Hello Wolfgang and Jeff. Could you start by telling us when and where you first met?
Wolfgang: Hello! Our first meeting actually dates back to 2002. Jeff came to visit our workshop in the Eifel region together with Richard Morgenthal, founder of the long-established luxury eyewear brand Morgenthal Frederics. That year was memorable for me in two ways: it was the year my daughter was born and also the beginning of our first creative collaborations, which excited both of us from the start.

Jeff: Yes, 2002 was a turning point for me as well. It was my very first visit to a traditional eyewear workshop in Germany, and even though I had already been in the industry for some time, I remember feeling the thrill of a new era that would be full of inspiration and friendship.

Jeff, you’ve been part of the eyewear industry for many years. In 2024, you founded your own brand, Press Eyewear. What led you to take that step?
Jeff: I felt it was finally the right moment. I’ve been wearing glasses since I was one and a half years old, yet I never imagined I’d work in this field until I turned 23. My journey began in 1998 at the store of the legendary Robert Marc, where I started as a salesperson, and that path eventually brought me to my own brand. I’ve always found the history of eyewear fascinating, especially the 1990s. I saw my brand as an opportunity to revisit that era with a contemporary and multi-dimensional perspective. My starting point was to create an eyewear brand inspired by diverse fields — from automotive and jewelry design to music and fashion icons — but with one core element: material. In all our designs, the material had to be the star, because only then could each piece have its own unique, organic flow.

Press Eyewear is based in New York. Would you say the brand carries the city’s typical spirit and energy at its core?
Jeff: New York is such a dynamic place and it always leaves room for mixing different styles. I’ve worked here for many years, and for me the city is a constant source of creativity and new inspiration. I wanted to create a brand that draws from global influences yet still reflects the essence of its home city. I’ve always been fascinated by New York’s multicultural nature; that’s why I love designing products that appeal to many different people and can meet varied expectations.

You collaborate on the natural horn collections of Press Eyewear. How did this partnership evolve?
Jeff: For me, everything begins with the finest materials and the highest craftsmanship. I wanted to work with a natural and noble material like horn and I found that unique, eco-conscious, and visionary approach to production at Hoffmann. With Wolfgang and his team’s support in material and manufacturing, I designed USA’s first buffalo horn collection for Morgenthal Frederics back in 2006, and we’ve been working together ever since. It’s almost 20 years now. Honestly, I never even considered anyone else for the horn collections of Press Eyewear.

Wolfgang: It’s a meaningful partnership for us as well. Jeff’s vision has opened a new dimension in our world of natural eyewear. Combining our expertise in buffalo horn with his creative approach always creates an exciting synergy.

Wolfgang, you are considered a pioneer in horn eyewear. What makes this natural material so special to you?
Wolfgang: Buffalo horn is actually one of the oldest materials ever used in eyewear production. We’ve always been drawn to it for its lightness, durability, aesthetics, hypoallergenic nature, and sustainability. The variety of tones is incredible. By combining different natural shades and plant-based dyed horn plates, we’ve created more than 500 unique hues over the past 24 years. Its tactile feeling is also incomparable; it’s truly hard to match with any other material.

Jeff, you’re also passionate about buffalo horn. What does this natural material mean to you personally?
Jeff: From the very beginning, I’ve been fascinated by the beauty of natural buffalo horn. Each frame carries its own character and merges with the face, becoming the ultimate form of eyewear. My design partner at Press, Riya Mehta, often tells me that “working with horn is your happy place”. I want people to feel the same sense of excitement about their eyewear as they do about the other precious objects in their lives.

Wolfgang, you’re now distributing the entire Press collection in the DACH region. Can we take that as a sign your partnership will continue to grow?
Wolfgang: From the very first moment, we were convinced that Press would add a fifth dimension to our natural horn universe. There was never a moment of hesitation, and yes, we can say with confidence that our friendship and collaboration, now spanning two decades, will continue to grow even stronger.

