2017 is a key year and an anniversary year, as SILMO PARIS 2017 is celebrating its half-century, all the while looking to the future and emphasizing its pivotal role in the domestic and international optics and eyewear sector. Once a year industry professionals get together to buy and sell, as well as to discuss and socialize in a uniquely sociable (and highly-valued) ambiance in Paris at the heart of Europe.

Over the past 50 years, SILMO PARIS has demonstrated its adaptability and close relationship with sector businesses while managing its own expansion, incorporating the new generations of brands and designers, adapting to market developments, offering an effective business platform and a consistent quality level in order to optimize the investment made by exhibitors and visitors alike.

SILMO PARIS has created information, training and development tools (social platforms, our magazine digital trends by SILMO, trend forums, SILMO d’or, SILMO academy), publications and resources to showcase the sector’s creativity and vibrancy in order to offer a real discussion and interactive content service before, during and after the trade show.

Since SILMO PARIS was founded, the trade show has extended its sphere of influence by launching strategic offshoots – SILMO Istanbul and SILMO Sydney – with the aim of meeting the high expectations of high potential markets. This approach seeks to bolster SILMO PARIS’ international dimension and help interested businesses to explore growth markets.

SILMO PARIS is an influential, pioneering and groundbreaking trade fair. we are also a proactive trade fair, working with and alongside all the stakeholders in the optics and eyewear sector in France and worldwide. 2017 is our anniversary and celebratory year, but first and foremost this is a year of constructive change. The organizers want to set in motion a (r)evolution to ready SILMO PARIS for the next 50 years!

l. SAFILO Calibro, r. SAFILO Burrato

L’ITALIANO VERO

Photography BERT SPANGEMACHER
Text CHRISTINE TOMAS

People often think that fashion comes at the expense of function. Not so for Italian eyewear manufacturer SAFILO. For SAFILO, aesthetics, expert craftsmanship and wearability go hand-in-hand.

Safilo’s craftsmen are dedicated to their art. All details are uncompromising and carefully considered – from the materials used, to the patented technologies deployed so that each and every pair is built to last both in terms of style and functionality.

Artisan skills and advanced technology are at the heart of each Safilo frame, and the new collection is no exception. Using acetate, titanium, stainless steel and other metals, the new optical frames are a celebration of the company’s Italian heritage and “Made in Italy” know-how, with names like Calibro, Canalino, Buratto, Bussola, and Lastra. Featuring a mix of styles in smooth, rounded frames as well as sharp, squared specs, the gorgeous frames are not only durable, they are unbelievably comfortable. Thanks to a new, exclusive hinge that ensures a perfect fit, along with ergonomic anti-slip tips designed to gently hug the temples, Safilo specs feel as natural on the face as the natural elements they were inspired by.

l. SAFILO Calibro, r. SAFILO Burrato

l. SAFILO Calibro
r. SAFILO Burrato

Ørgreen Quantum

ØRGREEN LAUNCHES A NEW LINE, CELEBRATING TWENTY YEARS OF INNOVATIONS IN EYEWEAR

Interview JUSTIN ROSS

4SEE had the chance to sit down with Henrik Ørgreen, one of the founders of the much loved and highly acclaimed Danish eyewear brand which takes his name Ørgreen, to talk about the company, its past, and its exciting future, twenty years since its founding in 1997.

4SEE: What inspired you to start Ørgreen and what were the founding principles that launched the brand twenty years ago?

Henrik: I think everybody has a dream about creating their own brand. It’s key to mention that we were also a team. I had two partners who were founders from the beginning, Tobias Wandrup, who was and still is the head of design, and Gregers Fastrup who is our sales manager and has been in charge of all the sales. So, it was also the dream about us three creating a project together that inspired us. To have our own thing going on.

I think what inspired us to start Ørgreen was that we felt that we could do something different than what we saw in the market, we felt that it was time to have our own brand, that we were the ones who made the decisions. That also means that if you make a wrong decision it’s your fault, but we were willing to take that on. We also were trying to, at the beginning especially, to push the boundaries. At the beginning maybe we were a little bit more extreme—that was kind of our style—but you will always see that no matter how extreme we were in our taste, we always had that eye for design or for detail.

4SEE: Who are some of your design heroes? Do you feel connected to the tradition of impeccable Danish design?

Henrik: It’s funny you ask that. Normally I would give you some fashion designers, but actually what I want to talk about are architects and furniture designers. When you ask me who are my designer heroes, there is no doubt about it that they come from furniture and architecture. Here you have a very famous guy called Poul Kjaerholm. Poul Kjaerholm was, in my opinion, one of the greatest architects and furniture designers of our time. He is a Danish guy, and he did exactly what we are talking about. He made the right choices in terms of materials, the right choice of design and lines, but he combined it with a little bit of a twist and edge.

The Danish design DNA is about being clean, with attitude. It’s about playing with material. It’s about going new ways, but not just crazy new ways, but making it cool and making it wearable. Of course there is a difference between a building, a stool, and eyewear, because eyewear you put on your face. You can have that crazy stool in your house and you are not wearing it around all day. For eyewear it is a bit of a trick, it is not just about making crazy designs or unique designs, it is also about creating something that makes you look good or gives you what I call a little attitude.

We are very much a part of the Danish tradition and we are proud of it—with a little bit of a twist and attitude.

4SEE: Twenty years is really a big milestone. How does Ørgreen feel to you twenty years later?

Henrik: I’m extremely proud. It was great to be able to start Ørgreen twenty years ago. We are still the three partners in the company. We are still very happy and very proud. Today we are a company that employs many people around the world, and we have a responsibility to those people and to our customers. I feel that when we put something on the market, with our company’s name on it, we have to do high quality and something that is suitable. It is a little bit like growing up, but still 100% true to our roots.

So I think that part of being professional—listening a little bit more, that this is a question of function and ergonomics—the frame needs to fit, you need to mount the lens, you need to have the right base grip, the length of the temple, you need to have all these small details. Growing up means you become more professional. It feels fantastic after twenty years to be a part of the industry. I would say detail, design, balance, quality and finish, that is what we are proud about twenty years later.

Ørgreen Quantum

 

4SEE: Tell me about what is new at Ørgreen. You are coming out with a new tech-driven line called the Quantum collection?

Henrik: Over the past five or six years at Ørgreen we have been developing internally a lot of new collections, but we never brought them to market. We’ve been experimenting again and again and again. If I start counting what the design department did we have maybe developed a minimum of twenty concepts that never made it to market—with special features, special hinges, special mechanisms, where we tried to combine things with floating hinges. All of this we have been experimenting with over the past six years.

Approximately one-and-a-half to two years ago, Tobias came up with this idea of having a hidden hinge, combining titanium with polyamide material. And somehow it was the idea that Ørgreen wanted to have for a technical hinge concept. We wanted to go that direction and we were looking and searching for that. And that is how we arrived at the Quantum collection.

When we talk about Danish design, or Ørgreen, it is very minimal, and so the whole idea was to hide the hinge. We wanted it to be clean and simple. And I think that is the whole definition of Quantum, we use minimal space. We wanted to take it one step further than just making a cool technical hinge: we wanted to do a cool technical hinge that was minimal and that was hidden.

That’s when we came up with what we call the hidden hinge, which is in the Quantum collection. It is a very simple concept: you have a temple in titanium, but you have some very unique, patented bends, which have a temple that has been milled down on the ends. After that you have what we call the hidden hinge, and then you have a front which is made of polyamide, which has been constructed in a way so that it fits seamlessly together.

Ørgreen Quantum

4SEE: And why did you decide to work with a new material, polyamide?

Henrik: It is a combination of titanium—which is a material that we have worked with for fifteen years, a high-end material—and the combination with the polyamide material. What’s so interesting about polyamide is that you can construct it extremely thin, so it has many advantages over acetate for example: it is much more flexible, it is much stronger, and it is lighter.

So what we did is we took the polyamide and took it to the next version. You’ve seen other people use polyamide, but you’ve never seen anybody do it the way we do it. When you see our material you will see that the surface is different, the color is different, the structure is different. Instead of just taking polyamide and saying that looks good, we really took it to the next step. When we come out and we use it, we can really stand behind it with the Ørgreen name. It is on a higher level than you have ever seen before. Then we combine it with titanium, and we combine it with our tech-hinge, and in that way we create the Quantum with a hidden hinge, with the Polyamide 2.0, and the high-end titanium.

4SEE: Who is the new Quantum collection designed for?

Henrik: When we look at the target group, it is always a combination of men, female, and unisex. We also try to categorize into the urban customer, the classic customer, and you will also have what we call the noise category, which are the ones with a bit more attitude. It is a very nice collection targeting design-conscious customers and ones that can also understand tech.

4SEE: Color also plays a significant role in developing Ørgreen’s singular aesthetic. How will this work with the Quantum collection, and what are some of the first color stories we can expect?

Henrik: Ørgreen is known for colors, it is not just because of our design or our quality, it is also because our customers like our color play and our color combinations. So, of course for us, it was key to have that also in the Quantum collection. We had Sarah Lysell, our color designer, play for a long time with that. She probably developed 30, 40, 50 different colors for the front and 20 or 30 for the temples, and at the end of the day we settled on 17 different colors for the front, and 7 different colors for the temples.

We were trying to find that perfect look, also in terms of colors, for that urban, design-conscious customer that we talked about. We are doing 23 different designs, so it is quite a large collection we are coming out with, so you will see a lot of different color combinations as well.

4SEE: When will consumers be able to get the first pairs of the Quantum collection?

Henrik: We are introducing the new collection publicly at SILMO, and then the launch into stores will be at the beginning of November, so you will have the frames on the market the 1st of November this year.

Photo Credit: Ørgreen

MASKE & MASKE, BERLIN

Text MIO HAYASHI

A mono-brand boutique that dedicates its entire shop to Lindberg, the Danish eyewear company known for its technical innovations and craftsmanship, Maske & Maske opened in March of this year on Potsdamer Strasse in Berlin, a street that has become an epicenter of the fashion, art and dining scene in recent years. “We wanted to open a store that would be able to present the whole spectrum the brand has to offer.

Lindberg offers so many different combinations of colors, models and materials that we wanted to do this plethora of choices justice and be able to show a big selection of these different combinations in our store,” explains Georg Maske, the owner of the store. Because of the wide spectrum of the frames offered by Lindberg, there is not a specific type of client base, “however, what unites all Lindberg customers, no matter how different they may be, is the love and enthusiasm for perfectly functioning, extremely lightweight glasses. Lindberg combines this functionality with a beautiful thought-through design, whose unobtrusiveness reminds us of the Bauhaus design of the 1920/30’s.” As for what is trending this season, Georg notes that round and pantoscopic shapes in gold are in demand, adding that even though Lindberg’s Air Titanium Rim series is over 20 years old already, it continues to be one of the best frames in the market. His other recommendations include Andy Wolf, Face à Face, Götz and Lunor, for their focus on design, fit and comfort, and not on brand names and logos.

Maske & Maske
Potsdamer Straße 105
10785 Berlin
+49 30 9153 9525
www.maskemaske.berlin

Photo: courtesy of Maske & Maske

EYEVAN 7285 top 747, middle 758, bottom 759

Photography BERT SPANGEMACHER
Text CHRISTINE TOMAS
Set Design ALICE GIBNEY

Big in Japan.

Japanese company Eyevan 7285 takes craftsmanship and ingenuity to a whole new level, seamlessly blending tradition with precision, which results in simple, classic designs with timeless appeal. Although their story started over a century ago, two pivotal years in the company’s history transformed Eyevan from “big in Japan” to “worldwide hit.” Proud of its culture and inherent tendency to embrace both tradition and the ultra-modern, Eyevan stays true to its roots by completing all work, from concept to completion, in Japan. And, as one can imagine, it’s no easy task: it takes about 400 processes done individually by a select group of highly skilled craftsmen in Sabae to create just one single pair of eyeglasses. Eyevan’s collection features 46 iterations on 11 styles that were inspired by hand-written drawings from archives between 1972 – 1985, their capstone years. The Eyevan collection can be found at high-end, fashion-forward stores around the globe like Colette (Paris), Liberty (London) and ABC Carpet & Home (New York City).

EYEVAN 7285 t. 747, m. 758, b. 759

Top EYEVAN 7285 747
Middle EYEVAN 7285 758
Bottom EYEVAN 7285 759

Xavier Garcia, Barcelona's Best.

Photography BERT SPANGEMACHER
Text CHRISTINE TOMAS
Set Design ALICE GIBNEY

XAVIER GARCIA – Barcelona’s Best.

Barcelona is a city and a world true to itself, with its own cosmopolitan feel, distinct colors, breathtaking sights, and a history that’s helped shape its personality. Like the city he loves, artist and designer Xavier Garcia is the real deal. His manifesto is to design, produce and sell his frames with “…no limits other than the search for my way, trying to be as genuine as possible.” Using only high quality materials and finishes, the results are stand-out, technically well-crafted frames. With warm weather and a Barcelona beach holiday on our minds, we couldn’t help but admire Xavier Garcia’s Sun Collection. The Calamar, a revised take on the aviator, features vibrant blue lenses topped by metal frames; while the Sepia doubles down on trendiness with pink lenses paired with “must-have-metal” gold frames.

Xavier Garcia, Barcelona's Best.
Top XAVIER GARCIA SEPIA Pink
Middle XAVIER GARCIA SEPIA Black
Bottom XAVIER GARCIA CALAMAR Blue

Photography BERT SPANGEMACHER
Text CHRISTINE LUZANO
Set Design PAUL BONCOEUR

STRAIGHT OUT OF COBLENS.

No other metal impresses quite like titanium. Remarkably strong, yet unbelievably light, flexible, and hypoallergenic to boot, titanium embodies tradition and technology. And for contemporary German eyewear manufacturer COBLENS, titanium – quite simply – is “The One.”

Coblens uses titanium exclusively when designing their hand-made metal frames. And just like titanium, there’s nothing quite like a Coblens original. All components and raw materials are produced according to founders Ralf Schmidt and Nils Kaesemann’s designs and exacting standards. Different alloys are custom-matched for specific components like eye wires, hinges, temples, and nose pads. Lacquer paint is never used: durable PVD coating transforms the frame into different tints of metal. This also adds an extra layer of protection – think titanium on top of titanium – and what results is a lasting mechanical masterpiece.

One of the latest Coblens campaigns, aptly titled “Zentralflughafen,” is as original as the collection. Part vintage, part state-of-the-art, we see a contemporary re-imagining of the Harry Palmer British spy series, which originally starred Michael Cain. The narrative unfolds when a secret agent drops sunglasses throughout Berlin Central Airport with messages for Western agents inscribed on the temples. A cheeky nod, perhaps, as sunglasses are a fashion staple of every spy!

coblens

COBLENS.DE

Photography BERT SPANGEMACHER
Text JUSTIN ROSS

The name SALT. itself stands for the key ingredients of the brand: Sea, Air, Land—and Timelessness. This passionate admiration of the power of nature guides SALT. on its clearly defined mission to create “simple things made well”—beautifully constructed eyewear with consistently great fit and purely modern designs. Doing so requires an unerring attention to detail and careful oversight of elements of the design, fabrication, and assembly process.

