Hello Mr. Kaiser, to begin with, we would like to get to know you better. Could you tell us about your professional background and your role at Eschenbach?
My name is Walter Kaiser. I am Vice President International Sales at Eschenbach Optik and have been with the company since 1991. I studied economics, with a professional background in international business. After gaining initial experience in various industries including pharmacy, electronics and float glass, I had the opportunity to enter the optical sector and decided to stay. It has proven to be the right decision.

Eschenbach is a strong brand with more than a century of history. Could you share the core values and industry approach that shape the company today?
Eschenbach Optik has been active in the optical field since 1913. Today, we are the global market leader in low vision devices with the Eschenbach brand, and a major player—by far the German market leader—in eyewear, with six corporate brands and three licensed brands. Our main motivation is to improve people’s quality of life. From an industry perspective, we see ourselves as a true partner to opticians, operating on equal footing and with mutual respect.

You have a broad portfolio. Could you tell us about the key characteristics of your brands and how they complement one another?
Our corporate eyewear brands include Titanflex, Humphrey’s, Brendel, Jos. Eschenbach and Freigeist. Each brand is designed for a clearly defined target group. We offer eyewear for everyone—from children to seniors; from fashion-forward to classic styles; from colorful and bold designs to reduced and discreet aesthetics; and from affordable to premium segments. Our licensed brands—Marc O’Polo, Mini Eyewear and our newly launched license Tom Tailor—are developed in line with the individual positioning and DNA of these well-known brands. What all our frames have in common is a strong focus on wearing comfort. An Eschenbach frame must fit perfectly. High quality and excellent service are non-negotiable for us.

When presenting your portfolio to international markets, what criteria do you prioritize when selecting distributors?
Every Eschenbach distributor must fully understand our philosophy, vision and mission, and be capable of representing them flawlessly in their respective markets. Eschenbach Optik is currently represented in more than 80 countries worldwide, which clearly demonstrates that this approach works.

How do you integrate the feedback from your distributors into your export approach?
We maintain very close relationships with our partners. We meet regularly at exhibitions, visit them in their markets, stay in daily contact and listen carefully. In addition, we work closely with renowned trend scouts. When preparing our strategic meetings, we integrate feedback from our market partners regarding upcoming trends and developments, and incorporate these insights into our internal discussions and decision-making processes.

How do changing market dynamics influence your export strategies? Which factors do you prioritize in your strategic planning?
In general, markets do not change overnight. Disruptions can occur, but they are relatively rare. In the eyewear sector, the time-to-market for a new product is easily one year or more. However, as in the fashion world, upcoming trends can be anticipated to a certain extent. When necessary, we are able to react quickly and flexibly. We never aim for short-term gains; instead, we focus on long-term, stable partnerships. This philosophy is clearly reflected in our strategic planning.

German engineering and innovation are two of Eschenbach’s strongest pillars. How do these qualities translate into your product development and design processes?
The ‘Made in Germany’ label is globally associated with quality and service, and these values form the foundation of Eschenbach Optik’s positioning as a German company. We were among the first to implement industrial quality standards in the eyewear sector. Our R&D engineers are involved at very early stages of product development to ensure the highest quality levels before production begins. Eschenbach engineers are permanently present at production sites to guarantee consistently high manufacturing standards. Every product that enters our inventory follows the same quality procedures. Even after shipping, we carefully monitor perceived quality for each individual item and take corrective action if necessary. While nothing is ever 100 percent perfect, being on equal footing with opticians also means maintaining a service stock for every item to ensure long-term support. We fully understand that no optician appreciates dissatisfied consumers due to frame defects.

Eschenbach Optik embraces a responsible, sustainability-focused corporate mindset. Could you share some of your recent initiatives in this area?
Environmental protection is a key management priority for the future of the industry, and Eschenbach is committed to continuously reducing its carbon dioxide footprint. Achieving CO₂-neutral production and distribution is a long-term process rather than a one-time solution. At top management level, Eschenbach has established dedicated operational teams that meet regularly to discuss and implement incremental steps toward a more sustainable future. Examples include the use of recycled aluminum for temples in our Titanflex collection, the use of Acetate Renew for plastic frames, and replacing plastic protection bags with recycled materials. And these are just a few of many ongoing initiatives.

