of this occupation.

How did you end up collaborating with hoffmann

natural eyewear?

It was almost like destiny calling when I met Wolfgang

behind for prosperity. My eyewear, my books, and all

Thelen at Noble Optic House on Kurfuerstendamm

things yet to follow are manufactured in Germany accor-

boulevard. I was deeply impressed by the craftsmanship

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j Art meets life: Artist Sarah Settgast has protected herself as officially registered image and word trademark and bridges the gap between the roaring 1920s and the digital age.

and have always been a huge fan of horn. It’s such a natural and supple material and feels like a second skin on

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behind the making of hoffmann natural eyewear

How would you rate the overall importance of horn in our industry?

Horn frames were already all the rage in the 1920s. And

your face. You become one with a horn frame. No other

even 100 years later, in 2020, not much has changed:

material has been able to give me this feeling to this day.

People are looking for consistency and innovative crafts-

And I myself am just as multi-facetted as horn is in its

manship realized in high-quality products ‘Made in Ger-

colorways and material properties! So we are just the

many’. Every frame is one-of-a-kind, just like the wearer!

perfect match and the same goes for collaborating with the quintessential specialist horn eyewear brand.

And how has the collaboration been so far?

It’s really the best that could have happened to me in the

i S P E C T R // C A M P A I G N A W A R D

127

c

»L o u i s e B rooks « Delicate ornaments and miniscule details are part of the designer’s signature style ...

c past few years! With hoffmann natural eyewear I

it is retraced in 3D-software and adapted to technical

have a partner by my side in development that’s backing

production requirements.

me 100 percent in everything I need.

You’ve been designing eyewear for years, what has changed due to the collab?

I’m not necessarily inspired by the here and now, but also take inspiration from bygone eras: Clothes, patterns,

I am finally free to realize things just as I see them. The

music, hats, design, interior decoration, the lifestyles of

frames are now 100 percent Sarah Settgast, if you will.

the 1910s and 1920s, the Art Deco age, Art Nouveau,

No compromises!

Wilhelminian style, the Edwardian Era and so on...

That hasn’t been the case before?

Previously, I was a bit limited due to the materials, the manufacturers, the employers and ‘what the market

In how far are your ideas limited by production-based technological requirements?

That can happen here and there. Sometimes I want to

wants’. That’s all by the wayside now. Now I get to do

do more than is possible. Fortunately, that’s only rarely

what I like. What’s dear to my heart and also fascinates

the case and we can find solutions to still make my ideas

other people. And whenever a technical aspect in my designs turns out problematic or difficult to implement, hoffmann natural eyewear always immediately

starts looking for solutions and alternatives to make it happen. tral role. Do you also draw all your eyewear designs by hand?

Yes, everything starts with a hand-drawn sketch. But as opposed to my illustrations, it goes far beyond that.

c

The initial sketch is transferred to the computer where

S P E C T R // C A M P A I G N A W A R D

reality.

What aspect of your creative work gives you the most joy?

The freedom to realize my ideas and let my creativity run wild. Of course, it’s also nice to encounter people in the

In your other projects, manual processes play a cen-

128

What inspires you in your creative process?

street who wear my glasses, thereby creating something that embellishes their look.

Let’s talk about the first collection by Sarah Settgast.

How would you introduce it to our readers?

The collection is a homage to the 1920s which are now exactly 100 years in the past! The era was defined by a

i

SARAH SETTGAST »Olive r Har dy«

»Fritz Lang« ... and used at every turn.

new zeitgeist, the sense of new beginnings at the dawn

These are frames in the high-luxury segment. Every

of the Industrial Age, the wish for escape, dancing on a

frame is produced manually in a 300-step process at

flaming volcano. In 2020, we’re also at a new beginning,

hoffmann’s workshop in the Eifel region. Each frame

longing for stability while also looking for technological

is a one-of-a-kind item and crafted from the world’s

progress. We are searching for a foothold in this digital world with its seemingly endless possibilities. These desires for stability and footing are fulfilled by hand-made goods and products, the same way they’ve been made 100 years ago.

How many models are in the collection and what are the defining characteristics?

highest-grade materials.

Will this be a one-time project, or can we expect a longterm partnership?

In all of my projects, including this exclusive partnership, I am interested in long-term cooperation. That’s also why all factors need to align bevor establishing the connection. And these prerequisites were in place with

The inaugural collection encompassed twelve designs in

hoffmann natural eyewear right from the start.

total that are not necessarily defined as male or female

With Wolfgang Thelen and Jutta Kahlbetzer, I have two

styles. Good taste, a sense of elegance and aesthetics as well as a highly individualized lifestyles are not necessarily gender-specific characteristics, anyways.

genuinely amazing individuals by my side.

Which frame is your favorite model?

My favorite frame is the »Buster Keaton« with a golden

The implementation of horn in the collection is a no-

Art Deco arch on the upper rim of the lenses and mother

combinations?

light-colored horn and gold lens this frame an absolute

brainer, but do you also play around with other material

c

of pearl inlays on the front of the temples. The blend of

We created a nice mixture of extremely rare light horn

sense of elegance, the likes of which I’ve never seen

with genuine mother of pearl inlays, as well as gold and

before in a piece of eyewear.

silver applications forged manually by a goldsmith.

That sounds rather elaborate, are the models positioned in the upper price segment.

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129

SAME SAME BUT DIFFERENT Katharina Schlager for Cazal photo HILDE VAN MAS

Iconic eyewear brand cazal has appointed a new creative director: Katharina Schlager is taking over the wheel. The designer hailing from the Austrian city of Graz is well-known in the eyewear industry Wolf brand DNA. While the after spending years in charge of Andy Wolf’s move may have surprised some eyewear insiders, it makes sense from cazal’s perspective. With her progressive edge, Schlager is predesti-

ned to continue the innovative and high-profile aesthetic cultivated by cazal founder Cari Zalloni in the here and now. SPECTR talked to Katharina Schlager about her motivation and future plans for cazal.

FI N D & TRY-ON CA ZA L AT FAVRS P ECS.CO M

A different kind of interview portrait shot: Katharina Schlager is now the Creative Head at iconic brand CAZAL. 130

S P E C T R // B I Z Z T A L K

Hello Katharina, seeing you wearing cazal glasses is a

welcome surprise. What exactly does your new role entail?

A few weeks ago, I was appointed CEO and Creative Director working next to Klaus Lippert who is in charge of finances and operations.

So you’re also responsible for all things eyewear design?

Yes, this will be my main focus next to many other aspects.

Leading a brand like cazal into the future presents countless

opportunities and challenges all at the same time. You need to proceed with care, as the brand has been around for some time now. That goes for designs just as much as the values engrained in our company culture.