Source: Spectr

November 2025

Hello Daniel, could you share the purpose and vision behind founding You Mawo, and reflect on the journey the brand has taken so far?
The founding idea behind You Mawo was driven by a simple but powerful observation: every human face is unique — in shape, size, and proportion — and yet the eyewear industry had been working for decades with standardized sizes and rigid design processes. We wanted to change that. Our goal from day one was to create a world where eyewear is not only responsibly produced, but also truly tailored to the individual. That’s why our guiding principle has always been: “Faces come in billions of shapes and sizes. Eyewear should do the same.” Looking back now in 2025, this vision is more relevant than ever. Technological advancements, especially in 3D scanning and additive manufacturing, have allowed us to stay true to this core idea — not just in theory, but in practice. And that’s something we’re incredibly proud of.

Over the years, what design steps, innovations or products have you been most proud of and why?
There are several aspects of our work that we’re especially proud of. From a design perspective, our capsule collections and the creations within the Youniverse have allowed us to push boundaries — both aesthetically and technically. These projects serve as a kind of experimental space where we test new materials, explore unconventional shapes, and reimagine what eyewear can be. On the customization side, we’ve consistently challenged ourselves to improve our system. It’s not just about making custom eyewear accessible — it’s about refining every step of the user journey, from facial scanning to fit analysis to production. This constant questioning of the status quo is a defining part of our culture at You Mawo, and it’s something we see as essential to innovation.

In 2025, with the growing interest in smart glasses, how would you assess the current state and potential of 3D printed eyewear?
We’ve definitely come a long way, and the level of sophistication in 3D-printed eyewear today is remarkable — especially in terms of material quality, precision, and individualization. But we believe we’re still just scratching the surface. Additive manufacturing offers unmatched flexibility when it comes to design freedom and personalization, and we see tremendous untapped potential — especially when it comes to integrating technology. Smart glasses are back in the spotlight, and the convergence of custom fit and smart functionality is a space where we see unique opportunities. Our manufacturing approach enables us to create solutions that are not just smart, but also comfortable, stylish, and truly tailored to the wearer — something mass-produced smart glasses often lack, that’s why we see plenty of room for smart glasses to give them the comfort they need.

Do you feel that 3D printed eyewear has gained more recognition in the last couple of years as a prestige design product?
Absolutely. There’s a growing appreciation for the possibilities that additive manufacturing brings to the world of high-end eyewear. What was once seen as a niche or experimental approach is now being embraced by more and more designers — and even luxury brands — as a serious, forward-thinking production method. We’re seeing the perception shift: 3D-printed frames are no longer just about technical innovation — they’re being recognized for their design value, for their sustainable production process, and for their ability to offer a truly personal product.

Has the introduction of AI opened up doors for your work at You Mawo and if so how?
Yes, AI has become an increasingly valuable tool in many areas of our work. We’re especially intrigued by its potential in the design process. Rather than replacing creative thinking, we see AI as a kind of sparring partner — one that allows us to challenge our ideas, discover unexpected forms, and introduce new dynamics into our design language. Beyond design, we also see potential in areas like fit optimization, customer interaction, and even predictive personalization — helping us to better understand what people need before they even realize it themselves. We’re still in the early stages, but the possibilities are truly exciting.

Does your design approach constantly shift, and what was your main source of inspiration for the 2025 collections?
In 2025, we’ve really focused on going back to our roots — questioning who we are as You Mawo and what defines our design language. We reflected deeply on our core, and that was truly great — it gave us a clearer picture of who we are and what makes us unique.

Source: Eyestylist

October 2025

Hello Ms. Olmsted, could you introduce yourself to our readers and share the story of how you first entered the industry?
Hello, I’m Selin Olmsted and originally from Istanbul. I began my career as a menswear designer and worked in that field for over a decade before transitioning into eyewear. My path changed when I joined Warby Parker in New York—first as a freelancer, then full-time. There, I had the privilege of learning from Kenny Schwartz, co-founder of Oliver Peoples and an industry legend whose mentorship was invaluable. After nearly three years as a senior designer, I founded the first independent eyewear design studio in the U.S. Now celebrating its 10th year, our studio supports global eyewear brands with design, trend forecasting, product development, import, and production services.

How did Selin Olmsted Studio come to life, and on which core goals and values did you build your brand?
During my time at Warby Parker, I had the chance to attend Vision Expo East in New York, which opened my eyes to the creativity and originality of independent eyewear brands. Around that time, I also met Selima Salaun from Selima Optics, and our conversation really stuck with me. We talked about how the U.S. lacked formal eyewear design programs and local manufacturing, and how most designers—myself included—had entered the industry from other creative or optical fields almost by accident. It became clear that there was a gap: independent brands needed dedicated design support. That realization inspired me to launch Selin Olmsted Studio as the first independent eyewear design studio in the U.S.