You are represented in Turkey by Delta Optik. How would you evaluate this partnership and Eschenbach’s position in the Turkish market?
Our partnership with Delta Optik began in 1992 and has evolved over the years from a successful business relationship into a genuine friendship. Delta Optik represents Eschenbach’s values perfectly and has played a key role in the premium eyewear market in Turkey for many years. Turkish opticians highly appreciate the cooperation with Delta Optik and are satisfied customers—just like our more than 40.000 optician partners worldwide.

Eschenbach Optik has recently taken several important steps in both innovation and brand development. Could you tell us more about them?
Eschenbach has recently filed a patent for a new Microtech hinge construction that prevents temples from loosening or unscrewing. This hinge has already been introduced in the Titanflex collection and is now also featured in the first Marc O’Polo frames, offering a clear and visible benefit for consumers. At Silmo Paris 2025, Eschenbach also launched a new eyewear license, Tom Tailor. This brand shows strong growth in the accessible fashion segment for young and young-at-heart consumers, allowing Eschenbach to expand its price portfolio to meet increasing demand for entry-level products. In the low vision segment, we proudly introduced Optaro XL—an app-based camera system for iPads that transforms a standard iPad into a fully functional electronic reading device, including a read-aloud feature. These represent our key innovations for 2025.

How do you assess the development of Silmo Istanbul and its contribution to the global optical industry?
Silmo Istanbul 2025 clearly demonstrates the transformation from a local optical fair into a highly professional international eyewear exhibition. Congratulations to the organizing team—they have done an excellent job.

January 2026

Hello Yasunori, Masunaga is celebrating its 120 years this year. Could you give us a brief insight into the beginnings and early development of the brand?
Sure. The company founder Gozaemon Masunaga brought in skilled craftsmen from Osaka and Tokyo with the ambition of setting the optical industry solidly in place in Fukui, Japan. That wasn’t easy. He entered into the industry the hard way, and at first the frames manufactured in Fukui were regarded as third-rate, or even unsellable. He established a guild-like system where fully-fledged craftsmen could create their own businesses, and he even helped them financially. Thanks to this system, the number of eyeglass craftsmen gradually increased, and the optical industry spread throughout Fukui.

Which milestones in Masunaga’s company history are particularly significant for you personally?
There are many historical events I could point to in our company’s history, but personally, winning the Silmo d’Or three years in a row – 2013, 2014, and 2015 – was the biggest milestone. That helped boost brand recognition, especially in European markets.

Today, Masunaga is synonymous with quality around the world. What makes your brand so unique?
We produce and sell our own brand. As a manufacturer – especially in Fukui – most optical companies today are responsible for just one part or process, and one pair of eyeglasses is completed cooperatively by many companies. In contrast, Masunaga manages all of the production processes: designing, material research, metal processing, and coloring, all in our own factory. This total dedication ensures consistency, quality, and performance. We are certainly a Japanese brand, but we don’t particularly emphasize the “Made in Japan” aspect. We almost want our products to be stateless – not to fall into a specific category. We want our customers to love our products because they are designed and made by Masunaga. We want them to see Masunaga as timeless – but that kind of timelessness takes years to build. When you say your brand is timeless, you must truly mean it. You can’t just say it.

How do you manage to maintain a balance between tradition and modern innovation?
We manufacture excellent eyeglasses. We want to make a profit if we can, but we don’t hesitate to take a loss. It is always in our thoughts to manufacture excellent eyeglasses. This mission statement serves as our code of conduct and helps maintain the balance between tradition and modern innovation – because both are essential to creating excellent eyewear.

To what extent do current design trends and technological developments influence the new collections?
It may sound strange but we want the quality of our frames to be the coolest part of what we do. We want our customers to go, “Wow, this is really beautiful.” I don’t think we are a trend setter or a follower, but I hope our customers think we have our own style.

You are celebrating an anniversary that spans over a century. Could you tell us about the initiatives have done to honor this special year?
We launched a special website celebrating our 120th anniversary. There is special content focusing on the evolution of Masunaga frames. You see our historical frames there. Also we’ll introduce 120th anniversary special edition frames Edition 120. Two models are fashioned from our proprietary technology of joining the 18K gold and titanium.

You have also launched a second edition of the Moc series. Could you tell us about the collection’s features and the innovations in the second edition?
Moc is an abbreviation for “Masters Of Craft”. We launched the line at Silmo 2024, and the first collection was well-received by our customers. We wanted to create a first-class eyewear collection that represents the epitome of craftsmanship. This is a limited quantity release and exclusively available at 100 stores worldwide. Each frame has its own serial number. We want Masunaga Moc to be very nearly the best eyewear collection we can create. Masunaga Moc features 5 micron gold plated parts, sterlin silver decorations, double shield pads, 3.5mm wide custom rim with three lines details, hand applied enamel work, and so on. It’s a masterpiece that combines design and technical skills. Masunaga Moc 2nd collection will be optical only, in contrast to 1st collection being sunglasses only. There are some new design elements as well.