Previously, you have exerted a strong influence on the designs

Wolf Is it even possible to replicate this kind of commitat Andy Wolf. ment at a new brand?

ties, for strong personalities.

Viewed from the outside, the Iconic Styles are rather prominent,

celebrated by a large fan base. What’s your take on these coveted collector’s items?

These are icons of design history. There’s a reason why they are exhibited in Munich’s Pinakothek museum and possibly also in New York soon. What Cari has been able to create is timeless and already way beyond questions of personal taste.

Will you keep catering to these collector’s circles in the future?

By all means. The world of designs would lose some of its luster without these designs.

But there is obviously a large discrepancy between regular

cazal customers and these collectors. At the same time, the

brand is able to bridge the gap successfully. How so?

This without a doubt represents one of the biggest challenges

It’s a little bit like falling in love for the second time. The passion

for the brand. Our target group is currently divided into two. But

is just the same as the first time around, but you are more aware

what both groups share is a love for bold designs. This can be the

about the entire experience. You’re ready to fully commit to the

starting point for uniting these two halves at some point.

whole thing. It’s a wonderful feeling and an opportunity for which I’m very grateful. Everyone who knows me will attest that I don’t

How would that be possible?

cazal is a brand with a strong history. It did not emerge from

do things halfway and that I thrive on challenges like these. Live

the drawing board, like many other brands. This history needs to

is constant development. For myself just as much as cazal as a

be preserved as a fundamental part of our DNA. So for me it’s

brand.

more about adding on that subtracting. It’s about moving forward

The brand’s founder, Cari Zalloni, without a doubt ranges among

the most influential eyewear designers of all time. Have you ever had the chance to meet him in person?

without forgetting the roots.

What will be the impact on the brand’s position?

Like I said: cazal created eyewear for personalities, eyewear with

Yes, we actually did meet at one time. It was a chance encounter.

corners and edges. That’s not about to change any time soon.

He lived in the Steiermark region, very close to where I was born.

Just the opposite. We will continue to emphasize these corners

Back then, he commended me on my bravery and consistency.

and edges even more strongly, all without forgetting about weara-

This was during the first years of Andy Wolf, so coming from him, these words meant a lot to me.

On that note, how would you describe his signature design style?

His designs were uncompromising and far ahead of their time. He always said you need to be able to see a cazal from all the way across the street, which he obviously achieved.

Indeed. Now, how about your own design philosophy compared to Cari’s?

bility and the current zeitgeist.

Do you already have ideas for your first collection?

Yes, there are actually concrete ideas already. But despite my experience and intuitive sense for design, I’m not looking to move ahead without the help of our customers, retailers, and colleagues.

In how far do you receive help from them?

I want to know they’re by my side as allies and keep them involved in this creative process. After all, a great job is always the result of a relationship – and not the kind in which one side tells the

Without sounding aloft, Cari and I are very similar in our approach.

other, what’s good for them. At the end of the day, it boils down to

I love corners and edges and bold designs. I see eyewear as

subjective qualities. Taste, as they used to call it back in the day.

a statement. As something that makes people more beautiful.

Because despite all their functionality, glasses are jewelry. This has remained a constant since Cari Zalloni and his penchant for gold.

What does cazal mean to you?

I am trying to retain an outside view for as long as possible. From that vantage point, I see a brand with a big past, but just as big of a future. Cari Zalloni has created iconic styles, worn by brave and self-confident people.

In how for does this ‘outside perspective’ prove useful in your work?

The cazal myth is kept alive by people who wear our glasses.

That’s why we need to keep the interior and exterior view of the brand closely aligned. The brand and its wearers are connected by a similar mindset: It’s about eyewear made by strong personali-

Can you already hint at a direction you’re pursuing with your new designs?

Only this much: It surely will not get boring and never adapted to the status quo.

Your first great outing in your role at cazal in front of a large audience will be at opti in Munich. What can we expect?

Let’s suffice it to say that some folks are going to be surprised.

We’re not going to reinvent cazal. Because we don’t have to.

But we will provide a preview of what modern-day interpretations of strong designs can look like and where our journey is headed.

Taking it gently, but also with the stringent consistency required to live up to a brand like cazal.

Thank you, Katharina.

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SILHOUETTE » A ccen t S h a d es « -

suit HUGO, shirt BOGGI

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SILHOUETTE » A c c e n t S h a d e s« -

outfit STUDIO VERTICE

C E RTA I N T Y POET

BY NARÈNTE // LU C I O AR U + FRAN C O E R R E [Sardinia, Museum Nivola] photos & styling NARÈNTE // LUCIO ARU + FRANCO ERRE models CECILIA LOCCI & WILLIAM LAIRD at LAREPRESENTS hair & make-up VERONICA CONTU with the support of FONDAZIONE SARDEGNA FILM COMMISSION

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EINSTOFFEN »Delinquent« suit DIOR HOMME shirt BOGGI foulard STYLIST’S OWN

EINSTOFFEN » Perl ta u ch er« suit DIOR HOMME, turtleneck BENETTON

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KOBERG »6045.1019« coat UNIQLO, pants ZEGNA, shirt SELECTED HOMME

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coat VINTAGE PRADA, shirt UNIQLO

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jacket STUDIO VERTICE, shirt LACOSTE

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coat UNIQLO, dress STUDIO VERTICE

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velvet jacket CARHARTT, blue shirt SELECTED HOMME, pink shirt BOSS

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MARKUS T »L 1034« suit DIOR HOMME, turtleneck BENETTON

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OPTI MUNICH C2.511

MIDO MILAN PAV.4. M01

ROOM WITH A VIEW B Y AND REA K ADLER [Travemünde, Baltic Sea] digital assistant LUBBERTUS MÜLLER hair & make-up ULLA KORNELIUS styling ANDREA KADLER assiste by JAKOB SCHÄFER models ALIMA & LINO at MODELWERK & MARYEL at MGM MODELS retouch KATARZYNA KEDRON special thanks to MARITIM HOTEL TRAVEMÜNDE

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dress TAUKO sneakers VEJA earrings NACH BIJOUX

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jacket & trousers CALVIN KLEIN sneakers CALVIN KLEIN JEANS

NEUBAU »Maurice« -

skirt & turtleneck COS sunglasses case IPHORIA sneakers VEJA

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coat & bag CALVIN KLEIN turtleneck SCOTCH & SODA

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jacket SCOTCH & SODA turtleneck COS pants ANTIK BATIK

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sweate r SANDRO ring CAÏ trousers SCOTCH & SODA

MAKELLOS » ME 1 0 3 9 Ma ri en f el d e N o. 1 « -

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sweater PUGNAT skirt COS bag PINKO ring XEN boots FLATTERED

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dress SCOTCH & SODA earrings ANNE MANNS gloves STYLIST’S OWN

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shirt OROBLÙ skirt PINKO earring VIBE HARSLØF necklace CAÏ bracelet STYLIST’S OWN

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FHONE »Odette« raincoat STUTTERHEIM dress PARATI

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SOPHISTICATED DESIGN FROM DOWN UNDER Karen Walker Optical Collection stills RAPHAEL SCHMITZ, portrait COURTESY OF KAREN WALKER

Born and raised in New Zealand, Karen Walker launched her eponymous fashion label in 1987. Since then, her designs have become a constant fixture at runway shows across the globe. Karen’s love for creativity not only applies to apparel, but also includes eyewear manufactured by Australian Specs On the eve of her first prescription eyewear collection, we label Le Specs. connect with Karen in our SPECTR interview.