With headquarters in the historic Southern California town of Costa Mesa, just minutes away from the majestic Pacific Ocean at Newport Beach, it is no wonder that SALT.’s timeless designs are inspired by the beauty of nature in all its many forms. SALT. CEO Aaron Behle and lead designer David Rose explained to us their secrets to success during a brief break from whale watching in a small bay just up the coast from their offices.

The carefully selected team of eyewear experts that work at SALT. has been steered by Aaron since joining SALT. four years ago. For him, SALT. is first and foremost an eyewear company that prides itself on fit, and not just creating that perfectly balanced frame that rests comfortably on your face, but being able to reproduce it time and again, “At SALT., the notion of fit is so important. People don’t talk about that, it’s assumed, but it’s not happening. That’s why a lot of what is happening in eyewear is mass produced and it doesn’t fit – it’s not designed to fit and it is not run through a factory where they can execute consistent fit – and that consistency is a really really big part of why our brand is so successful.”

This unwavering commitment to fit is also what compels lead designer David Rose to seek out the highest quality materials including Japanese beta-titanium, Japanese and Italian acetate, and top-notch lenses for their eyewear. SALT. makes a concerted effort to source from the same suppliers and work with single batches, ensuring that each of their frames attains the high bar for consistent quality and fit that SALT. sets. It is crucial to David that “quality is there from day one, and not only day one, but the second year, five years, even ten years down the road.”

When it comes down to their lenses for their sunglasses range, David spends a lot of time finding the best lenses from German and Japanese suppliers, even paying extra to get a hold of custom lenses that perfectly combine performance, design, and color. “What has been true, and true with David as a designer, is that we don’t compromise,” says Aaron, justifiably proud of David as a designer and the great results that this uncompromising approach has led to.

David, who joined SALT. ten years ago, has carefully cultivated relationships with the best factories in the world, allowing SALT. to create their frames in a precision-driven, seamlessly integrated manufacturing process that can only be achieved in Japan. He has been working with the factory in Japan that produces all of SALT.’s frames for nearly twenty years. And according to Aaron, this loyalty has paid off: “the Japanese equation is still very very unique in eyewear. No one does fit better than the Japanese. From raw materials to finished product, every single step of the process is reviewed, evaluated, controlled. In 2008, after the recession, a lot of companies were pressured, and they left Japan, but we said no, we were going to stick with our partners, this is the best place in the world to make it—there is real loyalty to the factories there with our manufacturers.” By maintaining these hard-won relationships with the most reputable manufacturers in the world, SALT. retains its ability to lead the industry in quality, consistency, and fit.

SALT.’s frames are available worldwide, and even in their global strategy fit comes into focus as the brand works with their local distributors to select and modify frames to make sure that the best fits are reaching different face shapes in Asia, Europe, and North America. This level of awareness in design, and the courage to make brave business choices that maintain relationships with suppliers, build loyalty, and inspire confidence in the brand by guaranteeing always the highest quality materials makes SALT. a truly timeless brand and an undeniable example of fine craftsmanship.

Photography BERT SPANGEMACHER
Interview JUSTIN ROSS

Travis Mathews’ Discreet is Difficult, Disturbing, and Necessary

4SEE sits down with the indie filmmaker and director Travis Mathews of acclaimed films such as Interior Leather Bar, which he coproduced with James Franco, to shed light on his process, the difficult job of being a filmmaker, and the politically charged setting that led to his film Discreet.

As one of the progenitors of mumblecore movement in filmmaking, Travis Mathews is adept at putting the audience up close and personal with his actors. And Discreet is no exception, but unlike some of his previous films such as I Want Your Love, which have ventured towards portraying authentic and intimate sides of life that we feel privileged to get access to, Discreet has follows a darker shadowy path. In Discreet Travis generates intimacy, even when it is uncomfortable.

Discreet follows the very personal journey of self-exploration and unfolding (read: unravelling) of a young man, Alex (played by Jonny Mars), who is retracing his steps while trying and often failing to come to terms with his past and facing gargantuan uphill battle to find a place for himself in rural Texas.

The script for Discreet came together as Mathews spent time in rural Texas, unwittingly immersing himself in the political epicenter of a growing populist movement that would variously come to be described as alt-right. The dark and damning effects of this pervasive mentality are manifest not only in the film’s setting in rural Texas, but also through the circuitous and often desperate attempts by its protagonist Alex to come to terms with a deeply embedded sadness and isolation.

It is this anxious mood that permeates the film throughout, a droning, humming soundscape amplifying the whole experience of foreboding, but it is also the tensile strength that drives it along. In an era where we are confronted with an increasingly polarized world, Discreet shows us what it is like when the internal world echoes, mirrors, and multiplies the panic of the world around us.

We caught up with Travis and producer on Discreet and husband João Federici while they were in Berlin to premiere the film. Travis delves behind the concept of Discreet and touches upon its poignant, personal depiction of an uneasy place and point in time in American society.

ALAIN MIKLI A04002N

Q: How has your film been received so far, are you pleased with the audience reaction?

I’m happy with people having what seem to be pretty strong responses one way or another. I don’t think many filmmakers look for a vanilla, middle of the road, tepid kind of response from the work that they do, but I feel like what I’ve done in the past and certainly with this movie are things that generally ask people to either get on that ride or they are not going to get on that ride, there is not really a lot of middle ground. We have been seeing that with the reception [of this film, Discreet]. But a lot of the people that I look to as cinephiles, or publications that I really want them to get it, are getting it. And I feel good about that.

Q: Tell me about how the film came about, what led you down this path?

I was in development and pre-production on another film that was a three-year process after [my last film project] Interior Leather Bar, where I wasn’t getting paid and it was all of this heavy lifting to get the film made – there was all of this grant money and investors and it was kind of being poised around me as the film that was going to be a little bit of a crossover film for me. It was going to attract a larger audience, but there was money involved and bureaucracy involved that slowed it all down and then we were going to shoot it in central Texas. We were a week out from shooting and something happened with the lead actor, and the movie fell apart. And as soon as it fell apart – and I had been in central Texas for a while prepping for this movie and driving around in that van that is in the film, that was the van I drove for pre-production on the other film – I was reminded that part of what I like about being a filmmaker is being able to do things boldly, where things are kind of immediate, and decisions aren’t being made by a committee of ten different people. It is more about me and one person I trust, that kind of thing.

And so I kind of took the temperature of what was going on around me in central Texas and my own personal experiences and what felt like this rumble of palpable anxiety in the air, and this looming fear, dread, violence, of (not to get too deep into the analytical intellectual stuff), but the patriarchy and the generational angst that they are not going to be bearing us fruit in generations to come. This sense of this straight, white, male, conservative rural mentality that was terrified of losing power and in that terrified of being emasculated and having to cede power, share power, lose power. And there was this feeling of a sort of last effort of brute masculine strength, and that these alt-right, fringe people were willing to do anything in order to maintain power. I felt like I was hearing on the talk radio, and just being in rural Texas, it was almost like a Faustian deal that had been made among these conservative white men. They would forego morality and any sense of respect or law, and do the most perverse things, all in the name of maintaining power. They package it differently, but that was the deal they had made.

I wanted to channel that energy, plus the closeted homophobia and racism that I was seeing on all those [dating] apps, and men hiding behind all these sort of black boxes that just said ‘discreet’. I was obsessed with this black box that was a black hole kind of.

I wanted to mix that together and have that channeled through a character that could be a sort of time-stamp on the zeitgeist. And I wanted people to be dropped into his frame, for better or for worse, that involves trauma, and involves memory and it involves some non-linearity and some of the more surreal elements in the film are in an effort to be there with him in that space that he is experiencing of what is harmful and what is a healing tool and what’s a good relationship and what’s a bad relationship. The confusion that he was feeling, I wanted the audience to be also dropped into that space.

And we thought we would be living in a post-Hillary world, like most people [did at the time]. We thought this was going to be a new era of progressivism and a new awakening of an enlightened moment. We thought, when we were in Texas and I was assembling my team, that we were putting a button on this horrible moment that we just narrowly avoided.

The body that is floating away at the end of it. We, all of us within our team, have different ideas about who is literally in that body bag, but I suppose this was sort of a poisoned toxic mix that needed to come to an end and go away and that is how we saw it. An era of this alt-right insanity that was coming to a close and not ascending to greater levels of power.


RAY-BAN RB3556-N

Q: How do you think that changes your own reading of the film now in this post-election Trump presidency.

What is great about premiering at Berlinale and having a lot of other festivals coming up is that it gives me a megaphone to talk about this and to also talk about the politics of the time that we are living in now and how, whether you are a filmmaker or an artist or you are somebody who just sits at home and watches TV all day, there is something that everyone can do. It is not the time to be silent and it is not the time to isolate. So I keep trying to encourage people to take care of themselves in the process, but to not hide.

Q: What about the virtual relationship with his online companion Mandy from YouTube, it felt like on the one hand this could be an empowering and restorative element in Alex’s life, but as it turns out he takes it too far and it ends up leading to further troubles or bringing up some of his more disturbing characteristics. 

T: I’m not normally somebody who does deep dives into YouTube and subcultures there, but when I heard about ASMR…

Q: What is ASMR?

T: You need to know about ASMR! It stands for Audio Sensory Meridian Response, but if you look it up and you look at some of the videos by some of the key people in this community, they are these videos that are not exclusively, but largely made by women, and they never go anywhere inappropriate or sexual, but it always feels a little bit innocent, but also creepy. They have these 3D microphones that they put on either side of the camera like she [Mandy] does in the film, as if they are with you. They whisper and make noises into the microphone and it is meant to put people to sleep as a relaxation tool. A lot of people use them as therapy for PTSD as well. I wanted it to be this marriage of sound and removed intimacy that he stumbled up that felt like one of the first things that actually worked for him and give him some sort of piece through the repetition of sound and how that interacts with trauma and calms him. But he has such fragile defenses and such arrested development issues that his ideas about relationships and his idea of this relationship with her is almost like that of a child in terms of what he thinks is there and what is really there. I wanted her to echo a sort of in the womb voice that he maybe didn’t get.

Q: How was it working with your now husband João on this film? It was exactly four years ago that you met here in Berlin?

T:We met here at Südblock actually. I have a famously bad memory, but I remember well how we met! [laughter]. It was a programmers’ afternoon cocktail reception. Some filmmakers were there, but it was mostly programmers

J: That’s right. I’m the director of MIX Brazil film festival and so I was here as I’ve been doing for about ten years to scout movies to bring to São Paulo for our festival in November. So I was doing my job.

Q: Congratulations! And now you are also working together?

T: Yes, on Discreet he is a producer, and he is an actor (he plays Miguel). In a former life he used to be an actor in Brazil and did some commercials and soap operas there.

J: Actually I graduated in drama, but after some time I started to work more in production. I produced a lot of plays for theatre before and some movies. And also this big festival that is now in its 25th edition this year in São Paulo. We have a lot of common ideas about projects and I really liked Travis’s work before I met him and after I met him even more [chuckles].

Vintage Frame

Q: I want to get back to the film for a second and I was curious about the choice to outfit the main character Alex with these bright white sunglasses. They seemed to become an integral part of his character and I noticed that he took them with him everywhere he went.

T: The sunglasses were something, and this is one of the reasons that I love filmmaking, they were one of those spontaneous things that you can find, everything from clothing to locations to equipment, that sometimes it is something that you would never have been able to predict. Jonny Mars who plays Alex showed up to one of our pre-production meetings and he had those on and it was such a striking “look at me but don’t look at me” kind of impression that they made because they are white. I liked them on him and so I decided this would be part of his costume or his armor. I also like that they seemed a little bit ’80s and I like that his whole thing is just a whole hodge-podge of things that have been found. I didn’t want him to look ‘hipsterish’ and we were careful of not doing that. So I felt like his armor or his costuming was an assemblage of different things and not a particular design aesthetic.

J: I felt like he could hide some of his feelings behind those glasses.

T: Yes, sure they were to hide behind, but then they are also white which says ‘look at me’.

Discreet premiered at the 67th Berlinale Film Festival in February in Berlin and is currently touring festivals across the world, most recently appearing at the San Francisco Film Festival in April. It will also be featured at MIX in São Paulo later this year.

Cover frame: DOLCE & GABBANA DG1288

Photography BERT SPANGEMACHER
Text CHRISTINE LUZANO
Set Design PAUL BONCOEUR

 

RAY-BAN. AS REAL AS IT GETS.

Effortless style is at the heart of RAY-BAN’s DNA. And that, in essence, is what makes a person who slips on a pair look cool without fear or stigma from trying to look cool. Ray-Ban is a brand that carries legitimate street cred that’s due as much to the famous faces who’ve donned their legendary frames, to the brand’s credo to authenticity and fearless reinvention.

Always contemporary and always on trend, Ray-Ban is known for taking many of its distinctive round and retro-inspired designs and adding modern twists, and its 2016 Spring/Summer collection is no exception. Take the Erika frame, for example. While the shape looks all too familiar, Ray-Ban re-invents the classic round, Erika optical frame with light weight nylon fiber and gradient rubber.

An iconic keyhole bridge and signature fine Ray-Ban shaped temples makes for a fun, distinctive look that can take you from work to weekend and back again. Available in violet, blue or gray gradient tones for those looking for a more modern style, or rubber black or rubber Havana for the more

RayBan_01

PHOTOGRAPHER: BERT SPANGENMACHER
TEXT:  CHRISTINE LUZANO
SET DESIGN:  STEPHANIE WÜSTEMANN

It’s good once in a while to indulge the material girl or boy in each of us, and what better way than with eyeglasses? Different materials have different unique strengths and features, such as durability, lightness, not to mention material beauty, so it’s important to choose a manufacturer or designer well-versed in the craft. From cool titanium, to dazzling diamonds, to understated wood and acetate, 4SEE dedicates this issue to material components and the brands that beautifully give them homage.

While many people only dream of enjoying moments of absolute leisure, for designer Shane Baum, it’s a way of life and the rallying manifesto of his company, LEISURE SOCIETY. Baum strives to create products that offer inherent value; heirlooms or timeless pieces, if you will, that are designed to last forever and created, no doubt, for future generations of grand children to fight over.

The LEISURE SOCIETY collection offers classically inspired designs that embody the ideals of the CFDA designer – one of the highest achievements in Fashion. Baum takes it to heart when he states, “only the best is good enough” – he creates his collections with only the most elegantly sumptuous materials. Frames for his Handcrafted Eyewear collection, for example, are cast out of pure 12k, 18k and 24k gold plated titanium and are accented with rich, finely etched buffalo horn and diamond insets. Highest quality polarizing CR-39 lens top off the frames and are available with anti-reflective UGR12™, Diamond Cast™, and hydrophobic coating. With every refined detail meticulously polished and hand-crafted to deliver the utmost in style, LEISURE SOCIETY specs are sure to appeal to the Material girl and boy in each of us.