After 120 years of success, where is Masunaga headed in the future? What visions and goals will we see come true next?
Of course, the 120th anniversary is something to celebrate – but we also see it as just another milestone. Our 120th anniversary logo shows the number 120 turning into 121, and that says it all. It’s a great opportunity to reflect on ourselves and learn from our past. I certainly hope our brand and our products will remain relevant and desired for the next decade – and beyond. Our story continues.

Source: Spectr

December 2025

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

What were you working on before starting Paloceras?
Alexis: I grew up in Montreal and began my career as a woodworker, creating bespoke furniture and architectural pieces. That hands-on experience led me to pursue product design at university in Montreal. After working locally, I felt the need to look beyond Canada and applied to ECAL in Lausanne to study in the Master’s program in Design for Luxury & Craftsmanship. That’s where I met Mika. We both completed the program, and from there, Paloceras began to take shape.

Mika: My background is in digital design. I had been working as an art director at an advertising agency in Finland, and later with tech companies, mostly in digital product design. After years of working in digital environments, I started longing for something more physical. While living in London during a COVID lockdown, I took a walk with a designer friend and we spoke possible futures and a Swiss design school ECAL came up. I applied, was accepted, and that decision shifted everything. Alexis and I met there. I was coming from digital, seeking tactility, while he was coming from craft, interested in digital. Our skills were complementary, and we felt it made sense to try something together, though we had no fixed idea of what that would be. Toward the end of the programme, Alexis began exploring sunglasses in his thesis. We started prototyping and eventually committed to making eyewear. We had no idea how complex the field would turn out to be.

How did you come up with the name Paloceras and begin to build the brand?
Mika: Once we decided to do something together, we needed a name. I was still living in Switzerland at the time and one day, while walking through a park, I saw butterflies. I started thinking about the Latin word for butterfly, Rhopalocera. I removed the “Rho,” added an “s,” and checked availability. To our surprise, everything was free – domains, handles, all of it. I called Alexis immediately.

Alexis: We met at a small African café in Lausanne and decided that was it. We registered the name right there. That was even before we had thought of the Pebble collection.

The Pebble collection quickly gained attention in fashion circles. Was that the goal from the beginning?
Mika: We wanted to approach eyewear as a functional object with emotional and aesthetic impact. The category often views itself through a technical or optical lens. We wanted to see what would happen if we looked at it through fashion. I have always been interested in the point where design, technology and business meet. For me, staying in one of those domains would not have been enough. With eyewear, it was not just about designing something new. It was about building something with a broader creative ecosystem. We now collaborate with artists, especially through our London atelier, where we craft bespoke designs. These partnerships allow other creative visions to exist within Paloceras, which makes the brand more than a product, so it becomes a platform.

Alexis: It began as a creative experiment, but always with the ambition to connect with people. My Master’s thesis focused on sunglasses and their cultural significance. What I realised was that the eyewear world is full of gatekeepers. There are few independents, and it is a difficult industry to break into. That challenge pushed us further.

How long did it take to develop the inflated acetate aesthetic, and where are the frames made?
Alexis: It was a long journey. We set out to make something that felt unfamiliar in a category where most designs seemed too similar. While we are not claiming to reinvent eyewear, we wanted to create shapes that would be immediately recognisable as Paloceras. We experimented with acetate and used physics software and digital tools to explore unconventional forms. That led us to inflated shapes. We reached out to manufacturers in Italy and France, both close to our base in Portugal, but the technology to produce the shapes we wanted was not available. Eventually, I travelled to Shenzhen, where we found a small, highly skilled team with the right capabilities. Their process uses a moulded approach closer to injection moulding, specifically adapted for acetate. At the time, this technique wasn’t available in Europe, and even now, it’s far from common. The real expertise still lives in Shenzhen, so we had to go straight to the source. The moulding process requires different machinery and skills compared to traditional acetate manufacturing. This combination of design intent and technical execution is what allows us to push boundaries. I have visited the team in Shenzhen several times. It was important for us to see the production first-hand, to understand the working conditions and ensure they met our standards. We are transparent about our partnership there because the work is excellent and the collaboration is strong.