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

KAREN WALKER » Ma rga ret«

Hello Karen. Let’s start with a general question: Which

characteristics should a successful designer possess?

Curiosity and a unique handwriting.

And do you have all these?

I hope so.

You not only design fashion, you also create accesso-

» Ci n d y «

ries and glasses. Aren’t these completely different product areas?

Well, they’re all fashion so the essence is the same – it’s all about creating a feeling. In terms of functionality, of course there are differences, but the intent is there across everything we touch.

You first applied your touch to eyewear when you launched your debut collection in 2005. Why?

To create eyewear that would make people happy.

How would you describe your design philosophy?

Everything we design comes with the intent to put a smile on people’s faces.

Do you follow a specific color code?

We don’t have a set code for everything we do, but our eyewear features our own Crazy Tort, shiny black acetate and metallic that reappear every season as well as often dusty, slightly “off” colors thrown together.

Speaking of ‘throwing together,’ should every human have a wardrobe of eyewear to match their outfit choices?

» S on j a «

I do think that having a few different options for your eyewear makes pulling together a great look that will give you joy that bit easier.

However, this kind of eyewear arsenal can be costly to assemble…

The question isn’t about cost, it’s about value – what value do you get out of any product in your life? How often do you use it? How long does it last? What does it mean to you when you use it? How does it make you

» Va l en ti n a «

feel? My husband’s been wearing the same pair of karen walker »Deep Freeze« he got over ten years ago. He’s

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KAREN WALKER »Wilma« worn them twelve hours a day, for 365 days for a decade – and he’s very happy with them. Other people have many different pairs of glasses. Some even buy their glasses from a $1 shop or from Canal Street. There are lots of choice out there and it all comes down to the individual and how they value things.

And to what extent is this compatible with your insistence on using high-quality materials?

We’ve always demanded excellence in our materials as well as our make and, naturally, our design.

Quite recently you launched your first optical glasses collection. What was your motivation?

We’ve always made sure that the majority of our sunglasses are prescriptible and many of our clients wear them with clear prescription lenses, myself included.

This is the first time we’ve created a range specifically for prescription lenses, taking into consideration all the many things germane to this category.

The shapes are clearly ‘quieter’ than your sunglasses.

» A l ek«

But are there some common design elements?

The optical range has to be lighter than the sunglass range, so naturally that means less metal and acetate.

As a result, it’s harder to get that pumped-up feel that’s

The signature arrow is the recognizable brand insignia of KAREN WALKER eyewear.

intrinsic to our sunglasses. However, the prescription styles have the strong graphic shapes and drama that we’re known for from many of our strongest silhouettes, not to mention our arrow branding and our love for detail.

How many models does this optical collection include?

There are 50 SKUs across 16 shapes.

That’s a major undertaking. Do you handle all designs personally or are other people involved in the design process?

There are four of us on the creative team. I’m head designer. We connect most weeks on something-or-other within the creative process.

What do you get inspired by when designing eyewear, especially optical frames?

Inspiration comes from everywhere and anywhere. For this first optical range, it was an opportunity for us to finally celebrate the high school spelling bee.

Like your glasses, your visuals are also very extravagant. Once you‘ve also stood in as a model yourself.

How come?

I don’t know about extravagance, but our storytelling is never limp. There’s always a strength to it. Otherwise, why bother? For the Transformers line, I was the modeland that was central to the idea as that series of ima-

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ges was all about the sense of disguise and dressingup that a fresh pair of sunglasses gives you. The feeling of stepping into a new persona for a moment – the transformation.

Speaking of new personas, your label is also very popular among actors and celebrities. Care to do a little namedropping for us?

We have many fans around the world who love wearing our glasses and I’m always thrilled to see them.

Whether it be in my local coffee shop or on a celebrity’s Instagram feed. Last week, Robert Downey Jr. wore our glasses, yet again, and I always get a thrill when that happens. But in the last few months, we’ve always seen them worn by Beyoncé, Lady Gaga and Celine Dion and that’s thrilling for us as well.

What does the typical karen walker customer look like?

I don’t think there’s a typical look to our customers. I’m constantly surprised and delighted by how our customers put their looks together and how we fit into their creativity.

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VOYO U CO L L E CT I O N BY

Reconstructable, bespoke, 3D-printed eyewear made in Munich

visit us at opti C2.427

k l e n z e b a u m . c o m

E

FIND & TRY-O N KLENZE & BAUM AT FAV R S P ECS.COM

BROKEN IS SO YESTERDAY! Klenze & Baum From Munich photos STEFAN ROESINGER

Big news: The relatively young eyewear manufacturer voyou from Munich is changing its name to klenze & baum. With

Hello Aurélien and Stefan, you’re both relative newcomers to the eyewear business. Since when have you been in the industry?

the rebranding, the two founders, Aurélien Mierswa and

[Aurélien:] We launched our brand in 2018 at opti. The develop-

Stefan Roesinger are not only looking to elevate their brand

ment period had been five years. Previously, I was a passionate

positioning to a new level. The specialists in 3D-printing are

wearer of eyeglasses without any knowledge of the optical trade.

also raising the bar on the technical side. Many opticians

[Stefan:] I joined Aurélien four years ago. I also came into the

already found the patented screwless hinges featured in

business via a detour but had previously been in contact with a

previous collections irresistible. Now the label is upping the

eyewear brand while working in marketing.

ante with two entirely new, tech-driven collections, explained by the two founders in our interview.

How did you two meet and what were you doing previously?

[Aurélien:] I was a product designer at sports equipment manufacturer Boards & More with a lead role in development. Stefan and I have known each other since our youth when he was dating my

“ Voyou Is Now Klenze & Baum „

sister.

[Stefan:] I come from an advertising background and worked as an art director at Jung von Matt and before joining the company was running my own agency. But the dream of advancing a product into bringing it to market had always been there for both of us.