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LEISURE SOCIETY OXLEY Havana Tortoise
LEISURE SOCIETY VOYSEY Tortoise Gold
LEISURE SOCIETY TILMAN Gold
LEISURE SOCIETY SAN TORINI Gold Bone

Photography BERT SPANGEMACHER
Text CHRISTINE LUZANO
Set Design MARCELL NAUBERT

If you think about it, with today’s technology there’s really no reason to wear glasses, so why do we? While some say they wear specs because of fashion, we at 4SEE like to think that there’s more to it than that. Unlike any other accessory, glasses give us the power to transform and present another side of ourselves. This issue takes a closer look at the brands that draw inspiration from various sources — be it nature, the urban landscape, or individual artistic expression — and inspire us to be our own version of virtually anything: from artist to architect, rock star to rebel.

ETNIA BARCELONA is a brand known for taking its inspiration from cultural and artistic movements. It was just a matter of time until they would tackle the legend known as Jean-Michel Basquiat. Basquiat, born in 1960, revolutionized the New York art world in the eighties and moved on to captivate the world with powerful, expressive works that addressed racism, politics and social hypocrisy. Where Basquiat masterfully conveyed the language and symbolism of the streets, Etnia Barcelona follows his lead by paying homage.

The J.M. Basquiat x Etnia Barcelona collection, replete with references to jazz, rap, punk, pop culture and comics takes on the world of graffiti and street art with four new models. The frames feature Basquiat’s signature and iconic crown, brave color combinations and elements of the artworks themselves displayed on the inside of the temples and outer temple tips.

Three of his groundbreaking artworks (Fallen Angel, Glenn, and In This Case) are featured across four different styles of frames so there are plenty of options to pick and choose from in Etnia’s Basquiat collection. Here we see Glenn (BASQUIAT 03 YW-Glenn) lending a rich color palette of yellow and amber hues to the confident frames by Etnia, and Fallen Angel’s (BASQUIAT 01 BL-Fallen Angel) iconic artwork juxtaposed with the elegant gold details designed by Etnia for the temples and hinges. To top it all off, every pair of frames from the collection comes in a box set that beautifully tells the story of legendary art pioneer Jean-Michel Basquiat.

Visit Online: ETNIA BARCELONA

ORGREEN OPTICS, COPENHAGEN

Kim Sørensen
Store Manager

Located in a trendy neighborhood of Copenhagen, Ørgreen was founded in 1997 with a minimalistic approach that integrates clean lines and innovative colors. Designed in Denmark and handmade in Japan, Ørgreen combines the best of Danish design with superb Japanese craftsmanship. Subtle inspirations from street culture, extreme sports and classic cars also add to its uniqueness. Brands such as Barton Perreira, Celine, Thom Browne, Reiz, Goldsmith, Hoffman Horn and Little Paul & Joe are also available at their store.

Orgreen , Eyewear, Copenhagen eyewear, or green store, sunglasses, eyewear store display

Selecting a perfect optical frame starts with a thorough eye test using the latest technology, followed by an in-depth consultation to provide the best solution for the customer’s lifestyle, face shape, skin tone and clothing style. “For us, quality starts with comfort and functionality, but it’s just as much a matter of aesthetics. Glasses are meant to improve your view on the world, but they will also refine the world’s view upon you,” explains Kim Sørensen, the store manager of Ørgreen.

For the upcoming season, his favorite pairs include the compact Reflector and the unisex Gloom with a vintage feel. As he points out, the trend is shifting to compactness and vintage-inspired details such as flat bases and thin rims, as well as mirrored lenses for sunglasses.

Orgreen , Eyewear, Copenhagen eyewear, or green store, sunglasses, eyewear store display

Orgreen , Eyewear, Copenhagen eyewear, or green store, sunglasses, eyewear store display

Orgreen
Hauser Plads 30A, 2
1127 Copenhagen, Denmark
+45 3333 0359
www.orgreenoptics.com

 

Photo: Courtesy of Ørgreen

Photography BERT SPANGEMACHER
Text JUSTIN S. ROSS
Photo Assistant ALEX KUEPER

On the occasion of the 30th anniversary of Top Gun, a movie that inspired a whole generation to imitate the effortlessly cool Aviator look spawned by Tom Cruises’s character in the film, 4SEE revisits the classic aviator look by visiting competition pilots from Red Bull and Breitling who take to the skies in impressive vintage aircraft.

There is a glassy, modern hangar, tucked away in the mountains of Austria, and filled with prime examples of the gorgeous airplanes that have lifted humans into the skies over the past century of aviation. In this little-known world, passionate pilots are pushing their limits every day to make aviation impossibilities possible.

These pilots are part of the Red Bull Flying Team, appropriately called “The Flying Bulls.” With their unparalleled enthusiasm for airplanes and the graceful art of flying, these ‘aerobatic’ pilots remind us of the proud traditions of aviation and the absolute miracle of humans taking flight in beautiful flying machines crafted out of heavy metals.

aviatorstory_07Paco Wallaert, callsign ‘Paco’ wears RAY-BAN AVIATOR RB 3025Watch by BREITLING

aviatorstory_05Philipp Haidbauer wears IC! BERLIN ROADSTAR Pearl Grey, Teal Mirrored

aviator_04Philipp Haidbauer wears BLACKFIN BF761 Brunswick

Of course no pilot would be comfortable taking to the skies without a completely reliable set of instruments to help guide his flight and keep him oriented before returning safely to the ground. That is where Breitling comes in.

The heritage Swiss watchmaker built its reputation for absolutely reliable timepieces and beautifully crafted wristwatches. In the early twentieth century, Breitling began using its industry-leading technologies to create the most reliable flight instruments for civilian and military aircraft alike. In the 1950s, these two applications merged with the introduction of the Navitimer wrist chronograph.

Today, this association continues with Breitling supporting its own air show team called the Breitling Jet Team—and, of course, a pilot’s look isn’t complete without a sturdy, reliable, and multifunctional companion timepiece from Breitling.

Just like the exquisite vintage airplanes that these teams fly, quality in craft and superb design never goes out of style. As their name suggests, Aviator glasses have a long history of utilization in the aircraft industry, by both military and civilian pilots and air crew. Their unique shape with wide, tapered lenses actually cover a larger area of the eye and minimize the effects of wind and light hitting the ocular area. This aerodynamic effect has a huge advantage for pilots in that it protects their eyes and prevents blurred vision from teary eyes. They also provide maximum coverage to ward off glare from reflections and sun beams.

aviatorstory_01Jacques Bothelin, callsign ‘Speedy’ und Patrick Marchand, callsign ‘Gaston’ wear RAY-BAN AVIATOR RB 3025

aviatorstory_10Jacques Bothelin, callsign ‘Speedy’ wears RAY-BAN AVIATOR RB 3025 Watch by BREITLING

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aviatorstory_13Philipp Haidbauer wears DANIEL HECHTER DHE S202-2

aviatorstory_02The Breitling-Jet-Team flies in formation with L-39C Albatros Jets. In 2016, the pilots demonstrate their skills from September 23rd to 25th at the Miramar Air Show, California, USA, during the San Francisco Fleet Week from October 8th to 9th, as well as at the Huntington Beach Air Show, California, USA from October 22nd to 23th. For more information visit:
www.breitling-jet-team.com

These aviator style sunglasses look right at home next to the awe-inspiring aircraft flown by pilots of the competition air teams from Red Bull and Breitling. Today, these teams regularly fly in competitions. Not only to challenge the pilots, but also to maintain the vintage aircraft, celebrate the history of aviation, and thrill crowds of onlookers.

Ultimately, our admiration for brave pilots and their intrepid style fuels our love of the aviator style. The sleek style lines of pilot’s uniforms are echoed in the thin metal frames of Aviator glasses today. Evoking both a commanding sense of style and an adventurous, jetsetting lifestyle, Aviator glasses have become a timeless classic, and an emblem of cool that makes us want to take to the skies ‘Top Gun’-style.

aviatorstory_11Raimund Riedmann wears RANDOLPH AVIATOR Gun Metal58mm

aviatorstory_14Raimund Riedmann wears LINDBERG 8703

aviatorstory_12Mirko Flaim wears IC! BERLIN PANORAMA Chrome-Black, Silver Mirrored

aviatorstory_08Raimund Riedmann wears TOMSKINGSFIELD Havana Tortoise

The spectacular Hangar-7 near the Salzburg Airport houses the Flying Bulls’ airplanes. The aviation museum is open everyday from 9am to 10pm with free admission. Do not miss the restaurant IKARUS. By the way — guests arriving by plane pull in directly in front of Hangar-7.

www.hangar-7.com      

www.flyingbulls.at

 

Photography BERT SPANGEMACHER
Text DAGMAR SCHRAMM

Blackfin takes the standard of “Made in Italy” to a whole new level by combining local production with precision technologies, only the best materials, and minimal designs. From cutting the frames to distribution, everything takes place under one roof. Even more remarkable, the modern glasses are produced far from any bustling city in the small town of Agordo, northern Italy. Blackfin’s key to success lies in the authenticity, connection, and passion that the team around CEO Nicola Del Din ardently pursues everyday.

Gleaming rooftops during summer and sparkling snow in winter; Agordo is truly a paradise on earth. Here, between the peaks of the Dolomites, Blackfin has been located since 1971. This is no accident. Eyewear giant Luxottica established itself in Agordo in the 1960s, and many smaller businesses followed suit, quickly making Agordo the hub of Italian eyewear production. Maria Pramaor, the mother of the present-day head of Blackfin Nicola Del Din, was an employee at Luxottica right from the start. Soon she decided to open her own business called Pramaor and began producing frames for Luxottica and other big eyewear brands. But then pricing policies got worse — and Pramaor was in crisis.

Together with her son Nicola she managed to change the course of the company when they decided to start producing their own frames by creating a new label called Blackfin. Success has followed this decision: in 2015 they produced 90,000 glasses, for 2016 production is estimated to go up to 110,000 pairs. Blackfin recently renovated their building in the style of high-tech Silicon Valley startups and now it is an über-modern company in the middle of Italy’s idyllic countryside.

Nicola Del Din, Blackfin CEO 

The label’s exciting and original spirit strongly shapes the pared back designs of their eyewear. Nicola created the term “NeoMadeinItaly” to sum up the brand’s philosophy. “We are a company with an extremely high technological standard. At the same time, we’re surrounded by inspiringly beautiful nature. This combination of global connections, captivating ideas, perfect organization and communication as well as a deep bond with our home is what defines Blackfin.” Nicola himself loves this region more than anybody: “If I had to live somewhere else, I’d rather die!”

Final assembly and inspection

Blackfin’s coloring process produces top-notch frames by hand

Nicola’s 60 colleagues also live by the label’s philosophy. Most of them went abroad to gain experience that now benefits Blackfin. All steps of production take place under one roof, even the colors are developed and produced in-house. Outsourcing production to Asia is unimaginable for Nicola Del Din: “Of course it is much more expensive to produce in Italy. But because we produce everything ourselves and forgo any in-betweens, we can truly claim the label ‘Made in Italy.’ It is so much more authentic and emotional for a company to completely take control of production. And that is our strength.”

Pure titanium is shipped from Japan to provide a perfect base for Blackfin’s no-frills frames. The sheets are only half a millimeter thick, resulting in extremely light, durable, and comfortable glasses. At the moment Blackfin concentrates on optical frames, only 10 percent of this year’s production models were sunglasses. The biggest inspiration for the label’s designs comes from Scandinavian classics, and yet there is nothing classical about them — Blackfin prides itself on being highly modern.

New models and an expanded sunglasses collection are in the works. “We are ready for the next level,” Nicola says. “Our new space and our perfect manufacturing conditions provide a great platform for new ideas. We are going to present some fresh concepts before the end of the year.” Without a doubt, Blackfin is going to surprise and excite us with their precision technology and crystal clear design.

Visit Online: BLACKFIN.EU

DITA, NEW YORK

Dita was founded in 1995 by design duo Jeff Solorio and John Juniper with a vision for timeless aesthetics. A vintage collection with a modern twist, the sleek frames with subtle logos let the eyewear speak for itself. Originally from LA, the brand currently operates with three US flagships and one in Tokyo, and is sold in 50 countries. The entire collection is handcrafted in Japan, and the premium quality glasses have been seen on celebrities from Brad Pitt to the Olsen sisters.

Asked about advising customers when buying a pair, Ariel Anaya, manager of DITA SOHO shop, explains that ¨Eyewear isn’t just about function or necessarily even style. Dita is about telling a story through products. So it’s important to understand the customer´s story.¨ This is why questions regarding their work, clothing style and cultural interests are important for choosing the right pair. A concept called ¨wardrobing¨ is also applied, wearing different pairs for various occasions or as a way to express a different look. Ariel owns eleven glasses himself, while his favorite pair is the ¨Statesman.¨

As for trends for the upcoming season, chunky acetate with sharp angles for men and oversized cat eye shapes that evoke the 60s for women are what this favorite brand of the fashion-elite recommends.

DITA SOHO
273 Lafayette St.
New York, NY 10012
+1 212 431 8900

Visit Online: www.dita.com

Photo: courtesy of DITA

Text MIO HAYASHI

Zerezes x Insecta

Launched in 2012, Zerezes was started by a group of friends at university in order to fulfill their personal wish—they liked wooden sunglasses made in the US, but shipping was not available to Brazil, so they developed their own. Brazil was under construction for the World Cup and the Olympics at the time and so there were many rare woods being discarded.

Today their glasses are worn by a wide range of clients, from trendsetters to everyday consumers. They believe that products can have a long life span without needing to follow trends. Their best selling frames are the square style Votto, and the rounded Zeg in dark Jacarandá wood.

saupaulo_03

Asked how many glasses he owns, one of the founders, Luiz comments he has two Zerezes glasses. He adds that Mykita makes the best glasses, and his other favorites are Epokhe and Oliver Peoples.

Their first pop-up shop in Rio de Janeiro opened last September in collaboration with the shoe brand Odde. Their third and newest shop just opened in São Paulo, this time with another shoe brand, Inspecta. ¨We are really excited to have a store [there]. Zerezes is growing slowly, but is quite strong in Rio. Our expectation is to grow in São Paulo, too.¨

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Zerezes x Insecta
Rua Artur De Azevedo, 499
Pinheiros, São Paulo, Brazil
Tel +55 21 3494 4674
www.zerezes.com.br

Photo: courtesy of Zerezes

Photography VIEN TRAN @ Wilhelmina Japan
Creative Director KEITH S. WASHINGTON
Make-Up PERCY @ Les Doigts
Hair AKIRA YAMADA @ Wilhelmina Japan
Producer KANAKO OSHIMA

Timeless tastemakers know how to keep it real at any age.