You recently introduced two new shapes: VX Aviator and DX Diamond. What led to these designs?
Mika: The collection started with one square and one round shape. That was never going to be enough. Aviators and cat-eyes are popular, but we wanted to reimagine them through our own language. Colour has been a big part of our evolution this year. Beyond classics like black and tortoise, we are introducing dual laminations and full tones based on our own experiments. Some are made using Mazzucchelli’s custom laminates, others we developed ourselves by combining different magnetic colours. It is a big leap forward for the Pebble collection.

Alexis: There is a delicate balance between making a sculpture and making something wearable. That tension drives us. The Aviator is bold and recognisable. The Diamond has an angular, edgier character. It nods to the cat-eye but is more neutral. We want our pieces to be for everyone, so we avoided a fully feminine silhouette. These new shapes also respond to what people have been asking for – more variety, new forms, and more colour.

You are based between Portugal and Finland. How does that structure work for you?
Mika: Most of our team is in Finland now. Alexis is still based in Lisbon, where we do the biggest part of our prototyping and have the design studio.

Alexis: Portugal was the original home of the brand. For the first year, everything was developed there digitally. When Mika returned to Finland for family reasons, we adapted and found a rhythm that works for us both.

What’s the next goal for Paloceras? Should we expect any surprises?
Mika: We are preparing to unveil our first optical collection.

Alexis: Development is already under way. We plan to present the collection in September at Silmo in Paris. Having an optical line is important for our retail partners. These new pieces are designed for everyday wear, while keeping the same creative ethos as our sunglasses.

Source: Eyestylist

July 2025

Hello Claire. How did your journey in eyewear design begin and evolve?
I was drawn to design early on. I first earned a high school diploma in Applied Arts, then went on to complete a BTS at École Boulle and a DSAA at Olivier de Serres. Later, I did my master’s in Product Design at the Royal College of Art in London. This gave me two very different but complementary perspectives—one sociological and conceptual, shaped in France, and one more artistic and experimental, shaped in the UK. After my studies, I began working at Face à Face as a frame designer and have been in this profession for 15 years, evolving alongside the brand. Since joining Design Eyewear Group, which currently develops and markets nine brands, I co-direct the artistic vision of three of them.

What are the main challenges you face when working on a new design?
I’d say there are four key challenges. First, there’s the need to move beyond what’s already been seen and create something truly new. Then there are technical challenges—especially when trying to push manufacturing boundaries to meet design goals. For example, I love using sharp angles in Face à Face designs, but polishing processes tend to smooth everything out. We constantly work to preserve or reintroduce that sharpness. The third challenge is market-based: as a global brand, we must adapt our style DNA to fit the diverse preferences of different regions, in terms of color, shape, and sizing. And finally, there’s the balance issue—we aim to create something bold and surprising with every new collection, but it must also be elegant, wearable, and not feel like a caricature.

How do these challenges affect your design process?
They actually fuel creativity. All of these constraints become opportunities. I remember during my master’s program, when we were asked to design with complete freedom, I sometimes felt creatively blocked—there were just too many possibilities. Constraints provide a framework in which diverse personalities can be expressed. Just like in comic book illustration, in eyewear design, even a tenth of a millimeter can alter the emotion conveyed. The tiniest bend in a line can express boldness, kindness, or severity.

Where do you draw inspiration from when designing a new collection?
Our sources of inspiration are incredibly diverse. Being based in a showroom in the heart of Paris means we’re constantly influenced by galleries, museums, and even daily street life. We follow contemporary art and fashion closely. Paris Fashion Week, the ‘Première Classe’ accessories fair in Jardin des Tuileries, and Milan Design Week are all must-attend events for us. But inspiration goes even further—we’re passionate about our work, so new ideas often emerge while immersing ourselves in the optical world.

Which model are you most proud of, and what makes it stand out?
I’m especially proud of the Sotsas model from Face à Face. It was inspired by the legendary Italian designer Ettore Sottsass. We wanted to fuse eyewear and sculpture, using Sottsass’s bold colors and playful spirit. The temple design of the frame is a reinterpretation of the cylindrical armrest he once created for a sofa. Attaching a cylindrical shape to a hinge and integrating it into the temple design was technically challenging. Aesthetically, it’s become one of our most iconic models—surprising yet elegant. We later adapted the concept into a more refined optical version, the Kyoto model.