When did you discover the optical industry?

[Stefan:] Aurélien had this idea for 3D-printed frames that could combine so many unique benefits that we dared to advance this concept further and take a leap into unknown territory.

[Aurélien:] When I was a student, I already produced my prototypes via 3D-printing. And since then, I had been wanting to create a serial product with this production method. I soon realized that eyewear made the most sense for applying this technology. We

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KLENZE & BAUM V OY OU C o l l e c t i o n »Galilei«

The hinge design featured in the VOYOU Collection: Highly functional and visually appealing.

ended up taking longer to achieve market readiness than other brands. But this additional investment into development is now paying off, since our relevant quality criteria now position us amongst the innovative drivers in the segment.

Aren’t there hundreds of pitfalls in the

process of positioning a technically novel

see ourselves a bit as David, challenging the

product on an unfamiliar market?

Goliath of globalized mega brands. In this

[Aurélien:] There were lots of question

industry you can still be a pioneer ahead of the

marks, but we still decided to latch on

big players with the right quality, innovation and

and just went all-in. We also consider

sustainability in place.

our outsider status in the industry as a

You’re headquartered in Munich’s buzzing

strength. We were able to solve several technical challenges for features that others had given up on, exactly because we think differently.

[Stefan:] The learning curve was pretty steep in our case, of course. But we had a good circle of supporters, which we would like to thank on this occasion, including Thomas Hobmaier and Fred Utz, owners of Steingasse 14 optical store in Heidelberg.

What do you find positive and refreshing about the eyewear business?

[Aurélien:] Our experience with the industry has been very charming and we are thankful for being welcomed so nicely.

[Stefan:] As part of a small group of independent brands we

Glockenbach neighborhood. Are you inspired

by the hip vibe of your surroundings?

[Stefan:] Of course. Our office is located in the creative heart of Munich with countless small boutiques, design agencies and fashion creatives. Simply watching people out on the street can be pretty exciting. We feel strongly connected with our neighborhood and celebrate this bond with our brand’s new name, among other things.

What’s the connection?

[Aurélien:] Our manufacture is located at the corner of Klenzestrasse and Baumstrasse. Thus, the name klenze & baum.

Usually, people would expect the brand name to be based on

the two company founders. So now you can never move headquarters, right?

[Stefan:] The Klenzestrasse was named in honor of classicist architect Leo von Klenze, who left a strong mark on Munich’s urban landscape. And the Baumstrasse used to be the place where rafts for the river Isar were built. We are overlooking the Isar directly and like to swim out to Weideninsel island in the summer. So no, we probably never want to leave this place!

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What exactly inspired you to relaunch the brand?

[Aurélien:] We just felt the need to have a name that sounds like we were feeling after two years: As a high-quality eyewear manufacturer based in Germany without needing a fancy English name.

Let’s talk about the essence, the products. How would you describe your design language?

[Aurélien:] Aesthetics-driven without compromise and with a manic focus on functionality.

You have been specializing in the 3D-printing process from day one. How come?

[Aurélien:] In 3D-printing, we can realize things in terms of form language and technology that would otherwise not be possible from a manufacturing standpoint. What’s more, the 3D-printing segment has a few surprises in store over the next few years in terms of materials and their properties. We’re at the cusp of a revolution, and we want to be part of it.

Speaking of materials, what are the fundamental advantages of polyamide powder used in your 3D-printing process?

[Stefan:] The material is about 30 percent lighter than acetate and a lot more flexible.

But you also choose to implement metal inserts in the temples of your frames. For what reason?

[Aurélien:] This allows for adjusting the temples precisely and for the long-term, much like an acetate frame. Otherwise, adjustment to the wearer is one of the inherent deficiencies of 3D-printed temples.

Let’s talk about the key feature, your patented hinges. What inspired the idea?

[Aurélien:] It was clear to us from the beginning that we need a USP and recognizable feature. That ended up being a rather long-winded process. We conceptualized around 25 hinges and created multiple prototypes. Ultimately, our current solution was the most convincing approach.

It has been extremely well-received among opticians. What’s special about your hinges?

[Stefan:] Our screwless hinges are based on fitting a flattened ballhead top at the end of a spring to create a spherical joint with just the right amount of variance. It allows for the necessary amount of tension at the tip, but most importantly features overload protection.

How does this protective mechanism work?

[Stefan:] When the temple becomes overstressed, it folds away and, in extreme cases, can also detach entirely. Afterwards, it can easily be reattached with a simple hand movement. This has literally saved several frames already, for instance when wearers accidentally sat on them.

[Aurélien:] We also issue a five-year warranty on the hinges, because we are highly convinced of their robustness.

Also sounds well-suited for athletic eyewear, right?

[Stefan:] Yes, we have developed a kind of interchangeable temple specifically to serve this segment. The hinge allows for swapping the standard temples with a sports version, immediately transfor-

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KLENZE & BAUM S U MO Col l ecti on » B ra n t«

ming regular prescription frames into athletic frames.

What is your general approach to colorways?

[Stefan:] We tend to approach it in rather bold fashion. The colors of frames, temples and lenses will often go against the grain and defy expectations, for instance our rainbow-colored hinges. That also strengthens our brand profile.

By principle, 3D-printed glasses are predestined to be adjusted to individual wearers. What is your offering in this segment?

[Aurélien:] In our serial collection, we offer two sizes in up to six

colors. The hinge and lens colors can be adjusted according to customer preference. What’s more, we offer a custom frame that allows for controlling all key parameters: Width, temple length, inclination, nose width and so on.

How are these frames fitted individually?

[Aurélien:] We have developed a specific frame for taking measurements, which allows opticians to obtain all necessary parameters right from the wearer’s head, who at the same time can get a feel for the tactile qualities of his or her future glasses. This also emphasizes the optician craft, which we consider as irreplaceable.

So that’s an important factor for us.

What’s the wait period for receiving a customized klenze & baum?

[Aurélien:] Four to six weeks.

How would you describe your typical customer?

[Stefan:] People on the same wavelength, who define themselves more by their attitude than age or income level. With a preference for quality, design and slow fashion. Which means buying fewer products, but those which last longer.

Sounds like sustainability is also important to you. How does it factor into your business model?

[Stefan:] Our frames are ‘Made in Germany’, which means really short transport distances between processes. We also produce significantly less waste and our hinges are an antidote to disposable consumer culture.

What can we expect from you in the future?

[Aurélien:] For opti we will be introducing a blend between a 3D-printed front section and perfectly adjustable titanium hinges, once again constructed with robustness as a priority. Also an ultra-thick collection of frames, printed with hollow insides to

Robust and stylish: The titanium temples on the new Asket Collection cover all bases.

achieve a stunning degree of lightness.