OldNipponInside_05Fumio Hatanaka (69) wears PERSOL PO 0649 95/58
Blazer by Bally, tuxedo shirt by John Lawrence Sullivan

 

OldNipponInside_06Michie Fukaya (65) wears IC! BERLIN 67 Nixenstrasse in electric magenta red Coat by Bally, hat and shirt by Giorgio Armani

 

OldNipponInside_02Nakayama (age unknown) wears ØRGREEN Rhapsody 619 in mat navy blue/sandblasted gold Blazer by Bally, sweater and pants by Giorgio Armani

 

OldNipponInside_03Shinichi Kasai (70) wears RAY-BAN Light Ray RB4224 Leather jacket and pants by Loewe, shirt and headscarves by Yohji Yamamoto, shoes by Issey Miyake

 

OldNipponInside_04Katsumi Onoda (74) wears ETNIA BARCELONA Angels in rdhvCoat and belt by Loewe, shirt by Giorgio Armani

 

OldNipponInside_01Nobuyoshi Fukuya (73) wears MOSCOT Keppe in blackSuit by Emporio Armani, shirt by John Lawrence Sullivan, leather belt by JW Weston

In the eyewear industry, a lot of smaller labels manage to shine with their collections off the beaten tracks. Individuality is in high demand and what accessory offers more personality than eyewear? Good design, high-quality materials and perfect workmanship provide the basis for success. Most important, though, are the personality, heart and soul the people behind the brands put into their work. 4SEE asked Ralph Albrecht, designer and co-owner of KBL about his strategies and plans for the future.

KBL means “kind of bohemian lifestyle“, a perfect summary for the fresh label’s philosophy: The brand designs eyewear for people who live and love the cosmopolitan spirit. Their frames are no status symbols, but rather an expression of style-consciousness, fun and lust for life. KBL’s friendly prices fit perfectly into that picture. The label was founded in 2009 by Adam and Kara Mendelsohn and Dave Barton in New York. Ralph Albrecht joined in 2011 to expand KBL’s range to European markets.

Then the three founders left KBL. Ralph Albrecht still believed in the label, with his several decades of experience in the eyewear business and after working with well-known brands like Alain Mikli, Oliver Peoples and Barton Perreira. The experienced frame manufacturer recognized the brand’s potential in time as well and invested in KBL Eyewear. Today it is one of the hippest labels and firmly at home on the noses of true trendsetters.

KBL_01

Ralph, how did you manage to evolve KBL as a brand?
I developed a new strategy for KBL. This included the meaning of the name, a new, high-quality and extremely sturdy joint and the lifestyle aspect that holds everything together. We started engraving the silhouette of the Empire State Building into the temples of the frames, no other building encompasses big city life just like it. And that is exactly the feeling we want to convey with our eyewear.


You simply took design matters into your own hands…

Yes! We needed a new collection and there were only a few designs to develop further. I know manufacturing processes inside out, so I simply picked up pen and paper myself. I have more than enough ideas and the professionals working at our producers can transform them into functioning frames. My first design, the All American Rocket, went straight into serial production – without any prototype whatsoever. That design is still an absolute bestseller today.

Where do you get your ideas?
I get inspired by frames from the 60s, 70s or 80s. The designs were great, but they do not work for us today anymore. So I change them in a way that lets them keep their essence while creating something completely new. But architecture, watches or shoes lend inspiration for new glasses, too.

KBL_03

Which materials do you use?
We mainly use Italian acetate and titanium from Japan. We put a lot of value on extremely high-quality production. Our temples, for example, are lasered from acetate, not milled. It is simply more exact and there is less material to scrap, so it is good for the environment as well. We combine standardized production quality with manual work. That includes assembling and polishing the frames by experienced workers in our Japanese production sites. But the lenses are something special, too, we have a cooperation with the renowned Italian manufacturer Barberini so we can offer extraordinary colour gradients.

What can we expect from KBL in the future?
We are about to launch two special collections: KBL photochromatic with mineral lenses which tint under sun light in a gradient. When you breathe on the lenses, the KBL photochromic logo appears. We will present KBL pure classic at the SILMO 2016, the most important optician faire in Paris – we combine beta titanium with features from the 80s and 90s and let these defining areas for the eyewear industry shine again. We will offer these models in different sizes, ranging up to oversize models. One thing is for sure: We will not run out of ideas any time soon.

KBLeyewear.eu

KBL_04

KBL_02

Photographer LANCE CHESHIRE
Creative Director KEITH S.WASHINGTON
Editor ANNEMARIE LUCK
Location NEW YORK CITY

Just as a city breathes life into its people, so the people breathe personality into what they do and what they wear. In search of the heartbeat of cities around the world, 4SEE Magazin is taking to the streets for a new series feature.

In this edition: New Yorkers wearing Persol glasses. These are the people who make the world go round…

persolnyc_05NAME: Kumar Mitra
JOB: COOK
FRAME: PERSOL P0 3129S 24/57

persolnyc_08NAME: Norma Tarquino
JOB: Hero
FRAME: PERSOL 3128V 95

NAME: Rocio Ferrua
JOB: Hero
FRAME: PERSOL 31229S 24/57

persolnyc_04NAME: Jose R. Velez
JOB: Parking Lot Attendant
FRAME: P03132S 95/4N

persolnyc_07NAME: Gregory Wheeler
JOB: Shoe shine man
FRAME: PERSOL P0 3128V 95

persolnyc_01NAME: George Esposito
JOB: Butcher
FRAME: PERSOL P0 3132S 24/33

persolnyc_02NAME: Matilal Debroy
JOB: AD Board Worker
FRAME: PERSOL P0 3132V 95

persolnyc_09NAME: Kenny Redguard
JOB: Contruction Worker
FRAME: P0 2388S 1039/30

 

Text JUSTIN ROSS

Victoria Beckham – How Passion and Prowess Transformed a Style Icon into a Respected Fashion Mogul

Victoria Beckham continues to defy expectations. Her celebrity profile started in the 1990s when she skyrocketed to fame as part of the global sensation that was the Spice Girls. Even as the girl group’s fame and popularity started to fade, Victoria remained in the spotlight. During this time, Victoria’s penchant for fashion and adventurous spirit were often on display as her image hardly left the cover of fashion magazines around the world. Her bold spirit and risk-taking attitude landed her on both the best and worst dressed lists but she never veered away from her personal tastes and penchant for experimentation with style.

For many, this type of fame is not only fleeting, but difficult to endure, but for Victoria Beckham it was just a starting point. When it was announced the Victoria Beckham was to design and produce a fashion line under her own name, some were skeptical. Rather than dissuade her from delving into the business of fashion it seems to have had the opposite effect. She created a critically acclaimed and highly successful collection of clothes. What some assumed would be a short-lived foray into fashion has instead become an enduring, and growing, detail-driven fashion empire.

As her eponymous brand grows and continue to receive rave reviews, Victoria has ventured further afield into areas that she loves such as eyewear and accessories. The same core values that led her to success in her fashion brand drive her approach and her aesthetic in these newer businesses: to make what you love, and to pay good attention to the details in order to stand out.

With all of these business ventures, along with her well-known charity work, you might think that she gets caught up in her whirlwind of activities, but thanks to her well-honed organizational skills she is actually very very down to earth, taking each day as it comes, and always finding time to relax in the company of her family and four wonderful kids. 4SEE delved into the wonderful world of Victoria Beckham to find out more about the secrets to her success and the stunning results of her hard work and passion for fashion and eyewear.

Victoria.Beckham

What role does eyewear play in your wardrobe? How do you choose what pair to wear and when?
I am genuinely very passionate about eyewear – I love glasses and to be honest I rarely leave the house without a pair. Having worn them so often and for so long I know now what suits me, and tend to have a few favourite pairs which I alternate between – an oversized oval shape and a classic square style are two of my go-tos.

How do you innovate in eyewear? What materials or techniques are you looking to in the future?
Within my own collection, I think it’s absolutely crucial that we always use the most cutting edge technology available and the very best materials possible. I particularly love the bespoke rose gold anti reflective coating on our lenses, which are made by Zeiss. I like how they combine beauty with functionality, and I’m always on the look out for other great ideas or innovations which will do the same.

If you could pick just three words to describe the eyewear that you produce, what would they be?
Contemporary, handcrafted, refined.

What is your favorite pair of glasses that you have produced from your own line?
It would have to be the pair that’s named after me – The VB! When I was creating The VB, I said I wanted to make a frame that felt like an instant classic; like that one style you’d always wanted to own that would go with absolutely everything in your wardrobe. It’s a shape that I’ll be wearing for years to come – it’s timeless.

You previously had relationships with accessories and eyewear brands, how does it feel to be producing your own vision now?
I feel very proud of what we’ve achieved. Since we launched 6 years ago I think we’ve managed to develop a distinctive and desirable eyewear brand, and it has just gone from strength to strength. In line with this growth, last spring we brought the manufacturing process in house – working with a number of specialised local workshops in a little town in Italy. This means we now have even more control over all aspects of the development process, and can source our own exclusive materials.

How many glasses and sunglasses do you own overall?
I’ve lost count! I’m a bit of a magpie when it comes to eyewear and have built up quite a collection. I’m always on the lookout for interesting design elements – the perfect tortoiseshell, or eye catching mirrored lenses. My own mirrored aviators have been incredibly popular – we have such a range of colours available now that you could have a different one for each day of the week, if not month!

How do you juggle your many different roles?
It can be hard – but then I’m sure it’s hard for every working mother. I absolutely love my job, but my family comes first – and I have an incredibly well organized diary so that I can plan everything around them. Someone still needs to do the school run and the parents’ evenings! It can be tricky but it works out in the end.

What do you like to do for fun to unwind?
Spend time with my family. They keep me grounded and make me laugh, which is the best stress buster.

Do you have any superstitions?
I don’t walk underneath ladders, and if I see a magpie I always do the salute thing!

What is your personal motto?
Always work hard and trust your instincts.

What’s the best thing that happened to you this year?
I just opened my store in Hong Kong in March, which was pretty exciting. It is my second brick and mortar store after 36 Dover Street in London, so I was really thrilled to see it open and to meet all of my customers out there.

VICTORIA BECKHAM EYEWEAR

Photo: courtesy of Victoria Beckham

Photographer LANCE CHESHIRE
Creative Director KEITH S. WASHINGTON

ALL EYEWEAR PRESENTED BY COBLENS
www.coblens.de

Rugged and remote, New Zealand’s soaring mountains, sandy beaches, windswept valleys, and active volcanoes are at once majestic and foreboding.

The epic grandeur of this natural beauty, and the challenge of mastering such an uncompromising environment has drawn people to this isolated island nation for centuries. The hardy people who live there and harness this powerful landscape for work and for play are true marvels to behold.

These photographs capture the raw beauty of the robust, energetic, and hardworking spirit of New Zealanders who are not afraid of a little dirt if it means getting the job done.

 

coblens_04NAME: RAFE TOLLEMACH
JOB: BOAT BUILDER AND CARPENTER IN AUCKLAND
EYEWEAR: COBLENS PINKELPAUSE
coblens_a13NAME: TONY KNIGHT
JOB: SHEEP SHEARER IN WAIKATO
EYEWEAR: COBLENS LUFTRAUMNUTZUNG

coblens_a12NAME: LOUISE PEARSON
JOB: TAXIDERMIST AT SIKA COUNTY TAXIDERMY IN TAUPO www.sikacountrytaxidermy.co.nz
EYEWEAR: COBLENS SERVIERWAGEN

coblens_a11NAME: VERN PEARSON
JOB: TAXIDERMIST AT SIKA COUNTY TAXIDERMY IN TAUPO
EYEWEAR: COBLENS QUERUNGSHILFE

coblens_a3NAME: MARGARET GROOT
JOB: BEE KEEPER AT KIWIMANA IN WAITAKERE
EYEWEAR: COBLENS STRAHLTRIEBWERK

NAME: GARY FAWCETT
JOB: BEE KEEPER AT KIWIMANA IN WAITAKERE http://kiwimana.co.nz
EYEWEAR: COBLENS QUERUNGSHILFE

coblens_a10NAME: BARBARA MIDDLETON
JOB: EAR SPECIALIST IN AUCKLAND
EYEWEAR: COBLENS FLUGKAPITÄN

coblens_a9NAME: TONY NIGHT
JOB: SHEEP SHEARER IN WAIKATO
EYEWEAR: COBLENS HOTELGUTSCHEIN

coblens_a7NAME: DAVID PEDERSEN
JOB: LAWN & PROPERT SERVICES IN AUCKLAND
EYEWEAR: COBLENS FLUGKAPITÄN

coblens_a6

coblens_a2NAME: SUDIP KHATI(LEFT)
JOB: COWHERDER IN MORRINVILLE
EYEWEAR: COBLENS PINKELPAUSE

NAME: BEN MICHAEL ROCHE (RIGHT)
JOB: COWHERDER
EYEWEAR: COBLENS SERVIERWAGEN

coblens_a14NAME: GEORGIA WARD (LEFT)
EYEWEAR: COBLENS FLUGKAPITÄN

NAME: VEGAS McCARROLL(RIGHT)
EYEWEAR: COBLENS LUFTRAUMNUTZUNG

BOTH ARE LIFEGUARDS AT MURIWAI SURF LIFESAVING CLUB IN MURIWAI BEACH,NZ www.muriwaisurf.org.nz.  SPECIAL THANKS TO EMILY EADIE

coblens_a5NAME: BRUCE CORRY (LEFT)
JOB: SEXTON AT WAIKEMETE CEMETERY IN AUCKLAND
EYEWEAR: COBLENS LUFTRAUMNUTZUNG

NAME: CALLAN BARKER (RIGHT)
JOB: SEXTON AT WAIKEMETE CEMETERY IN AUCKLAND
EYEWEAR: QUERUNGSHILFE

coblens_a15NAME: ROBIN FAUBISTER
JOB: LIFE GUARD IN MURIWAI BEACH
EYEWEAR: COBLENS VIGNETTE

coblens_a1NAME: MARCEL VEART-SMITH
JOB: BLACKSMITH IN AUCKLAND
EYEWEAR: COBLENS HOTELGUTSCHEIN

Photography Bert Spangemacher
Text Dagmar Schramm

ic! berlin along with its sister brand onono focus on creating unmistakable designs out of the very best materials. 4SEE visited ic! berlins production and talked to the owner Ralph Anderl.

With 180 employees, steady growth in Europe, and even faster growth in the USA and Asia – ever since the company was founded in 1996, ic! Berlin has been continuously expanding. “It took us a long time to really take off, though,” says CEO Ralph Anderl. “That’s why Berlin is the perfect place for us. You don’t have to be rich here, your company doesn’t have to skyrocket immediately.”

The inception of ic! berlin was more serendipitous than a meticulously mapped-out process: Ralph Anderl developed the signature spectacle frames without hinges together with friends from his Cultural Pedagogy program in college. They photographed unstable prototype and took them to an eyewear manufacturer who responded with a definitive ‘no’ and yet Ralph persevered, eventually leading the trio to produce eyewear on their own. “We approached it rather greenly but we were lucky,” Anderl explains. “Our adventurousness was the most important component, we didn’t have any notion of the market yet.”

Ic_berlin01ic!berlin_02

Their unique concept succeeded in convincing customers who eventually became devotees of the brand. This success could be attributed to the fact that at ic! berlin, design and production are merged into one overall process. While other manufacturers let their partner companies produce their designs, ic! berlin prefers complete oversight over their in-house production. The unique screwless hinge is an important part of their designs, reinforced by their immense technical know-how. “The hinge works similar to origami,” says Anderl. “The close connection between design and function is the logical consequence.”