What does eyewear design mean to you, and which elements most strongly influence your creativity?
Eyewear design is more than a profession for me—it feels like my purpose. When I see someone wearing glasses on the street, I imagine how the shape and color suit them, and what other combinations could create something new and beautiful. Yes, it solves a medical need, but it is also a style statement we wear on the most visible part of our faces, often for 10–12 hours a day. That gives us, as designers, both responsibility and opportunity: eyewear must fit well, look great, and give confidence. Creatively, I enjoy blending different worlds into a single design—merging sport with lifestyle, sport with fashion, or reinterpreting the dandy aesthetic with a minimal, modern lens. I also love reimagining familiar shapes through unexpected materials, colors, or details. At the same time, I’m deeply inspired by advances in manufacturing. Refinements in tooling, innovations in CNC surfacing, and multi-color lamination techniques broaden the possibilities and move the process forward.

Do factors such as functionality, facial fit, and lightness limit the creative process in your view? How would you define your design Dna?
On the contrary, these factors ensure that creativity results in something both meaningful and wearable. For us, design means resolving every angle, radius, and surface with care. The front and temple must flow seamlessly, avoiding awkward transitions, so the eye perceives harmony. Every part of the frame—even the hidden details—deserves thoughtful attention. I love when subtle elements are discovered later by the wearer, creating a personal and genuine connection. When evaluating a design, I often remind my team: Would I spend my own hard-earned money on this? Would I feel confident wearing it on a date? These questions keep us honest. Our mission is to design eyewear that evokes emotion, instills confidence, and carries a touch of magic. We also prioritize delivering the highest perceived value at the intended retail price point. And when projects allow, we explore bio-friendly materials, advanced manufacturing techniques, and sustainable packaging—because today, design carries responsibility beyond aesthetics.

What are the main advantages and challenges of working with manufacturers based in Italy, Japan, and China?
Italian manufacturers offer advantages such as low minimum order quantities, flawless polishing and tumbling in acetate, and superior color applications in injection plastics. However, compared to China, they are more limited in production innovations. High mold costs remain a challenge in Italy, and the country’s more limited production capacity can sometimes lead to delays. Japanese manufacturers excel in titanium craftsmanship and attention to detail, as well as polishing and color variety in acetate, but long lead times and design restrictions can be challenging. Chinese manufacturers stand out for fast communication, innovation, and adaptability to our requests, though their minimum order quantities are higher compared to Italy and Japan, which can pose difficulties.

In your collaborations with prestigious brands, you maintain your unique design identity while reflecting each brand’s character. How do you achieve this balance, and are there any upcoming partnerships?
We always start by putting the brand’s identity and its customer at the center of the design process. When developing a front shape, temple, or color story, we ask ourselves repeatedly: Would this customer wear it? Would they want it? Would they purchase it? Sometimes we even create or reference visuals of the customer so we can picture them clearly and design with that person in mind. The brand’s Dna acts as our roadmap—it guides decisions, helps us edit, and ensures we’re staying true to their character while still bringing our design language forward. We recently wrapped up some exciting Spring/Summer 2026 sun eyewear styles for Raen’s collaborations with world-renowned surfers Mikey February and Coco Ho, set to launch in Q1 of 2026.

How do the concepts of sustainability and environmental responsibility influence your choice of materials? Which materials stand out in your collections?
A few years ago, several of our clients began shifting from standard materials to bio-acetate and bio-based nylons such as bio-TR90. That encouraged us to deepen our own research into sustainable material options and manufacturing techniques—not just for eyewear, but also for packaging. What we’ve found is promising: while many of these materials are not yet 100% bio-based (most are around 66%), ongoing R&D is steadily improving the ratios, and we expect fossil-fuel ingredients to be replaced bit by bit over time. One material we’re particularly excited about is CRT-Acetate (Acetate Renew), developed through Eastman’s patented molecular recycling technology. It transforms discarded plastics into virgin raw material for acetate production through molecular recycling, while still giving us access to the full range of traditional acetate colors. Beyond frames, we’re also inspired by bio-based /plant-based bonded fabrics for eyewear cases, which help extend the sustainability story into packaging.