We look forward to seeing it. Thanks for the interview.

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MAKELLOS X MERCH MASHIAH » S a ba ba «

THE PERFECT MATCH Makellos X Merch Mashiah photos EDA CALISTI

A renowned designer loses his eyesight – what sounds like a tragic and almost insurmountable stroke of fate, is the true story of the German-Israeli couture designer Merch Mashiah. He’s been shaping the Berlin fashion and avant-garde scene for years until an enigmatic illness brought his world to a halt. The diagnosis changed everything. His relationship broke down and his profession was nothing but a memory. But like the young Beethoven, who continued to make music despite hearing loss, Merch rose from the ashes like a phoenix. He decided to fight for his existence – and for his ability to create. And he’s been fighting ever since, for every idea, every concept and every memory of shape and color.

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This is not a kink in the optics – but a wrinkle in titanium.

Fate or coincidence?

While eating, the fashion designer and Thomas Akiyama, managing director of Aoyama Optical GmbH, got to know and appreciate each other. Very quickly, similarities emerged and it became clear that the two share the same views – and the same penchant for perfection. They were both driven by the pursuit of a state in which nothing can be improved, a unique interplay of German precision, craft tradition, harmony and aesthetics. Merch counts on the highest quality and has all his clothes manufactured in Germany. The eyewear manufacturer shares the same ethos and produces exclusively in the best locations in Germany and Japan. All these strong paradigms are reflected in the cooperation and creation of a limited edition for makellos. „Sababa“ – take it, wear it and have a good time.

The result is the model »Sababa« – the name suggests “having a good time” –, which will debut at opti 2020 in Munich. It’s limited to 100 pieces in three colors. The frame, whose front consists of a multi-layered acetate of the premium manufacturer LAES, features a fine visible fold in the titanium temple. This style element is characteristic for the oeuvre of Merch Mashiah, who prefers pleats in his designs and loves quality that translate to haptics.

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ek.fr

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Details make the glasses of EINSTOFFEN special – here are micro engravings in the new titanium frames.

STAND TALL, RUN FREE Einstoffen From Switzerland photos RAPHAEL SCHMITZ

einstoffen is an eyewear brand

that defies categorization and refuses to be pigeon-holed. The name of the

self. All of us are passionate globetrotters

the origin story?

all come from different backgrounds. For

usual name for an eyewear label. What’s

and have been friends forever. But we

Swiss label is as unique as the eclectic

Agreed, the name of the label goes back

instance, I studied history before starting

product selection that now covers the

to the inception of our company. We star-

the brand. But the idea of doing our own

full gamut of eyewear, streetwear, and

ted out in 2008 with textile manufacturing

thing became just too captivating at some

watches. The driving force behind this

and ran our own web shop for our goods.

point. Ultimately, we just went for it.

expansive portfolio is the insistence of

And since we were literally ‘covering’

einstoffen’s founders to create exact-

people in fabric (‘stoff’ in German), we

ly as they see fit. With that said, the

came up with the wordplay ‘einstof-

Unchained, which was also label is truly Unchained

fen’. Although our selection has greatly

the motto of their latest Spring collec-

expanded since then, we like to stay true

tion. We learn more about the rock’n’

to our roots.

Quite successfully so, as we now know.

Today, einstoffen is equally known for eyewear and streetwear. How did you arrive at this unique product mix?

Although our t-shirt import business wasn’t too shabby, we soon realized that

When you say ‘we’, who exactly is part of

we also wanted to design our own pro-

Stand Tall, Run Free from company

einstoffen consists of Ramon and

tum when we launched our own ‘Shirts

founder Philippe Rieder.

Raphael Büsser, Christian Gisler and my-

for Heroes’ series inspired by iconic mo-

roll spirit, the importance of independent retailers, and the new collection

184

Hello Philippe, einstoffen is quite an un-

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

your company?

ducts. The whole thing gained momen-

EINSTOFFEN » Ma tol ga « & » Rol l s ch u h l ä u f er «

vie characters. Later on, we also started creating our own eyewear and watches.

Are your designs guided by a specific company philosophy?

The name of our recent Spring collections pretty much sums it up, Unchained. We treasure our freedom and independence.

The company is still 100-percent owned by us. So that affords us a pretty rock’n’ roll spirit. We don’t want to distort our brand, which is why we prefer working with other independent businesses instead of huge chains and corporations.

Plus, einstoffen has always been defined by the contrast between nature and urbanity. The locations of our two headquarters, in St. Gallen and Berlin, are

a nice reflection of this fact. Our love for nature also plays into the choice of sustainable materials used in our products.

Additionally, we also take great efforts to manufacture in a fair manner and avoid overproduction.

You mentioned independence as a guiding principle. What’s the added value from

being an entirely self-funded operation?

Mostly being able to do exactly what’s

on our mind, without having to justify it in front of others. For example, we realized a life-long dream three years ago by designing watches. Any investor would have probably advised against it, but we happened to like them. At the same time, having too much investment capital

at your disposal can make people a bit overconfident at times.

Well, your products are definitely liked beyond Switzerland. Is there a typical einstoffen customer?

Our customers are surprisingly diverse.

From the urban hipster crowd to natureloving retirees in the countryside, they cover all bases. If I had to call it, our typical customers probably look like this: Between 25 and 45, well-educated with a broad range of interests including culture, nature, music and cinema.

In the beginning stages you were a pure-

play B2C-brand selling exclusively to end customers directly. How has that changed?

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

185

EINSTOFFEN » L a Pri n ces s e« & » B i erbra u er«

When we started selling our first sunglas-

be adjusted to the individual customer in

ses via our web shop about seven years

a process involving medical expertise and

ago, we immediately received a response

craftsmanship. Opticians continue to be

from opticians and sales reps. But the

highly trained specialists that are indis-

[optical] market was completely new to

pensable for producing the optimal pair

us. Especially in recent years, it took a lot

of glasses for a customer. On top of that,

of listening, learning, and optimizing on

eyeglasses are more than mere fashion

gant and turned out a bit more rounded,

our part in order to survive in the optical

accessories but actually worn every single

overall. For the first time, we implemented

business. Ultimately, we got the hang of

day. That’s why people still tend to invest

the micro engravings underneath the

it. Also thanks to active support from our

more time and welcome expert counse-

acetate in this collection. This creates a

customers and partners.

ling in their decisions. Even most of the

rather elegant look, which once again un-

online labels ended up opening stationary

derlines our little obsession with delicate

retail stores, which can be seen as a posi-

details.

How important are independent stores for you?