They use acetate from Italy while the stainless steel and colours come from Germany. Because the ambitious founders have been disappointed by third-party producers they do everything on their own. Their Berlin factory is the most effective advertisement for ic! berlin: they regularly give tours of the factory to international visitors and curious Berliners alike who spread the word about their experience of the entire eyewear manufacturing production. “Usually you’d have to travel to China for an experience like this,” says Anderl.

ic!berlin_03ic!berlin_05

The typical ic! berlin customer is technologically adept – but that does not come as a surprise. Engineers, doctors, lawyers in their thirties or older rely on the exceptional quality and discreet style of ic! Berlin’s frames. “Our models are lightweight and easily adjustable. The screwless hinge makes them extremely stable,” says Ralph Anderl. “That’s why they’re also great for children, we’re working on stepping into this category as well.”

ic!berlin_04

Making shareholders happy with quick expansion is the last thing Anderl wants to do. “To me, success means that our customers treat themselves with another model from our label because they are so convinced of our quality and comfort. The first pairs don’t need to be broken to have another pair. We focus more on longevity than lifestyle.” If you are looking for an extraordinary pair of glasses, you might find them at our sister brand called onono.

Their frames are made by hand from precious materials like buffalo horn and titanium. A production lot is small and they are produced both in-house as well as in cooperation with external partners. Looking ahead, onono says there will be 49 collections for the duration of 49 years, and each model will have exactly 49 pairs.

Ralph Anderl’s goal for the future: “We want to stay independent and continue producing in Berlin. Our eyewear joins the polar opposites of easiness and seriousness – we want to keep it that way.”

IC! BERLIN

Photographer BERT SPANGEMACHER
Text DAGMAR SCHRAMM

An Eye for Detail – Robert La Roche

Looking back on Robert La Roche’s more than 40 years of history tells a story of how a brand’s reinvention led it to return to its roots.

Founded in Vienna by designer Robert La Roche back in 1973, the eponymous brand evolved over the past four decades leading it to success well into the nineties. Today the brand has refocused its commitment to producing quality eyewear by holding true to its foundations in heritage and craftsmanship. Last year, the new CEO Anthony Reid paired with creative director and designer Klaus Huber to lead the company forward. “We want to be authentic in everything we do. The quality of the products and materials, the people who work for us, the way we communicate and the product photography, which is intended to be raw and real and perpetuates the artistic origin of the label – all these elements define our brand.”

Editorial images produced and published in 4SEE Magazine DO NOT PUBLISH without permission. Any unauthorized usage is prohibited.

This philosophy is expressed in their exciting eyewear collection in which quality and craftsmanship, two defining qualities of the brand, are held to the highest standards. With their renewed emphasis on details, it made sense to work with a photographer like Michael Shindler whose artistic photographic process enables event the finest lines and details to stand out. He created a series of portraits inspired by Man Ray and Henri Cartier-Bresson that illustrate the exquisite detail in each of the Robert La Roche glasses.

At Robert La Roche the pursuit of the highest standard trumps a demand for high profits. The Austrians produce their glasses by hand in cooperation with the world’s best producers in Italy and Japan. These two production sites define Robert La Roche’s collections: The Italian site uses natural high-quality acetate, processed by experienced manufacturers. The material is cut into paper-thin layers, then stacked to produce the exceptional composite frame. The Japanese site then combines the acetate and titanium. Precise cutting technology allow both materials to remain visible, turning them into modern and striking statement glasses from these extraordinarily refined techniques. Anthony Reid leaves nothing to chance: he personally chooses the materials and colours together with Klaus Huber based on their shared design aesthetic that bucks the latest trends and fashion forecasts to stay true to the brand’s carefully crafted image.

Editorial images produced and published in 4SEE Magazine DO NOT PUBLISH without permission. Any unauthorized usage is prohibited.

Distribution is also carefully monitored and integral to the brand. “We don’t hand distribution over to just anyone. We want to make sure our glasses are being sold only by the best independent opticians around the world,” says Reid. Outsourcing distribution is completely out of the question for him, that is why salaried employees are responsible for the brand’s distribution. As for customers, there is no typical Robert La Roche customer – the 70-year-old lady as well as the young techie are both their target audience. “We design eyewear we would wear ourselves, that we are absolutely convinced of,” Reid summarises the basic principle of product design. “The people who buy our glasses have one demand in common: they want only the best quality, handcraft and exclusivity. I think our customers own a lot of things that last their whole life and bring out their own personality.”

Editorial images produced and published in 4SEE Magazine DO NOT PUBLISH without permission. Any unauthorized usage is prohibited.

Anthony Reid and his committed team are not short of ideas for the company’s future. “We want to keep improving, to offer the best service and expand our collection,” concludes Reid. “Hence opening our own office in New York is our next step, because we definitely feel that there is an increased demand from the USA and also from Japan.”

Editorial images produced and published in 4SEE Magazine DO NOT PUBLISH without permission. Any unauthorized usage is prohibited.

ROBERT LA ROCHE

Photographer  JORGEN AXELVALL
Fashion Editor  KEITH S. WASHINGTON
Writer  ANNEMARIE LUCK

Remember that time Brad Pitt designed his own furniture range and critics were full of praise for the surprise collection? Well, in Denmark, style icon Emil Thorup has pulled off a similar feat. The Danish public has come to know (and love) him primarily as a model and TV host on the country’s biggest national network, but the 32-year-old has been harbouring a passion for design that he’s finally found expression for in his new furniture brand called HANDVÄRK, which launched in August 2015.

While Thorup admits some people were reluctant to believe he could make a U-turn in his career and just begin designing furniture, he says he has actually been working on the side in design and architecture for several years. From his industry peers he has had nothing but praise, and says this is largely down to the fact that they are all ‘working for the same purpose – to promote Danish design to the rest of the world’.

We caught up with Thorup on his recent visit to Tokyo to chat more about HANDVÄRK, his inspirations and why he’s a huge fan of Japanese eyewear brand Frency & Mercury.

What’s your connection to Tokyo?
I have a great passion for Japan – the people, language, food and architecture. By heart, I’m an architect and residential architecture is amazing in Japan. I’d love for HANDVÄRK to open a flagship store in Tokyo. The style is international with a Danish flavor that – in my humble opinion – would go great with Japanese architecture.

What is it that you love about Japanese design and architecture?
It’s in many ways an organic version of the Bauhaus style, where function dictates form. In the Japanese “version” it’s more about the materials, the user and nature, but still, with excruciating detail, never adding any redundant design feature. Japanese minimalism seems to have some warmth to it – something that we, cold, Nordic minimalists could be inspired by.

emil.thorup_01Eyewear by Max Pittion Maestro in Black Tortoise
Grey sweater and white oxford with silver plated clip all by John Lawrence Sullivan

 

But with HANDVÄRK, you’ve said you want to stay true to Nordic DNA…
To me, the Nordic DNA is much more than just the design; it is based on passionate designers and skillful craftsmen. HANDVÄRK is one of the few brands left that produces all our furniture in Denmark. This means I have a day-to-day communication with the people crafting the steel frame to our tables and I probably see my upholsterer more than I see my own family. This gives us all a deep connection to the brand and all the know-how and skill possessed is not lost in translation.

Do you have any plans for a new collection yet?
I’m probably the most impatient designer you’ll ever meet – I’ve had the next two collections ready for several months. For now we have to focus on our first collection, the “Black/Brass”, but we have plans to release “The White Edition” in August 2016, which will feature powder white products with honed crystal white marbles and grey granites.

emil.thorup_02Eyewear by Max Pittion Shelby in Black Tortoise
Grey pinstriped suit and white oxford with silver plated clip all by John Lawrence Sullivan Leather cuff by John Lawrence Sullivan

 

You also work on other big design and architecture projects. Are you working on anything interesting at the moment?
I just finished designing a line of luxury pre-fab houses for building giant Kalmar-Huse. But my most interesting project at the moment is creating the HANDVÄRK Apartment. We have gotten our hands on a 300m2 historic apartment overlooking the royal park in Copenhagen – perfectly restored. Here, I’m decorating our showroom, primarily with our own furniture but mixed with the best of Danish and international design – and vintage items from around the world. A perfect place for a press brunch and it’s available to rent for shoots.

Your sense of style clearly crosses over from design to clothing. Do you have a favourite brand of eyewear?
I’m a huge fan of the Japanese brand Frency & Mercury, who make the most stunning eyewear. The brand is in many ways like my own brand – everything is produced locally, they use precious materials, titanium, silver and gold, and maintain a very high level of craftsmanship. And the young owner and designer, Eque, is a flamboyant and extroverted person – much like myself. [Laughs]

emil.thorup_03Eyewear by Max Pittion Shelby in Blue Tortoise
Black blazer and grey oxford all by John Lawrence Sullivan

Text MIO HAYASHI

Being the original lifestyle concept store before lifestyle became a trend, Colette has been offering a wide selection of products from beauty to design, from art to food, from street to style to its cult following clientele base. The shop was opened in March of 1997 and named after one of the co-owners.

“Sunglasses are a part of lifestyle,” comments Guillaume Salmon, a PR spokesperson for the shop. Asked about what styles he prefers personally, his selection includes brands such as Dick Moby, Barton Perreira and Eyevan 7285.
For the upcoming season, one of the noteworthy design details is the strong contrast of the colors between the frames and glasses, as seen in styles made by Ahlem and Saraghina, among others.

As for the material, he opts for the sustainable model of Dick Moby, a company based in Amsterdam, founded by two surfers with an objective to fight against ocean pollution and turn plastic waste into high quality sunglasses. All of their glasses are made from biodegradable acetate found in the sea, which contributes to no further creation of the waste.

In general, Colette’s selection of the sunglasses reflect a broad range of styles that do not necessarily cater to specific seasons, but that can be worn according to the preference for the look, regardless of the trends. The shop’s philosophy and the environment let the customers choose the right model according to their own liking, as to reflect the unique lifestyle and the needs of each individual.

collette_01

Colette
213 rue Saint Honoré
75001 Paris, France
Tel +33 1 5535 3390
www.colette.fr

Photographer BERT SPANGEMACHER
Text JUSTIN ROSS
Fashion LOR-E PHILLIPS

Will.i.am, hiphop sensation and style icon, shares his take on the worlds of fashion and music and tells us a little bit about the nature of collaborative projects such as his latest venture into eyewear with Ill.i Optics.

Graz Mulcahy, creative director of Will.i.am’s new optical line, cleverly called ill.i, is leading the brand to new territories of innovation in materials and techniques, but he shares a deep-seated love for the past and an encyclopedic knowledge of style with the brand’s figurehead and style icon Will.i.am. The pair met some years ago while Graz was in Australia working as the lead designer for renowned label Ksubi. Willi.i.am fell in love with their eyewear collection and bought the entire series for his collection. So when, in 2014, he decided to turn his lifelong passion for eyewear into a business by creating his own line of signature eyewear Graz was the obvious choice to lead the creative product design and development.

will.i.am_03ill.i OPTICS by will.i.am WA010V
Hat by MAISON MICHELE, Tan Shirt, Jacket, Pants, Shoes by ill.i, Smartwatch by PULS

Ill.i is an unconventional and edgy entry into the eyewear market that blends Willi.i.am’s love for music and the coolest retro shades with an authentic core of hip-hop. Graz, too, shares this passion for the best of the past remolded and reshaped by cutting edge materials and technology into the best of the future, or as he puts it “eyewear for all time”.

The brand combines high-quality classic materials and techniques such as cellulose acetate, steel, and titanium, refined by Graz’s more than 13 years of experience in eyewear design, but also isn’t afraid to experiment, always pushing the boundaries of what is possible by employing the latest technologies such as 3D printing. Ill.i is also unusual in its openness and willingness to gain inspiration from the work of other artists, having recently produced a collaboration with hip hop legend Slim Rick, and many more in the pipeline. The spirit of experimentation and collaboration is evident throughout the collections, and even as I jokingly asked Graz if he would ever consider rapping or appearing in music videos, he quite seriously replied that he had just completed a course in filmmaking and was in fact responsible for the music in some of Ill.i’s promotional videos.

will.i.am_01ill.i OPTICS by will.i.am WA524S SLICK RICK 03
Long sleeves turtleneck by ill.i

Ill.i is also just a starting point for Willi.i.am’s ever-expanding empire of fashion, music, art, and technology. We asked Will.i.am to explain to us a bit more about his ambitious approach to life and his shared love for music, fashion, and all things futuristic.

will.i.am_06ill.i OPTICS by will.i.am WA524S SLICK RICK 02
Hat by MAISON MICHELE, Tan Shirt, Jacket, Pants, Shoes by ill.i, Smartwatch by PULS

Will.i.iam Q & A

1. How would you describe your style?
Geek.street.couture

2. Where does inspiration come from?
I’ve had a passion for experimental eyewear since the beginning of my career; I’ve been collecting for over 20 years. I love the eyewear that 80s hip-hop groups and icons had, like how they would wear sunglass frames as glasses. We also looked at 80s graffiti characters and their oversize styles – but we made something contemporary, something modern.

3. In both music and fashion you seem to have a passion for the past, what does it tell you?
My passion is futurism with a retro approach. In terms of eyewear, I love looking at vintage shapes that inspire me, playing with them, twisting and reinterpreting them. We take the time to make each style a standout piece, looking at every detail and always asking, “How is this unique?”

will.i.am_04ill.i OPTICS by will.i.am WA010V
Hat by MAISON MICHELE, Polka dot shirt, Strapped bomber Jacket, Pants and Shoes by ill.i

4. Now you’ve launched your own eyewear brand, ill.i optics, what three words describe it?
Super
Mega
Dope

5. What can you say about fashion and music? How are they connected?
Fashion and music are like brother and sister. They are both forms of expression. One is a sonic expression and the other a visual expression through what you choose to wear.

6. You always seem to have a different pair of glasses on, in real life and in your videos, how do you choose?
I normally choose my glasses based on the hat or jacket I’m wearing. There are so many different and diverse options within each ill.i collection.

will.i.am_02ill.i OPTICS by will.i.am WA517S
Hat by MAISON MICHELE, Strapped bomber Jacke von ill.i, Smartwatch by PULS, Ring – personal ring

7. Any favorites?
It would be impossible to isolate any. I love the entire ill.i collection.

8. Obviously, you are a big fan of eyewear, how many pairs do you own? // Can we see them all !?
I have been obsessed with glasses since I was 13. I used to dream about frames like the ones that Dwayne Wayans wore on ‘In Living Color’ and I have since been collecting experimental eyewear for 20 years.

will.i.am_05ill.i OPTICS by will.i.am WA008V02
Long sleeves turtleneck by ill.i

TEXT: MIO HAYASHI
PHOTOGRAPHER: BERT SPANGEMACHER

Barbara McReynolds and Gai Gherardi, co-founders / co-designers of l.a.Eyeworks

Formerly working as opticians, Barbara McReynolds and Gai Gherardi founded l.a.Eyeworks on Melrose Avenue in 1979, with an objective to improve the expectations that were present about eyewear at that time, which were bland, confining and limited. “We wanted to take a fresh look at everything, from how glasses were designed to the vast landscape of color, to how frames could be presented in a retail setting.”