Your models Kosmos and Myrtle are truly captivating. Could you share their key features and the details that excite you most?
Kosmos and Myrtle were designed for Carla Colour, a New York-based independent fashion eyewear brand. Kosmos is a sculptural, futuristic bat-eye frame—bold, playful, and otherworldly. It was conceived to evoke the feeling of a cosmic journey, transforming how you see and how you are seen. Myrtle was inspired by Gena Rowlands’ unforgettable character in the 1977 cult film Opening Night. It’s an oversized geometric aviator with gold detailing, embracing pure drama and presence. Both are crafted from Italian eco-acetate and paired with bio-nylon lenses that provide 100% UVA/UVB protection. They come in cases made of the world’s first sustainable cactus leather-like fabric, along with 100% recycled cleaning cloths.

You present extensive and influential work on global eyewear trends. How do you prepare your Eyewear Trend Reports, and what are the key highlights you foresee for 2026?
Preparing our reports is a year-round process. We track inspiration from multiple sources—fashion runway shows, cultural movements, art, design, neighboring industries and material innovations—then filter them through the lens of eyewear. We also pay close attention to retail data and talk with industry partners to understand what’s moving in the market. The goal is to distill all of this into clear themes that not only inspire but also serve as a strategic foresight tool for brands. For 2026, we have identified several guiding themes: Sculptural, which focuses on bold architectural forms and frame structures that feel like wearable art; Sentimental, which leans into nostalgia, craft, and the imperfect beauty of handmade details; Punk Quotidien, which captures everyday rebellion with attitude, grit, and individuality; Ultralight, which emphasizes minimalism, lightness, and advanced comfort; and Surrealism, which takes eyewear into an otherworldly-like territory, playing with unexpected proportions, visual tricks, and a sense of the uncanny. When all these themes come together, we see the new year steering the industry toward eyewear that is more expressive, technically more innovative, and capable of forging a deeper emotional connection with the user

You have shared your expertise at many events, such as last year’s Silmo Istanbul Akademik. What are the main benefits of the rise in industry-specific education for the optical world?
Industry-specific education is one of the most important developments for the optical world right now. For so long, eyewear has been treated primarily as a medical device, but not always as a fashion accessory or style product. The rise of dedicated education helps bridge that gap. For optical store owners and opticians, education means gaining a deeper understanding of trends, product and material innovations, and customer behavior. This knowledge supports smarter decisions in retail. Just as importantly, it builds stronger connections with manufacturers and designers. For optical students and young designers, it shows that there is a real path in eyewear design as a career. It introduces them to the creative and technical sides of the field, helps them connect with industry players, and inspires them to bring fresh perspectives into the industry. For me personally, speaking at places like Silmo Istanbul Academik is about sharing knowledge but also planting that spark—because when education grows and connections are made, the whole industry advances together.

Silmo Istanbul Optical Fair will be held for the 12th time from Nov. 19–22, 2025. How would you assess its development and contributions to the industry?
Silmo Istanbul has grown into one of the most important platforms for the optical industry in the region. Over the years, it has expanded in both scale and influence, attracting not only Turkish professionals but also a steadily growing international audience. This creates a valuable meeting point where independent brands, distributors, major manufacturers, opticians, and designers can connect and exchange ideas. It provides visibility and opportunities for local and international brands and manufacturers to collaborate and expand into new markets, such as Turkiye, Eastern Europe, Middle East, Russia, Central Asia and North Africa.

Thank you very much for this valuable interview. Lastly, we would appreciate your thoughts on our magazine, 4 your eyes.
Thank you—it’s an honor to be included. 4 your eyes plays an important role in Türkiye and neighboring countries by creating a platform that informs, inspires, and connects optical professionals. I truly value how you combine business insights with creative directions, giving readers a fuller view of where the industry is headed while showcasing new seasonal collections from both independent brands and major fashion houses. It’s a publication that makes a real contribution, and I’m delighted to be part of it.