It was independent opticians who first believed in us back in the day and put their money on a completely new product from a young and, at that point, relatively inexperienced company. Many of them have remained loyal to us over the years.

online store, although business from

It’s titled Stand Tall, Run Free and consists of 56 models. How would you describe the look and feel of the collection?

The new shapes are a bit more extrava-

What about your use of materials and colorways?

In these segments, it’s a straightforward

independent opticians has picked up.

continuation of the evolution started

storefront?

comes to materials, this means combi-

What’s the advantage of having an online

in the Unchained collection. When it

Nowadays we mostly only sell watches

nations of acetate and wood and stylish

never turned our idea into reality. Today,

and apparel on our online store. That

titanium models with hidden details like

international specialty retail accounts for

remains an important part of einstoffen

engravings, embossing and tinted lateral

more than 80 percent of our sales.

and keeps us connected to our roots.

shields. In terms of colorways, we’re

But can a similar development in your

Plus, it’s symbiotic. All other products,

placing a strong focus on matted metal

Without their support we could have

our online store, as well as all connec-

colors. We think that they better suit our

As a matter of fact, people have to be

ted advertising initiatives have an effect

original look. Our acetate colors are also

prepared for it up to a certain point. But

on our overall branding that’s not to be

matched to the wooden temples and

every evolution also opens up opportuni-

underestimated. Our heightened brand

therefore remain in the natural color spec-

ties. Opticians still have significant advan-

awareness generates new customers for

trum. Soft shades of blue, grey, gold and

tages, because an eyewear frame is after

our partner opticians. And after all, the

silver dominate next to classic, wooden

all only a half-finished product. It needs to

majority of our selection is not available

brown hues.

business even be prevented at this point?

186

tive development.

Your brand continues to operate its own

for purchase online.

Let’s talk about your upcoming collection.

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

OPTI I Munich I Booth C3.417

FIND & TRY-O N EMM A NUEL L E KH ANH AT FAV R S P ECS.COM

EK focuses on fine details and the special touch – high quality, elegant, delicate and feminine.

HERITAGE AND CREATION Emmanuelle Khanh Paris photo RAPHAEL SCHMITZ

Emmanuelle Khanh was known as many things – stylist, designer, model and entrepreneur. Underlying all of these roles was her own unique style. She was a visionary at the avantgarde of the prêt-à-porter industry. Enormously successful in the 1980s, she remained impactful and created both a brand and a mindset. Bold, elegant and modern are just some of the words that come to mind. The same goes for the iconic eyewear, which she was famous for – and which would ultimately outlive her. She died in 2017.

Today, emmanuelle khanh paris is a continuing homage to the iconic style that has immortalized its namesake. The product line-up includes oversized eyewear models as well as an array of luxurious accessories. And the fact that these products so well represent the distinctive “EK” spirit, is, among others, thanks to Eva Gaumé, the artistic director of the brand. Born in Lyon in 1992, Eva holds a degree from the prestigious School of Art and Design in Geneva, where she studied Industrial Design, specializing in jewelry and accessories. Eva won the 2014 Piaget Young Talents Award in Watchmaking Design. Her strong artistic vision is what ultimately led Eva to the Parisian eyewear brand. Her work goes far beyond recreating iconic looks from the past. She experiments with different materials, contemporizes designs and plays with identity – all to bring to life both the spirit and the look of emmanuelle khanh. Here’s our interview with Eva Gaumé.

Eva, can you give us a brief introduction to the history of

EK’s most outstanding element of style. Few years later, the brand

up working there?

to work for the house. My mission was to pursue a new creative

emmanuelle khanh as an eyewear brand and how you ended

was willing to bring in a new artistic eye and that’s when I started

Quickly after the launch of her ready-to-wear line, Emmanuelle

direction while being faithful to the brand heritage. I also had the

Khanh became a symbol of the 1970s and 1980s fashion scene

honor of meeting Madame Emmanuelle Khanh herself in 2016,

with her daring and very large frames. Her eyewear collection

which was so unique. She made me feel the deep spirit of EK and

allowed glasses to fully become fashion accessories. In 2012, the brand came back after its fade-out in the Nineties, bringing back the iconic shapes, the signature of what remains today as 188

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

it still inspires me.

What are the most important aspects when we speak about the impact of Emmanuelle Khanh on fashion and eyewear?

EMMANUELLE KHANH »6015« & »11611«

»CH3«

She had the vision of a confident and emancipated woman pur-

pendence and French savoir-faire. Beyond luxury, EK has a real

suing a professional career, whom she wanted to empower first

desire to create products that last. Frames that are bold but still

through her clothes, and then with an original eyewear line. More

wearable and silhouettes that give people confidence in the way

than just creating a brand, Emmanuelle Khanh created a progres-

they can express their styles.

sive mindset and an environment where a woman could be both bold and elegant.

Beyond the legacy of the historic person, what are the values that EK stands for today?

emmanuelle khanh is a maison that stands for creativity, inde-

How do you translate the classic EK heritage into a look and design language?

I’ve enhanced this heritage through a line of pure acetate frames 100% made in France. Originally, EK stood for very large frames.

I kept this strong direction for the sunglasses while developing S P E C T R // B R A N D P R O F I L E

189

EMMANUELLE KHANH »1 1 5 0 0 « & »6 4 9 0 «

»CH5«

a medium-sized opticals line with the same color palette. Two years ago, I wanted to bring something new to the brand and our

I’ve been developing an exclusive range of acetate colors thanks

products. I introduced a different expertise and craftsmanship

to our very specific craftsmanship. These exclusive colors subli-

through a Studio line made in Japan. Combining titanium and ace-

mate the products and reinforce the uniqueness of the brand. The

tate, the frames bring a fashion twist thanks to powerful colors and

signature colorways of the timeless EK style are the classic trio:

shapes.

black, gold and tortoise. My love of colors also made me look back

Can you name other particular elements that represent the

on Madame Khanh’s work and the colors that would recur in her

The use of acetate and the EK signature are some distinctive

porcelain, was an intimate color for Madame Khanh; the logo used

design elements as well as the accessories that come along, such

to be rendered in this color as well as the ink she used to write with.

brand?

as the cases and chains that we propose as a full “eyewear closet”.

Is EK a purely female brand or do you also cater to male tastes?

creations. The Céladon Green for example, inspired by Chinese

What are your favorite styles in the new collection?

The zig-zag frames (»EK 11500«) with their thin but oversized

Both bold and playful, our most iconic frames have been worn by

shapes are my favorite. It’s a light and fashionable piece to wear.

famous men like Ray Charles and David Bowie. This year, I laun-

The movement of the temple is feminine and sculpted to welcome

ched our first men’s collection to offer five dedicated frames desig-

a chain with elegance and bring sophisticated details to the silhou-

ned to be strong, masculine and elegant. I like to think that women will also like to wear them, as today the limits between male and female styles tend to fade.