L.A._eyeworks01

Their main belief about eyewear is that beautifully designed frames transcend all the trends and can look modern in almost any context in any season. For this reason, their design process is guided by their intuition, finding evidence from the environment and how people are evolving around them. “We make new collections to create the possibility of more and more meaningful intersections.”

L.A._eyeworks

For this season, they are working with several different core materials – acetates, aluminum, titanium on their own, as well as paired in different ways. Acetate designs feature complex layerings of transparent and opaque colors that reveal themselves through multi-plane cutaways. A custom sky blue and a soft sunny yellow were also developed, which are used as a finish for metals that will serve as a foundation in some of the designs.

For finding a great pair, they believe that freeing oneself from conventions is the first step, and this is where they see an importance of their work: giving people permission to ignore the rules and tune into their own expressive frequency.

l.a.Eyeworks
7386 Beverly Blvd.
Los Angeles, CA 90036, USA
Phone +1 323 931 7795
www.laeyeworks.com

+

l.a.Eyeworks
7407 Melrose Ave.
Los Angeles, CA 90046, USA
Phone +1 323 653 8255

L.A.eyeworks_00L.A.eyeworks_03

PHOTOGRAPHY:  BERT SPANGEMACHER
TEXT:  CHRISTINE LUZANO
SET DESIGN:  STEPHANIE WÜSTEMANN

It’s good once in a while to indulge the material girl or boy in each of us, and what better way than with eyeglasses? Different materials have different unique strengths and features, such as durability, lightness, not to mention material beauty, so it’s important to choose a manufacturer or designer well-versed in the craft. From cool titanium, to dazzling diamonds, to understated wood and acetate, 4SEE dedicates this issue to material components and the brands that beautifully give them homage.

BLACKFIN

Titanium frames are pretty amazing: not only are they non-toxic, hypo-allergenic, and corrosion resistant, their high mechanical strength is a thing of wonder – considering how unbelievably light they feel on your face. But premium benefits come at a premium cost: titanium is more expensive than other materials and demands an almost intimate knowledge of it in order for a designer to accentuate its unique features. Enter BLACKFIN.

BLACKFIN is a company obsessed with quality and perfection, so it’s no wonder that they’ve adopted titanium as their “spirit animal.” We’re hard-pressed to think of any other eyewear company as dedicated to titanium and regards the element with such reverence. Using raw titanium exclusively from Japanese manufacturers who can guarantee its purity, BLACKFIN takes an artisan approach to create glasses that marry high-tech engineering with exquisite style. Frame fronts are sculpted from a solid block of pure titanium, while the temples are made from beta titanium to ensure flexibility. Each and every BLACKFIN frame is 100% conceived and lovingly produced in Italy.

blackfin_01BLACKFIN BF725 BAYVIEW C534
BLACKFIN BF732 EAGLE C551
BLACKFIN BF728 KEY WEST C532

Interview with Claire Goldsmith, the founder of Oliver Goldsmith
Text MIO HAYASHI

Claire_Goldsmith

Oliver Goldsmith was started in London in 1927 and has been making eyewear, which was synonimous with 20th century icons. During this time, eyewear became a fashion accessory thanks to the contributions made by brands like OG. A family business and tradition, today it is run by its 4th generation member, Claire Goldsmith. She is also the founder of the current store in London: ¨It was in my genes to get into this business. I decided to open a store when more and more people were knocking on my office door asking to buy sunglasses. It seemed the most logical thing to do – to have a place to house all our collections and showcase our vintage frames. We like to think of it as more than just a store, more like an eyewear emporium!¨

GoldsmithLondon_01

Asked to describe the ¨It¨ styles of the moment, she suggests refined, understated classic styles that are lightweight. Additionally, the other extreme of excessively heavy styles with bold colours or dynamic lens choices are trending at the moment. Although Claire´s belief about eyewear is that it is so personal and it doesn´t follow trends the same way fashion does, she points out that good bold colors will have their time throughout this year.

GoldsmithLondon_06

When choosing a certain style of glasses according to face shapes, Claire goes by the basic rule: ¨Round/oval faces usually suit a more angled, square frame to give focus, whereas a more angular or narrow face can be softened by the lines of a curved frame.¨ However, she adds, ¨like any rules, they are made to be broken, my grandfather always said ´find a frame that you love and never mind what anyone else thinks!´ ¨

ClaireGoldsmith_07

GoldsmithLondon_02

GoldsmithLondon_04

Oliver Goldsmith
15 All Saints Road
London, W11 1HA, UK
Tel +44 207 460 0844
www.olivergoldsmith.com

Photography BERT SPANGEMACHER
Text CHRISTINE LUZANO
Set Design PAUL BONCOEUR

When it comes to fashion and style, color is king. Color adds whimsy or sophistication and sets the stage through its ability to influence attitude and perception. 4SEE selected the following brands for their artistry and ability to transform eyewear into statement pieces without compromise to quality and function. From their use of bold patterns, texture, or bright colors, to their ability to breathe character by reinventing classic styles with classic neutrals, these are the brands to watch.

ETNIA BARCELONA
Pioneers, indeed, in the study of color and the psyche, ETNIA BARCELONA’s Klein Blue (KB) collection had 4SEE dreaming of Barcelona’s impossibly blue ocean and skies. The retro-cool collection features gentle shapes that are big on personality and Barberini lenses – arguably the most technologically advanced lenses in the world. Not only do they provide 70% better vision than plastic lenses, they last longer and are healthier for your eyes. ETNIA BARCELONA is a brand that melds art, color and light, and this is especially evident with their Wild Love in Africa (WLA) handcrafted, limited edition sunglass collection. We loved the classic silhouettes and textures inspired by the African Savanna, like wood, zebra hair, giraffe skin, and horn. We especially loved their select frames accented with blue metal and blue lenses, which had us longing for the Serengeti skies. WLA frames are made from 100% eco-friendly acetate and Barberini mineral glass lenses that are also HD vision manufactured so that the colors you see through your lenses are as intense as the one on your frames. Royalties from KB will be donated to The Orphanaid NGO, while 2% from WLA global sales will go towards funding the Africa Rising Foundation.

etniabarcelona_01.2

A. ETNIA BARCELONA WLA AFRICA 06 Blue Yellow
B. ETNIA BARCELONA ATLANTA Golden & Blue
C. ETNIA BARCELONA KLEIN Atlanta Plastic Frame Blue

CREATING LEGACY
True craftsmanship is inseparable when talking about one of kind glasses. Eyewear is not only about design, but also about quality and functionality. Dedicating to the essence of craft, 4SEE handpicked eyewear brands with real narrative, passion, quality and detail to showcase in our premier issue. 4SEE pays tribute to the dedicated team of artisans by capturing them through our lens. Discover an elegant array of legendary brands as well as contemporary brands, which are worth of being checked out.

MAX PITTION

maxpittion01
L. MAX PITTION POLITICIAN Black € 350
R. MAX PITTION GITANE Ruby € 350

Interview mit Martin Carstensen von Funk Optik, Berlin
Fotos & Interview CHARLOTTE KRAUß

Das von Dieter Funk 1992 gegründete Label Funk entwirft nicht nur die eigenen Designs sondern produziert sie seit 2008 auch selbst in-house. Martin, der so ziemlich seit Entstehung des Labels dabei war, hat mir die neuesten Funkschätze gezeigt und mir einiges zu den aktuellen Designs verraten.

Bei Martin im Schrank findet man natürlich neben einigen Vingtagestücken ausschließlich Funkbrillen. Das Label bietet mit seinen aktuellen Kollektionen auch reichlich Abwechslung. Bei der Formfindung hat Funk verschiedene Dekaden der Optik kombiniert, „dass heißt man hat halt relativ klassische Formen, aber relativ clean runter reduziert und puristisch gebaut. Das bekommt etwas zeitloses unikes.“ erklärt mir Martin. Dieser Trend zieht sich gerade durch die gesamte Brillenwelt. Auch bei den verarbeiteten Materialien. „Da gibt es zum einen das bewährte Acetat und dann wird jetzt viel mit Stahl und Titan gemacht. Die Brille „Hathor“ aus der Linie Funkroyal beispielsweise ist aus keinem typischen Brillenmaterial gebaut. Klar Metallbrillen gibt es schon immer, aber dieser spezielle Stahl kommt ursprünglich aus der Industrie. Wir haben daraus eine funktionelle, sicherlich 80iger Jahre getouchte Brille gemacht.

Funk Optik_02

Als Erstbrille würde er zunächst einen straighten Allrounder empfehlen. „Dann kann man sich danach seinen Stock von verschiedenen Styles drumherum aufbauen.“ Auch bei der Abendgaderobe setzt er auf Abwechslung. „Klar zu einem schwarzen Anzug eine klassische schwarze Brille, da kannst Du nix falsch machen. Allerdings würde eine rundes Metallgestell dazu auch harmonieren. Die Sonnenbrille für den Club und zum Petikotkleid ein geiles Cateyemodell.“
Die liebe zur Brille steckt bei Funk in jedem Detail, denn „es gibt kein anderes Acessoir womit man soviel bewegen kann. Sie sitzt halt nun mal am prominentesten Platz mitten auf der Nase.“

FunkOptikBerlin

Funk Optik
Oranienburger Str. 87
10178 Berlin
Tel +49 30 2759 0511
www.funk-eyewear.com

Interview mit Zoe Nightingale von The Monocle Order, Brooklyn, New York
Fotos LANCE CHESHIRE
Interview MIO HAYASHI

Coming from a mix of creative backgrounds of fashion, art and music, Zoe Nightingale, the founder of The Monocle Order in New York, tells us she was always fascinated by eyewear, for being the sole accessory used across all artistic platforms, drastically changing the facial structure and look in an instant.

MONOCLEORDER_04

Based on the belief that logo doesn´t equal quality, the focus of the selection is one-of-a-kind, specialty pieces. Courting and finding educated consumers, who buy and support small local brands has been the uphill challenge for the Williamsburg-based store, which celebrates its 3-year old anniversary this September.

Zoe´s favorite pairs include the model Vidal Erkohen by RVS Eyewear, a chic and elegant style that gives off a ¨cat eyes¨ effect. Her tips for the second pair of glasses would be going for a bolder, brighter and sexier look than what one is used to, experimenting with colors, textures and shapes: ¨You will be amazed at what will happen when you take a chance to brighten up everyone else´s visual landscape with something avant garde and colorful.¨

ZOE_MONOCLEORDER_02

The hightlight for this fall season includes nylon 3D printer material, RVS titanium series and any models made by Mykita. Having noted such, her most sincere advice is never to follow trends, but rather go for something that makes our hearts skip. The objective of Monocle Order is to help consumers find just that – the confidence within ourselves to wear what we want, with no apolgies.

The Monocle Order
5 Devoe Street
Brooklyn, NY 11211, USA
Tel +1 866 238 7963
www.monocleorder.com

MONOCLEORDER_01
MONOCLEORDER_03

Photo GUENTHER SCHWERING
Text CHARLOTTE KRAUß

Interview with Hauke Peters, Mitgründer von Six Million Glasses

His father already had several optician stores in Bremen. The siblings Peters: Hauke, Marc and Bettina though different paths in life earlier, they found their way back to optics. Hauke and Marc relocated to Hamburg in the meantime, where they run their shop Six Million Glasses at Schanze next to Neonbox in Ottensen in Hamburg. Six Million Glasses gives a nod to the style of the 60s. There is no way they could not offer the famous Moscot glasses.

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Hauke, the older one of the two brothers, likes to build his one version of a model when he goes to trade fairs. “Five years ago I began to make those really old and big Mosley Tribes metal frames as corrective glasses even though I could hardly get lenses for them.“ His clients value both his firm sense of style and his eagerness to experiment.
“Clients who I have known for a long time just walk into the store and say ‘Come on, just put a pair on my face’ and then walk away again. That’s pretty cool actually.“ This season Hauke values the shapes of the Garrett Leight collection and the surface feel of labels like Dita, Barton Perreira and Reiz.

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A tip from Hauke: a wide shape makes the face appear narrower and the eyes should be in the centre of the frame. But after all the most important thing is that “you find a find glasses that fit your personal style and when you get it right, it doesn’t matter whether they are rimless spectacles or a really bold acetate frame. Because in the end the face still tells the story and not the frame.“

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Six Million Glasses
Schulterblatt 3
20357 Hamburg
Tel +49 40 4130 4740
www.sixmillionglasses.de

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Photography BERT SPANGEMACHER
Text DAGMAR SCHRAMM

More and more people prefer customized and hand-made goods over mass-marketed products. 4SEE visited a manufacturer with commitment to handcraft, high quality, individuality and modern design. Danish label Ørgreen not only produces first-class titanium frames, but also creates the colours for every collection themselves.

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Sahra Lysell’s job is a unique one. The 37 year old is Colour Advisor for the Danish eyewear label Ørgreen. She has developed colours for the brand’s exclusive designs for 14 years now. “At Ørgreen colour is just as important as shape“, she explains. “This way a third dimension develops – colour transports emotion and mood onto a frame.“ Which is why Ørgreen offers 40 to 50 new colours each season, considerably more than any other manufacturer. Sahra Lysell gets most of her inspiration from when she is out and about. “I observe people very closely“, she says. “My gut tells me which colours are the right ones for the right time. It is my goal to create colours that people didn’t know they wanted before.“

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The manufacturing process is elaborate at Ørgreen: Sahra Lysell sends her samples for manufacturing to Japan, where the frames are made and coloured by hand. A sample can be a page from an old schoolbook or a piece of paper – anything to ease the difficulty of translating colour for Ørgreen’s titanium frames. “A colour can contain up to a hundred different substances“, Sahra Lysell explains. “And each and every one has to be skin tolerant, posing a great challenge.“ The teams of both countries work closely together, despite the long distance. Patterns are exchanged back and forth between Japan and Copenhagen until everyone is pleased with the newly created colour. Colours must flatter the face, so Ørgreen tests them on people with different skin tones and nationalities. „You wear your glasses every single day, you express yourself with them. This shows why the right shade is so very important“, the expert explains. “We want our glasses to be absolute favourites. This is why we put so much work, heart and soul into our creations.“ Sahra Lysells describes Ørgreen as an emotional company: “We have supreme quality standards. Time and handcraft are vital parts for the production of our glasses.“ No wonder that Ørgreen prefers to take design and colour into their own hands instead of letting trend scouts take charge.

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For summer Ørgreen recommends colours for gentlemen and gentlewomen: Navy, Mahogany, Ivory and Cognac with a matte, industrial finish. These are combined with shades from the 80s and 90s, for example green and violet. The contrasting colours create complexity. „Only through the combination of two worlds something new, something creative can grow“, says Sahra Lysell. Ørgreen’s success is excellent proof for the colour expert’s work. The brand is sold in more than 40 countries and adored by many fans around the globe.