September 2025

Hello Benjamin, Rodenstock is currently undergoing a repositioning. What’s driving this strategy?
As part of this strategic repositioning, we have redefined the Rodenstock brand with a clear design language, a structured collection framework, and a long-term outlook. At the heart of our design process lies the principle ‘Form Follows Lightness’ – our entire development is driven by the ambition to design ultra-light eyewear. We combine minimalist aesthetics with maximum lightness in pursuit of this goal.

Rodenstock puts a strong emphasis on technology and data-driven innovation. Would you say this is typical for a German premium brand?
Absolutely. German premium brands are globally associated with precision and quality. This concept of “German engineering” is deeply embedded in our product philosophy. Our approach is defined by efficiency, perfection, and engineering excellence – values that are reflected in every detail of our frames. Thanks to our comprehensive database, we’re able to analyze technical parameters and ensure optimal fit and maximum comfort in our designs.

You often refer to a ‘new era of lightness’. How is this concept translated into practice?
It means developing eyewear that is exceptionally featherlight – because less weight translates to more comfort. Our entire focus is on achieving physical and visual lightness. By utilizing advanced technologies and new materials, we create ultra-lightweight designs that strike a precise balance between material selection, construction, and design. Our core promise is maximum comfort – because ultimately, what wearers care about is a frame that feels almost invisible on the face.

How does the idea of ‘lightness’ influence your frame design?
Lightness informs every aspect of our design approach. We use reduced forms, clean lines, and simplified shapes to achieve a timeless aesthetic. At the same time, we optimize material usage without compromising durability. By working with ultra-light materials like titanium and RXP®, we significantly reduce overall weight. Transparent and semi-transparent colors reinforce the sensation of lightness, both visually and physically. Innovations such as screwless hinge systems and exposed flex zones further enhance comfort. As a result, our minimalist frames integrate seamlessly with the face and bring forward the personality of the wearer.

How do you address aesthetic considerations in your collection design process?
Our design guideline is “Pure Aesthetics,” inspired by Bauhaus and minimalism. This principle shapes our timeless, stripped-down visual language. Our frames unite function and lightness and are characterized by a modern, enduring design approach. Through our collections, we offer users a refined experience of lightness, invisibility, German-engineered precision, and advanced ergonomics.

Materials play a key role in the overall weight of eyewear. Which materials do you typically work with?
We often combine materials to achieve the optimal balance between stability and comfort. In our in-house prototyping lab, we constantly test and refine materials to push weight reduction even further. This process is central to our pursuit of maximum lightness. Titanium and RXP® are our key materials. For nose pads, we exclusively use medical-grade silicone, which is skin-friendly and available in various forms to ensure ideal comfort.

Which types of titanium are used in which parts of your frames?
We use specific titanium alloys depending on the part of the frame to ensure the right balance of strength, flexibility, and precision. For example, we use pure titanium in the front, bridge, and endpieces because of its durability and strength. Beta titanium, known for its high flexibility, is used in the temples and rimless designs. Nanometer titanium is used in the spring hinge components, where both precision and function are paramount.

What makes RXP® unique, and how do you incorporate it into your designs?
RXP® is a high-tech polymer developed in Switzerland, recognized for its exceptional lightness and durability. That’s why we use it to manufacture slim-profile frames. It’s also skin-friendly and easily adjustable, making our frames particularly comfortable for daily wear.

The Loop, Orbit, and InfiniTec collections are especially popular. What sets them apart?
Each collection has its own distinctive design language and technical innovation. Yet all Rodenstock frames share key attributes: high comfort and individual adjustability. Loop features advanced engineering with a precision hinge and temples made from pure titanium, offering strength, lightness, and durability. It’s especially popular among younger users who appreciate modern design. Orbit stands out with its screwless construction, which requires no maintenance. It draws on Bauhaus principles and circular geometry. Made from ultra-light materials like RXP® and titanium, the rimless model from this series received the German Design Award 2025. InfiniTec focuses on making technology visible. The exposed flex hinge is both a functional and stylistic highlight. The spring component is made from nanometer titanium to guarantee the highest level of precision.

Thank you fort his valuable interview. Finally, could you describe the target audience for Rodenstock?
Our repositioning has helped us define our target audience more clearly. We primarily address men aged 35 and older who appreciate high-quality, durable products and precise engineering. Comfort is a top priority for them. Their style leans toward timeless, pared-back, and functional design.

Source: Spectr

August 2025