What is specific about the new collection?

190

What are the materials and colors you work with?

ette.

What are the next important milestones for emmanuelle

khanh?

In order to grow internationally, we’re going to attend several shows

We’re celebrating the 50th anniversary of the brand. For the occa-

in Munich, Milan and New York. On the product side, I want to con-

sion I worked on creating a subtle but discerning silhouette with the

tinue aligning both heritage and creativity and pushing the bounda-

EK monogram. Other than that, we’re also working on our “perfect

ries of eyewear and fashion. Since ethical and environmental issues

matches” which are composed of a frame and its matching, 1980s-

are at the heart of our society today, working on a more sustainable

inspired eyewear chain.

production process will be part of our next project for sure.

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

AB3312 BK, AB3271 OR | Charmant GmbH Europe | www.charmant.de

Besuchen Sie uns auf der Opti Halle C2, Stand 403.

DO

LINDBERG »8328« top ÉLOPHE STUDIOS, pants A COLD WALL, gloves STYLIST’S OWN 192

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W N F O R T H AT

BY SA CHA TASSIL O H ÖC HS TETTER [Munich] assistant NOEMI VEROLLA styling ANDREA TZELEPIDES at FAME AGENCY hair & make-up TAMARA KRANER models LARA GATTERMANN at PARS MANAGEMENT & LIN LIN at MOST WANTED

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coat BURBERRY

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top WEEKDAY, belt DIOR

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FA C E À FA C E » Ci n em a 2 « skirt GUESS, longsleeve WEEKDAY, top ASOS, shoes JEFFREY CAMPBELL 198

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INVU » T 1 9 0 5 B« -

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INVU »T 1 9 0 4 A « shirt MM6 MAISON MARGIELA

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www.mexx-eyes.com

FI N D & TRY-ON N ATH A LI E B LA N C AT FAVRS P ECS.CO M

N AT H A L I E B L A N C » H enriet t e«

VERY FRENCH EYEWEAR Interview with Nathalie Blanc stills RAPHAEL SCHMITZ

» H arry«

» A l exandra«

» J ohanna«

» A l fred«

Insatiable, demanding, stylish: These are only three of the most significant characteristics of Nathalie Blanc and her eponymous eyewear label. The company founder and namesake is a strong woman who achieves a perfect symbiosis of refined taste, elegance and attitude. Plus, she manages to distill all of these qualities into the design of her creative eyewear styles. In our

SPECTR interview, Nathalie Blanc allows a glimpse into her 100-percent French eyewear brand that designs all models in her Paris workshop and manufactures by hand in the Jura and Normandy regions. Welcome to nathalie blanc eyewear.

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

Dear Nathalie, when did you discover your love for eyewear?

When I was 10 years old, after I started wearing glasses. It was mostly hatred at first, until I star-

ted creating. Then it became a true love story.

How did you get into glasses design?

I was an optician for 20 years. In 2014, clothing designers Michel Klein and Swildens asked me to design their eyewear collections. I loved creating so much that I founded my own brand. A year later nathalie blanc paris was born.

What kinds of values does nathalie blanc stand for?

My brand stands for Made in France, Parisian chic, purity, elegance, the study of colors and simplicity of shapes. The hardest part is to keep it simple.

Simplicity and Parisian chic? How does it fit together?

These two adjectives are what define the Parisian woman.

inspiration.

What inspires you and your collections the most?

Personally, I am inspired by design, trends, colors, fashion and decoration. What inspires my collections is working around the colors.

Which colors will we find most often in your current collection?

Nude, black, tortoise, champagne, green and dark blue.

Another question regarding your source of inspiration: Your frames have female or male na-

mes depending on the model. Do you have a personal reference to these names?

Yes, they are my loved ones who surround me.

What kinds of materials do you prefer to work with?

I love working with 22-carat gold cladding and acetates.

What exactly do you like about the materials?

The nobility. My Mazzucchelli acetates are the

What influence does the city have on your work?

most beautiful in the world, most of them are

an interior designer, the Parisian architecture is

There has already been a collaboration with

Paris is the most beautiful city in the world. As

an infinite source of inspiration. It allows me to innovate, while keeping my Parisian touch.

Speaking of hardest parts, all beginnings are difficult. Which obstacles did you have to overcome before your market launch in 2015?

custom made. Their quality is fabulous.

Morel. Would you like to give us a glimpse beMorel

hind the scenes and tell us what kind of exciting collaborations we can expect in the near future?

Amelie Morel came to me to freshen up the traditional brand image of Morel. I was thrilled to be

The French market is very competitive. This comes

able to collaborate with such a renowned brand

on top of the insurance and health care cove-

that has been producing quality frames for so

rage issues. The greatest challenges were the

long. This collab was based on cheerfulness, joy

entrepreneurial and managerial parts. I believe

and sharing. I am very proud of all the models

that if I had a business school degree, I could have been stronger.

That would’ve hurt your creative streak, wouldn’t it?

You are right. My career would have not been the same and I would not have had the opportunity to go back to design.

Do you have a specific target group in mind when creating nathalie blanc eyewear?

My frames are pure and simple, the collection aims at all age groups. It is aimed at chic and sophisticated men and women.

How many people are you working with on the glasses designs?

that came out of this collection.

What is different about the models from this collaboration?

We took my iconic models and dressed them up with the Morel know-how by inserting thin acetates. Also, the manufacturing is not the same.

And finally, please tell us which nathalie blanc model every woman with style should own.

That’s very easy to answer. My timeless models, the »Jennifer« and the »Lolita«!

And why?

They fit all the women and they are perfectly designed. Just try them on and you will understand!

2 young designers who bring me fresh

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FIND & TRY-O N NEUBAU AT FAV R S P ECS.COM

SPECTACULAR SPECTACLES Neubau Straight Out Of The 3D Printer stills EDA CALISTI, artwork LENA UNVERDORBEN

Austrian label neubau has been on a sustainability journey for quite some time. Now the brand is taking an innovative leap into a greener future by 3D-printing eyewear frames from 100 percent bio-based material. Based on castor oil as the main ingredient, NEUBAU has created two new collections. Each collection follows its own direction while both draw on prominent personalities past and present in their themes and model names. For the full update on the new process and the models in these new, green collections we spoke to neubau’s Global Brand Director Daniel Liktor.

Hello Daniel, your brand has previously launched several frames

You should definitely avoid direct contact with the seeds, but the

natural3D Collection?