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Photography BERT SPANGEMACHER
Text CHASE FEDORCHUK

To fill you in on what we’re digging here at 4SEE right now, the team has dug deep in the crates to bring you the freshest and most colorful sunnies and optics to get you through spring and summer.

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Joan Gassó, Kaleos Óptica
Interview MIO HAYASHI

Derived from Greek word meaning ¨kaleidoscope¨, which consists of ¨cali-¨ for ¨beautiful¨ and ¨-eidos¨ for ¨shape¨ or ¨image¨, it suggests the concept of Kaleos, be it in a form of a shop, a face, or what one sees through the lenses. Founded in Barcelona 2 years ago, its main objective has been creating a model that combines fashion and optical health, in order to respond to the needs of those that have a particular sensibility to glasses. With this objective in mind, the brand´s original collection was launched a year later. It boasts a wide range of styles to suit every personality, offered at a rather affordable price point.

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As for choosing a pair of glasses, the founder Joan Gassó suggests that there are a couple of important factors: ¨One is the client´s style, which will help us to see what suits him/her best, even if it´s something not expected. That´s one of the things that the client would appreciate a lot, being able to try something that gives a twist to their own style that makes it look even more amazing. Another important factor is knowing what shapes and colours will look better, according to the face/bone structure/skin and hair colour. ¨

Although Kaleos original collection aims to include pieces that will not go out of style with the changing trends, Joan points out that oversized glasses with light colour lenses are a notable trend this season, which directly reflects the revival of 70´s in fashion. Additionally, the use of metal mixed with acetates has also been proving very popular as far as the eyewear trend is concerned.

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Kaleos Óptica
Carrer de Muntaner, 242
08021 Barcelona, Spain
Tel + 34 93 2007 478
www.kaleos.es

Photo: courtesy of Kaleos

Photography BERT SPANGEMACHER
Text JULIA WELLER
Set Styling REYNALDO DAVIS CARTER @ perfectprops

Barton Perreira’s power duo, comprised of Patty Perreira and Bill Barton, fulfilled their dream by founding their own luxury eyewear label, the eponymous BARTON PERREIRA in 2007. Chief designer Patty Perreira honed her aesthetic skills through her work at fashion titans Prada, Jil Sanders and Oliver Peoples. While CEO, Bill Barton, was formerly president of Oliver Peoples and has been a key player in the eyewear industry for the past twenty years. By marrying Patty Perreira’s outstanding taste in design with Bill Barton’s excellent technical know-how and business savvy, the brand quickly found its own spot in the glamorous world.

Their collections focus on timeless elegance and formal continuity. They utilize top-notch materials such as titanium and the finest Japanese special acetate in their products. They are also known as pioneers of new technologies in the eyewear industry, always innovating to produce eyewear that fits perfectly on the face. All glasses are meticulously crafted in Japan.

The 4SEE editorial featuring BARTON PERREIRA takes on the classic pulp noir “American Gigolo” as its theme. Their reinvented classical eyewear shapes such as the ones shown here, ‘Gamine’ and ‘Edie’, with their timeless aesthetic twist and perfect craftsmanship were a perfect fit. No wonder their glasses are often spotted on Hollywood favorites like Brad Pitt and Heidi Klum.

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L. BARTON PERREIRA GAMINE Gol/Jet/Gor € 380
R. BARTON PERREIRA EDIE Gol/Goc/Gor € 425

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Photography & Interview CHARLOTTE KRAUß

Originally from the Northern German state of Schwerin, Claas, of Berlin Specs is a fourth generation optician. I visited him at his shop in the heart of Berlin’s buzzing downtown Mitte district and asked him about the current eyewear trends over a delicious cup of coffee.

Despite his love for his profession, Claas is not an eyewear collector. His motto for eyewear is that “they must be absolutely beautiful on the face, not only in a display case.” His favorite glasses are “Hank” by Mykita, which were produced in cooperation with his store as a limited edition. “This is my all-rounder” Claas says. He is expecting to see more of such thinner frames made out of metal in upcoming seasons. “I love women with fine golden glasses. It is in stark contrast to the previous trend of thick frames. Nevertheless, I am still fond of large, thick frame glasses. Acetate glasses in champagne color with a touch of gold is totally chic!”

In offering advice to his customers, he does not think much of entrenched rules. He prefers to listen to his gut feeling. Spectacles need to match the style of a person but he would encourage trying something new with a bit of twist. He advises not to follow trends, instead he recommends a diversity of styles and a look that suits his or her individual style.

For a second pair of glasses, Claas strongly recommends to seek out a totally opposite style from the first pair. “It’s the same as picking your clothes. The more varieties you have, the more mix and match you can do.” He also thinks that evening eyewear is a must-have. “The glasses are there not to hide your face, but to show it!”

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Specs Berlin
Alte Schönhauser Str. 39
10119 Berlin
Tel +49 30 4005 4567
www.specs-berlin.de

Photography JAKE HODGKINSON
Interview KEITH S. WASHINGTON
Eyewear RAY-BAN

Jerry Bouthier is one of the founders of the London-based label Continental Records, and along with his partner, Andrea Gorgerino,produce remixes for artists ranging from Two Door Cinema Club to Jupiter and Ladyhawke. Jerry has also been the producer of several mix compilations for the music-savvy fashion brand Kitsuné, having producing his first Kitsuné compilation “BoomBox” from the underground legendary London club Boombox in 2007. His ties with the fashion industry are influential and he is sought-after as a music producer of runway tracks for fashion shows each season. 4SEE magazine has managed to temporarily ground the globe-trotting Producer and DJ during one of his most recent stints from South Africa to have an in depth Q&A on Jerry’s take on fashion and music and his repertoire as music director for various brands from Peter Jensen to Vivienne Westwood’.

Where was your first DJ gig?
God knows. I kinda fell into it without realizing. I was lucky to turn my passion into some kind of job. There was always a lot of records around at home as my dad’s a big music fan. I soon caught the bug and from 10 onwards I started collecting the vinyl I loved. Back then if you didn’t own the physical record, you couldn’t listen to it, let alone play it to other people. A solid, extensive record collection was a big thing and I started to play at friends and parties. When I go out I love to meet people and mingle but at the same time I’ve always felt that (if no one else’s was to take charge) it was my duty to provide interesting feel-good music – even if there’s no dancing involved. I’ve always been obsessed by finding the right track for the right moment. I guess it all snowballed from that.

Window or aisle seat?
Definitely aisle. When you travel a lot for work you must maximise your time in planes and sleep as much as you can. Essentially to be on point on arrival and offer the best performance.

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How did Continental Records start?
It goes back years when my late brother Tom and I started to produce tracks in Paris in the early days of house and Balearic. I kept the name to honor his memory when I revived the imprint 2 or 3 years ago. Continental was (re)created in order to have an outlet to release the JBAG stuff, my music project with Andrea Gorgerino, but I soon then realized it’d be daft not to use it to help other artists/friends put out their recordings too. Without much strategy the label’s soon developed into a global roster of talented musicians. There’s Reflex from the south of France, Shindu from Belgium, Mannequine from Switzerland, Boys Get Hurt from Japan, Mjolnir and Cyclist from Indonesia and Canada respectively. It’s fascinating that we share such a strong musical bond despite our enormous regional differences. There may not be a Continental sound as such but there’s definitely a common spirit: honesty and musicality.

Your parents think you are…?
…A bit of a weirdo ha-ha! No, seriously I think, although both are quite artistic, It took them a long time to grasp the whole DJ thing. It was so new and different to start with and so far away from French culture. They let me do my thing and I moved to London at 18, which in itself was pretty cool. I’m the eldest of a big family split in two, I suppose I was just another kitty in the litter. But to be honest I wished they’d supported me a bit more spiritually and helped me organize myself and become a bit more business-minded (like some of my friends’ parents did successfully) ‘cuz for a long time I was just a zero, happy to be where the action was but with not a lot of faith in my abilities. So there’s hope for anyone after all [laughs]. What’s more, I’ve developed so many British habits over the years that they often relate to me as “the English one with funny habits!” Just another way for the French to put down their neighbors. You know what it’s like if you don’t do it the French way, then you must be doing it wrong!

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How and when did you start working with KITSUNÉ?
“My collaboration started when I put together the BoomBox mix cd for Kitsuné a few years ago. That East London night was pretty wild and unique, definitely one of my life’s peaks… I had been hassling Gildas and his assistants for promos and exclusives since Kitsuné’s first comp ‘Love’, but it didn’t take us long to become music mates, respecting each other’s convictions and tastes. I guess we knew of each other from the early days of house in Paris when there wasn’t much more than a handful of party-faithfuls about, but we never hooked up then as I quickly defected to London.

How did the Highbury Eden hat project for KITSUNÉ project come about?
I’ve always been into all kinds of hats: caps, visors, bobs, army gear, you name it. But when I became music director for Vivienne Westwood (I did about 50 shows for her various labels) it was a bit of a dream come true as I’m a big fan of the punk/new romantic-pirate scenes she was heavily involved in. She gave me one of her legendary Buffalo hats – introduced to the pop world in 1983 in the Malcolm Maclaren video ‘Buffalo Gals’ – and I started wearing it. At first I wasn’t convinced that hat was gonna work for me, but it felt funny, kinda punky in its own way and I soon fully embraced it, which helped me create a kinda rockin’ Mickey Mouse character, a kind of stage character I could drop once offstage so I could take it all with a pinch of salt. I ended up with a dozen of them in all colors and pretty much wore one at every single of my gigs for 5 or 6 years. It became a bit of a signature although I was by no means the first or the only one wearing them. A few London friends have some and wear them, they’re quite popular with the ever-so fashion-conscious Japanese too. That was until Pharrell Williams started to wear a Buffalo hat in the video of ‘Happy’ (the most downloaded track ever in the UK) and that look was killed almost overnight for me. From then on I couldn’t go anywhere without people giving me grief. So I took the bull by the horn and asked old BoomBox buddies Bernstock & Spiers to work on an original design with me which I could claim paternity for. When Kitsuné boss Gildas heard about the collab, he suggested they produce a very limited quantity to be sold in the Kitsuné stores. Perfect timing with my new mix CD ‘Kitsuné Trip Mode’ that just came out in September. The hat I designed is called the Highbury Eden since I’ve just moved to Highbury and it uses the shape made famous by ’30s British Prime Minister Anthony Eden. We’ve reworked it to create that over–sized feel which is so much fun with the Buffalo hats.

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Favorite glasses?
I’m not a huge fan of sunglasses to tell you the truth. Too many idiots walking around as if they were film stars. Certainly would never wear a pair in a club or when there’s no sunshine. Now, although coming from a Mediterranean family, I’ve become a proper Brit and can’t stand staying in the sun more than 5 minutes in which case sunglasses become more essential. I find with sunglasses, less is more. I either wear Ray Ban’s Aviator or Wayfarer. The more discreet the better, a bit like cars.

Favorite 3 albums in high school?
“Low Life” by New Order
“Cupid & Psyche 85” by Scritti Politti
“From Memphis to Langley Park” by Prefab Sprout

Favorite Airport?
Singapore’s is one of the biggest, most advanced and practical airports I’ve ever been through! But I have a soft spot for Narita in Tokyo. Narita Airport has tiny rooms you can rent cheaply for as short as 30 minutes so you can wash and sleep for a bit. And it’s the most used gateway to Tokyo, possibly the most exciting city in the world. I could go live in Tokyo tomorrow if I had the chance. Such a fabulous culture, mixing tradition and futurism with style and enormous subtlety, precision and kindness: mind-blowing.

Any interest to produce more fashion show runway tracks with other designers?
I’ve been so busy running my label Continental as well as writing and producing with JBAG that I’ve done less fashion shows lately compared to a few years ago when I was working for Vivienne Westwood and could produce up to 8 soundtracks during London Fashion Week. I’ve got long–running relationships with Peter Jensen (10 years!), Korea’s Songzio, London’s latest enfants terribles Sibling, and over the years I’ve developed fruitful collaborations with the likes of Matthew Williamson, Roksanda Ilincic, Kokon To Zai, Michael van der Ham, Jonathan Saunders, Osman, B Store, Garza Lobos in Buenos Aires and many others, it comes and go all the time. What I’m really happy with is that all these experiences have led me to heavily reconsider my comfort zone and stretch my boundaries as a dj, it certainly enabled me to explore combinations and concepts further, take more risks, and think outside the box, which is often the goal in fashion. I’d love to work with the big brands such as Prada, Channel etc, take them into the 21st century.

Photography BERT SPANGEMACHER
Text JULIA WELLER

Eyewear is not only about design, but also about quality and functionality. True craftsmanship is inseparable from these qualities when talking about a pair of glasses. Dedicated to the essence of craft, 4SEE has handpicked eyewear brands with real narrative, passion, quality and attention to detail to showcase in our premier issue. 4SEE pays tribute to the dedicated team of artisans by capturing them through our own lens. Discover an elegant array of legendary and contemporary brands, which deserve a closer look.

hally&son_Cover

HALLY & SON

HALLY & SON’s collection caught our attention at 4SEE because of their intelligent usage of natural materials like water buffalo horn and significant design details such as rounded tips at the temple end and asymmetrical rivets (2 on the left and 3 on the right). It requires the most skilled artisans to transform horn into eyewear by shaping and polishing the complex material, and HALLY & SON, an eyewear manufacturer since 1959, has the expertise to pull it all together marvelously. Quality water buffalo horn provides exceptional comfort and stability. As these glasses age, you will begin to appreciate the character of the horn and how the frames further adjust to the shape of your face and subtle textures over time as subtle patterns gracefully appear. Also, there is no better material than water buffalo horn for allergic or sensitive skin. In addition to real horn glasses, HALLY & SON provides the same styles in the form of Replica Horn utilizing ultra thin acetate that gives exceptional finesse for budget-conscious people, making it possible to wear them even more comfortably. As a result, HALLY & SON is able to achieve the look and feel of their real horn counterpart. The iconic designs are greatly influenced by the fifties and sixties; most of their glasses come in timeless shapes and elegant styles.

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L. HALLY & SON TYPE 12 1962 (HS505 Replica Horn) € 120
R. HALLY & SON TYPE 8 1961 (HS503 Replica Horn) €120

Photography JOHNNY PENA
Interview MIO HAYASHI

Garrett comes from a family chain of talent in eyewear business– his parents founded Oliver Peoples, and he grew up with an inherent passion for eyewear. ¨It´s a product that goes directly on an individual´s face, which is something everyone sees. So it´s an emotional experience for many shoppers and it´s nice to work with a product that is so special.¨

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His personal collection consists of hundreds of glasses literally, which he uses for different occasions. But there are also some classics, such as Kinney by Garrett Leight that he always goes back to. When going for the second pair, he recommends trying a different look: ¨Just because you like the current pair, it doesn´t mean that it´s the only style that works on you. Try to get a tortoise frame if you own a black frame. Or try to get a smaller frame if you own a big one, or a thin frame if you own a thick one. Possibly trying a different material is good, too. Plastic vs. Metals and so on.¨

For this fall season, Garrett recommends mixed metals and acetates. He also suggests thin frames and interesting lenses, such as mirrored, matted and even sparkled lenses. As for the shape, he opts for well-fitted medium-sized frames.