Collection

liposoluble and is discarded with the residue after pressing, so it’s

with 3D-applications. What exactly is the novelty behind the new

plant itself is not that toxic. The harmful ricin in the seeds is non-

We’re dealing with an entirely new raw material that is 100 percent

not contained in the oil that we use as the basis for our naturalPX

bio-based: the oil of the castor plant. During the manufacturing of

line. By the way, castor oil is also used frequently in medical appli-

our naturalPX Collection, produced in a spray cast process, we

cations and cosmetics.

have already gathered some positive experiences with castor oil.

Another technical standout feature lies in the new, adjustable temples equipped with a titanium needle. This feature is still a rarity in the 3D-segment.

advantages offered by the castor oil plant?

For us the most striking argument was that it cuts down on the use of petroleum in our raw materials. The predecessor, our naturalPX

Speaking of rarity, did you encounter any unsurmountable cha-

Collection, already achieved a 65-percent share of renewable re-

cess?

100 percent. And mind you, without any functional, qualitative, or

llenges in the production chain, or was it a rather smooth pro-

sources. But in the natural3D Collection, we’ve gone all the way to

We definitely faced some challenges! Since we are developing eve-

production-related disadvantages compared to entirely petroleum-

rything ourselves and choose to manufacture right here in the town

based raw materials.

of Linz, we had to surmount considerable obstacles. Integrating the needle into the temples was the biggest challenge, mainly due to various pre-existing solutions that had already been patented. But it

From what we understand, the entire production process itself also reduces the use of raw materials, correct?

Absolutely. The 3D-printing process basically generates no waste

was fantastic to see how our developers and designers took on this

products, since it only consumes the amount of powder needed to

task and arrived at excellent solutions. And in order to process the

create the frame. Along those lines, the spray cast process already

new, bio-based material we also had to invest in another 3D-printer.

saved us a great amount of resources compared to the manufac-

You already mentioned using the castor plant for your new models. A quickly regenerating resource, but also rather poisonous, right?

206

When it comes to eyewear manufacturing, what exactly are the

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

turing of acetate frames!

Sustainability has been a major brand asset for you. And with a 100-percent bio-based material you’re also right on-trend with

»Alain«

NEUBAU » Ma u ri ce«

»Romy«

today’s consumers, right?

We expect to be able to position ourselves even more strongly as a relevant, sustainable lifestyle brand by launching this collection.

Especially in the eyewear business, of course. It’s really undeniable that sustainability has gained in relevance and popularity across the world by now, and we highly welcome this movement.

Speaking of a movement, this time the frames are not named after members of your team but famous environmental activists.

Who came up with this idea?

There is definitely no lack of wonderful inspirations in history and our present day. We tend to pay tribute to them her and there by christening our frames with the first names of personalities that have a particularly strong influence on us.

the final decision on colorways.

In the special Côte du Soleil edition due out in April you’re also

banking fully on natural 3D. Is that the now modus operandi at

neubau?

No, we will continue to release models crafted from stainless steel and naturalPX. Especially considering that the options in terms of color palettes are still rather limited in 3D-printing. So we still need other processes to let our creativity run wild.

There is definitely no lack of creativity in the model names of the

Côte du Soleil edition. It seems like you’ve been inspired by Romy

Schneider, Alain Delon, Maurice Ronet and the charms of the 1960s. Why this decade in particular?

It’s definitely a mixture between our personal preference for this

What are some namesakes we can look forward to in the newest

era and the fact that quintessential designs from this period always

We’ll wait until the official market launch in early 2020, but let’s just

signs from the Sixties, which tend to be rather bold compared to

say that ‘Greta’ for instance is rather of the times, right? (laughs)

the delicate trend in the current eyewear landscape. So we’re crea-

collections?

work well in sunglasses designs. We are interpreting eyewear de-

What are the parameters for determining the colors that ‘Greta’

ting large and voluminous frames, which still happen to be really

Every single model is the result of a specific design development

As the final question, which of the current models would you re-

would wear?

process, in which color design plays a pivotal role. We consider trends and themes of the upcoming season, which we try to balan-

light and comfortable, also thanks to the 3D-printing process. commend to your best friend?

Right now, he’s wearing the »Dani« from the naturalPX Collection.

ce within the collection. The »Greta« is a women’s style within the

Our 3D-collection also includes a beautiful panto style, which will

3D-collection and therefore includes feminine and unisex trends in

surely also look flattering on his face.

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

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DOPE FI

BY S TEFA N K A P F E R [Dusseldorf] production & retouch H60 hair & make-up CLAUDIA CREUELS styling ANNA JILL at 21AGENCY models JULE & MAJA at ELENA MODELS

L.A. EYEWORKS »Lunch Box« -

jumpsuit & sandals ZARA tights CALZEDONIA 208

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L.A. EYEWORKS » W h ir ly Bird« -

dress ZARA

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MOREL » 9 0 00 4 C « -

dress & sandals ZARA tights CALZEDONIA

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MOREL »20073K « -

dress ZEUS & DIONE

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BOGNER »66001« -

dress ZARA

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BOGNER »66002« -

dress HALPERN at APROPOS tights CALZEDONIA sandals ZARA

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ETNIA BARCELONA »Greenwich« -

dress ROTATE BIRGER CHRISTENSEN earring ZARA

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THEO » Di s cu s si o n « -

top, pants & sandals ZARA

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M E T R O P O L I TA N »8061« -

top ZARA earrings MIGNONNE GAVIGAN at APROPOS

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M E T R O P O L I TA N »8061« -

blouse YVES SAINT LAURENT at APROPOS pants & sandals ZARA

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EMMANUELLE KHANH »1 1 5 0 0 « top & pants ZARA

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ECO » Ve r b i e r « jacket MARINA HOERMANSEDER

TWI

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ECO » A t l a s« shirt FRED PERRY overshirt CHAMPION

LIGHT ZONE

BY DENNY SA CHTLEB EN [Berlin] styling DAVOR JELUSIC hair & make-up GIANLUCA VENERDINI models ROBINA at M4 & ERIC at VIVA MODELS BERLIN

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J . F. R E Y »JF1 4 9 0 « -

jumpsuit DICKIES, turtleneck UNIQLO

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J . F. R E Y »J F2861« -

scarf MANAKA PROJECT, trenchcoat OBJECT

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BLACKFIN »Oshima« -

blazer & pants SLY010

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BLACKFIN »B F896« -

pullover FRED PERRY

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BLACKFIN »BF 890« dress ESSENTIEL ANTWERP

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KERL » CA RB - 0 15 « jacket C.P COMPANY

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KALEOS »Pale y« -

dress STIGNE GOYA

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KALEOS »Rainer« -

white shirt CHAMPION orange shirt BARBOUR

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LUNOR »M1302« -

shirt COS jacket SCOTCH&SODA hat MUJI

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