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Despite his love for glasses, he admits that there are occasions when they may not be the choice – such as wearing sunglasses at night, and when pairing optical glasses with formal events, stick to styles that are not too distracting, so you can let the dress do the talking.

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Garrett Leight California Optical
165 S La Brea Ave.
Los Angeles, CA 90036, USA
Tel +1 323 931 4018
www.garrettleight.com

The ultimate shopping guide — our editorial team curated this year’s exquisite optical glasses and sunglasses in terms of color, design details, and materials. From distinct styles to classical shapes with a contemporary twist, here are our favorite frames of this year.

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WOLFGANG PROKSCH WP-1310 HBL 400 €
Wolfgang Proksch describes their design culture as ”classic modernism,” and they are definitely at the forefront of revamping classical design with their unique avant-garde twist. This classically shaped pair comes with unique “clip-on” shades.

 

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CoSTUME NATIONAL BY JPLUS JPCN 3018_C7 220 €
In collaboration with JPLUS, CoSTUME NATIONAL presents their new eyewear collection defined by its refined top bar.

 

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TRIWA Sky Fade Alex and Desert Fade Alex 129 €
The classic shape is given a contemporary twist with a thick, straight-line bridge and delicate gradation.

 

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DOLCE & GABBANA ALMOND FLOWERS DG 3203 Red Peach Flowers (2845) 225 €
Add color to your outfit with these flower-printed, soft cat-eye glasses from Dolce & Gabbana. An elegant combination with any look, they are sure to make an ultramodern statement with a chic black dress.

 

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KILSGAARD MODEL 55.1 Aluminum-Titanium Acetate Gold 393 €
Designed in Denmark and produced in Italy, the aluminum frames exude simplicity and minimal style and come in a signature range of anodized colors. Frame shape and color options are endless, so everyone can find their perfect pair with Kilsgaard.

 

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PORSCHE DESIGN P’8479 310 €
Yoko Ono’s iconic sunglasses return with visible screws around a refined titanium frame. They make a perfect accessory to accompany you from the ski slopes to the beach.

 

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SILHOUETTE FUTURA White-Gold Stream 375 €
This exclusive avant-garde eyewear, first produced in 1974, was once worn by George Clinton and Elton John. To celebrate its 50th anniversary, Silhouette came out with a limited edition of FUTURA, fine tuning the design, but keeping its flawless, space-age look.

 

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HAIK w/ KAIBOSH TWO-WAY Signal/Coral-Cola, Mother Of Pearl/Honey Turtle, Blond Turtle/Black, Burgundy/Tortoise, Blue/White Leopard 185 €
These unique sunglasses are one of our cool finds this season. One side has the classic wayfarer shape while the other has a round inner shape. They can be worn either way by flipping the temples around.

Photography JÖRGEN AXELVALL @ W inc.
Fashion Director KEITH S. WASHINGTON
Hair Stylist KAZUYA MATSUMOTO @ W inc.
Makeup YOSHI-T @ Mondo-Artisit.com

4SEE presents collaboration with MYKITA and the 2014 Fall/Winter collection of TRUSSARDI, featuring a man in minimalism tailored style wonders around desolate streets of an abandoned city, Tokyo.

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Sunglasses by MYKITA DECADES SUN PHILOMONE € 359, shirt and pants all by TRUSSARDI

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Sunglasses by MYKITA x MAISON MARTIN MARGIELA MMDUAL € 375, blazer, t-shirt, and leather by TRUSSARDI

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Sunglasses by MYKITA x MAISON MARTIN MARGIELA MMDUAL € 375, leather fur coat, shirt and grey tweed pants by TRUSSARDI

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Sunglasses by MYKITA DECADES SUN TRUMAN € 339, black sweater with leather piping, leather pants, and shoes by TRUSSARDI

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Sunglasses by MYKITA x MAISON MARTIN MARGIELA MMDUAL € 375, polo shirt and leather pants by TRUSSARDI

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Sunglasses by MYKITA x DAMIR DOMA DD1.2 € 395, long sleeve Henley shirt by TRUSSARDI

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Sunglasses by MYKITA x DAMIR DOMA DD1.2 € 395, leather jacket and Henley shirt by TRUSSARDI

Photography BERT SPANGEMACHER
Text JULIA WELLER

Eyewear is not only about design, but also about quality and functionality. True craftsmanship is inseparable from these qualities when talking about a pair of glasses. Dedicated to the essence of craft, 4SEE has handpicked eyewear brands with real narrative, passion, quality and attention to detail to showcase in our premier issue. 4SEE pays tribute to the dedicated team of artisans by capturing them through our own lens. Discover an elegant array of legendary and contemporary brands, which deserve a closer look

ØRGREEN
Danish eyewear maker ØRGREEN is distinguished by their stylish Scandinavian simplicity developed in concert with their distinctive designs, noble materials and versatile colors. ØRGREEN was founded by Henrik Orgreen, Gregers Fastrup and Tobias Wandtrup with the aim to create timeless frames for quality-conscious people throughout the world. Their collection, made from titanium and beta-titanium, proves their obsession with quality. The designs are inspired by their unique aesthetic viewpoint and their passion for classic cars, extreme sports and street culture. The look is sleek and uncomplicated – typical Danish flair but with a distinguishable ØRGREEN look incorporating delicate, functional color choices. The company headquarters is located in the heart of Copenhagen and all eyewear models are developed and designed in-house. In order to perfect an effortless look, a painstaking process involving skilled artisans is essential. Four hundred innovative colors of their frames are internally developed and then dyed in the leading color laboratory in Japan. Each pair of glasses is then assembled individually by hand in Japan, a country known for its high standards and undisputed quality, and it takes more than one hundred meticulous steps to create a single pair of glasses. To achieve absolute perfection, the manufacturing process can take up to six months. Now you know why we at 4SEE appreciate the premium standards of ØRGREEN glasses.

Orgreen
L. ØRGREEN DIAMOND COLLECTION JONES Gold € 2750
R. ØRGREEN DIAMOND COLLECTION LANA Palladium €2200

Photography BERT SPANGEMACHER
Hair & Makeup NORBERT CHEMINEL
Model ALICIA @ m4 models
Interview SHUNSUKE OKABE
Titel SALVATORE FERREGAMO SF705S

Maiko Takeda’s taste for the unconventional has led her to pursue sculptural forms of ethereal adornment, combining her skills as a jewelry designer and milliner. Her avant-garde headpiece compliments the future-focused eyewear created by Linda Farrow for Kokon To Zai’s Autumn-Winter 2014 collection.

A Graduate of jewelry design at Central Saint Martins with a Masters in millinery from the Royal College of Art in London, Maiko Takeda has created two major collections so far, including her graduate presentation called “Atmospheric Reentry.” For this collection, she created a series of face masks covered with thorns of sheer iridescent films that seem to defy gravity.

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BARTON PERREIRA Dillinger Heroine Chic Vintage Green €275

The sensational collection created quite a stir, catching the attention of Björk, who asked her to collaborate on costumes for the tour from her latest album “Biophilia.”

“I could not believe it!” Maiko recalls the moment when she was contacted by the artist’s manager. And as for seeing her designs come to life on stage she says,“Björk is such an inspiring person and I’ve always admired her. It was so encouraging for me to see my work being worn by her on stage.”

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KTZ BY LINDA FARROW GALLERY KTZ1C2 €275

The daring designer has since collaborated with fashion label Lamarck at the 2014 Fall Winter Mercedes Benz Fashion Week in Tokyo, and been featured in a number of editorials in magazines such as Vogue, Numero, i-D, Dazed and Confused, Wallpaper and Love Magazine, just to name a few. And then in June of this year, she received the Vogue Talents Award for accessories at the ITS fashion competition in Trieste.

“My interest lies in creating ethereal adornments for the body. It is important for me that it can be worn and also is experiential,” Maiko explains her own creative approach to accessory design. “I feel it is only complete when interacting with the movement of the wearer as well as with elements in her surrounding environment, such as wind and light,” she adds.

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DIOR METALEYESL €305

While Maiko continues to develop her own brand, she also contributes to the renowned Issey Miyake studio. “I very much enjoy working in an environment where the brand is always seeking to invent new, magical excitements through clothes and accessories. I’ve been thinking about a lot of new inspirations these days and it’s really exciting.”

Maiko’s boundary-breaking accessories make a bold statement with a range of fashion-forward glasses from KTZ and Fendi to Dior and Barton Perreira.

The ultimate shopping guide—our editorial team curated this year’s exquisite optical glasses and sunglasses in terms of color, design details, and materials. From distinct styles to classical shapes with a contemporary twist, here are our favorite frames of this year.

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Ansgar_Schmidt

 
Photography: BERT SPANGEMACHER
Interview: ANN FORD
Glasses: MAKELLOS ME 9004

Ansgar Schmidt was born in Borken, Germany in 1971. He acquired a diploma in architecture in Cologne and he has been running a successful design shop, “s1 Architecture “ in Berlin, for the past 15 years together with his partner Henning Ziepke. His firm’s focus is on retail development and their works include the “14 oz.” stores in Berlin. They have won the Trade Association Germany’s “Store of the Year” HDE Award three times. 4SEE asked Ansgar about what makes good eyewear frames and store designs and his view on trends.

Let’s get started with an obvious question. What do you prefer, glasses or contact lenses?

Glasses.

Why?

With glasses you can shape your face. Glasses used to be considered like medicine, but nowadays they are more like a fashion statement to express own personality. Some people prefer wearing contact lenses because they are convenient, but there should be one perfect pair of glasses for each face, assuming they have a good consulting service. In the past few years, eyewear has become more and more important in the fashion world. For example, there is a new eyewear concept store in Berlin that offers only vintage eyewear. When buying furniture, it is important to find out the year it was made, and its origin and designer. Some people like to own an original piece. The same thing applies to glasses.

What do you think makes good eyewear design?

That is a difficult question! There is no such thing as one good eyewear design. There is only a good design that fits best to each individual. But whether glasses are a perfect match depends on what the market offers. That’s why it is important for customers to find a store where she or he can actually find something and try, or just browse.

Do customers still shop in store?

Competition with online stores is constantly growing, but the market protects itself. Glasses must first be tried on your own face. Buying glasses is still something very personal. Again, it is also a matter of what the market offers. If selections are reasonable and have enough appeal to customers, they will come into a store and come back again.

How should a store create an inviting and customer friendly atmosphere?

Clients and their well-being must come at the forefront – corresponding to their respectable environment, or it has to be hip. Optical stores used to look like doctors’ office, so it is relatively easy to find something that makes customers feel good.

But in what setting a client could feel pleasant and comfortable?
There are different types of people. Some feel comfortable in an industrial loft, while others prefer a cozy, warm atmosphere. It depends on the products I present and also on customers I’d like to reach – they could be anyone from young to old people or could be very specific and targeted customers.

Does it make any difference between big and small cities?

Small towns like Bocholt or Münster, or rural areas in Bavaria – they would require three completely different approaches. What is important is to analyze each optical store independently, who their customers are and what they are selling. I don’t want to apply a one-size fit all type of approach. People from rural communities might need more consulting while customers in Berlin have already a clear vision of what they want. In other words, opticians have to adjust a design concept depending on what customers want.

That’s why each optician requires different expertise.

Exactly. Some clients want to know more about products. Some of them are also interested in finding out the heritage of specific frames, who the designers are, or whose design they were influenced by. Or some clients want to buy iconic styles. Confident consumers have a totally different approach to fashion. These types of customers are found in rural areas as well as in cities.

And to what degree can architecture support what customers want?

We can offer optical storeowners a platform that helps them sell their spectacles.

How does that platform look like?

It has to correspond to that person. There is no use in designing a hip store if a storeowner doesn’t feel comfortable in it. For us the priority is to build a good surrounding for him or her in which they can present themselves well, but also show them new possibilities which might not have been clear before.

But how do you create such conditions?

First, our work is always to listen. Then we develop proposals reflecting the wishes of our client, the storeowner. The choice of floor, color and material manifests itself from there.

And that’s how a good store design emerges?

Yes, depending on the owner, their clientele and location. In some occasions, it could be useful to showcase certain glasses at the storefront. In back there could be space for fitting – preferably in a pleasant atmosphere. Knowledge about the design and the heritage of spectacles is also part of it. In another location I might need a straightforward design that addresses confident and informed consumers. But most importantly, a blueprint for stores does not exist. The focal point is always service.

According to you, what is trend?

A long-term trend: the store needs its own personality. Customers should feel right when they enter the store. Another trend is the usage of materials; the authenticity and the feel of the materials. This is totally the in thing right now: conscious usage of material and style, tradition in craftsmanship. And if it’s vintage, it has to be real, it can’t be fake vintage.

How about 10 years from now? Do you think retail stores will continue to exist?

I am firmly convinced that they will, because by now online platforms are already looking for physical stores to sell their products. This way dotcom companies can go local. In the long run there is going to be a mix of both. If I have to wear my glasses on a daily bases – for work and pleasure, then I need more than just a cheap pair of glasses I can find on the Internet. So then I need to go into a store and because of this, the concept of partnership has a future.

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We are delighted to announce the launch of 4SEE’s premium issue at the SILMO fair in Paris from September 26th to 29th, where optics professionals get together. Our inaugural issue is handed out to a visitor by SILMO staff and will be shipped out throughout Germany at the beginning of October.

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Photography: BERT SPANGEMACHER
Text: ANN FORD 
Model: Cooper
Titel: FUNKroyal SHU € 298

At first glance, these frames seem to be rather simple and plain, but when taking a closer look, we must applaud Funk for their sense of understated cool. Funk’s frames are made out of surgical steel so they are light and durable for every day use. And Funk can be quite playful. Their new models shown here are artfully designed and they come with a delicious name like “Fudge Pie” and “Kaiserschmarrn.” Funk is not a major eyewear brand, but they are one of the most interesting independent labels with a developed taste of their own.
Funk can now look back at their 21 years of history and see how their designs have been evolving. Funk introduced the collection “FUNKroyal” in 2004. Another line is called “FUNK food” – that plays with various shapes and different color palettes.

Cooper_06FUNK Food Fudge Pie € 179

Cooper_03FUNKroyal Kuba Kahn € 299

Cooper_01FUNK Food Kaiserschmarrn € 149

Cooper_02FUNKroyal MUT € 329

Cooper_05FUNKroyal Lancelot € 329

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The entire 4SEE staff is very pleased to officially launch the 4SEE Magazin homepage.

Please visit us here regularly to find out more about current and future eyewear trends. 4SEE’s mission is to inform and entertain our readers by offering highly visual editorials, interviews and reports. The Berlin based 4SEE editorial office is collaborating with internationally active editors to present you the global status quo in eyewear fashion and trends.

4SEE is the new benchmark when it comes to eyewear!

We are always online for you at: 4SEEmagazin.com
The 4SEE magazine published twice a year in spring / autumn.

 

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