Do you believe it’s possible to design a frame that suits everyone?
Some brands aim for universal appeal. As a designer brand, we intentionally take more risks with bolder choices—this can evoke either strong love or strong dislike. However, we are working on more inclusive, innovative aesthetics. We follow what I’d call a “universal template,” designing shapes and proportions that suit a wide range of people while still feeling fresh and original.

Beyond commercial success, how do you define success in design?
Let’s take the example of the Eames chairs. Their success lies in perfectly capturing the essence of the object. This results in a unique, iconic form combined with strong functionality. So, I’d say success in design means creating something that stands apart aesthetically while performing its function beautifully.

It can be difficult to know what suits you when choosing new frames. Any tips?
There are many factors, and some are deeply personal. But a good general tip is to make sure your pupils are centered horizontally in the lenses. If you have a larger face and prefer smaller frames, I suggest rounder shapes. Square or rectangular frames should be proportionate to your face size. If you have a slimmer face, you have more flexibility. Oversized frames instantly give a more fashion-forward look. But whatever you choose, don’t rush—it’s not just an accessory; it’s a part of your personal expression.

Design Eyewear Group operates across Denmark, the UK, and France. Do you see distinct design sensibilities in each country?
Without falling into clichés, yes—there are definite regional sensitivities. Each of our three design teams reflects this. In Denmark, form follows function; there’s a minimalist, radical design ethos—less is more. In France, the approach is more Latin, bold, and free, with strong emphasis on storytelling and concept. In the UK, the end user’s style is more prioritized, and new forms are often inspired by street fashion.

How does your global customer profile influence your product line?
We definitely take regional differences into account. In the U.S., consumers tend to prefer classic, rectangular, or butterfly shapes—less risky, more conventional styles. Spanish, Italian, and French customers usually go for longer, squarer, and more colorful frames. That’s why all our models are available in two shapes and six colors. This variety allows us to offer multiple alternatives that cater to different tastes.

Source: Parisee

June 2025

You were born and raised in the world of eyewear. Was following in your family’s footsteps inevitable for you?
Not really. In fact, in my early teenage years, eyewear didn’t mean much to me. My true passion was drawing. But my mother insisted I earn a diploma, and I was very good at math, physics, and technical drawing. So, I thought I would get my diploma and then move on to a different field. But everything unfolded naturally. I started working at my mother’s optical store, while also attending ceramic workshops in the evenings. I knew how time-consuming this business was and wasn’t sure if it was something I’d want to do for the rest of my life.

What led you to focus on design?
I felt the need to create. Honestly, everything happened quite by chance. When I was 18, I spent a year in Senegal with my father and fell in love with someone there. I had to find a way not to feel stuck in Paris. At the time, there were amazing shops in Senegal selling handcrafted beads – silver beads, Mauritius beads, wooden ones… I had the idea of creating chains to sell in my mother’s store using these beautiful beads. When I went to the beach to see my boyfriend, I would make these chains while he was working. Back in Paris, I displayed them at the store. Until I founded my own eyewear brand, I kept creating collections simply because people loved them and I enjoyed the process – it felt like play. But over time, I realized I had a passion I couldn’t quite explain. I loved drawing, painting, working with color. So, finding myself in the world of design felt completely natural.

Your first eyewear collection received widespread acclaim. How did you prepare for it?
At first, I was planning to pair my feminine chains with ready-made reading glasses. I designed a collection that only matched butterfly-shaped frames. I knew there was a market for this. But I actually saw them as “women’s glasses.” I quickly realized that when the frames sit right at brow level, they visually lift the face – almost like a mini facelift. That’s when I decided to design joyful, feminine eyewear that lifts the facial features. Even young people embraced this style right away, and I knew I was on the right path.

Why is it important for you to appeal to women? Who wears Caroline Abram glasses?
Because my glasses are a reflection of my world. To me, eyewear is jewelry, makeup, and a mini facelift all in one. I always felt that women wore rather “melancholic” glasses. I wanted them to wear eyewear like they would apply blush or eyeliner. I wanted to help them achieve a chic but understated, beautiful but not bizarre look. Any woman who enjoys playing with her appearance, her individuality, or simply her femininity can wear Caroline Abram. I work a lot with structure. My frames are usually very refined. They’re not invisible, but they adapt well to different faces. I focus on how the glasses integrate with the person and subtly enhance her beauty – even if you can’t quite explain why. Just like makeup. I don’t like makeup that looks “too much.” The same applies to eyewear. You shouldn’t see the glasses – you should see the woman behind them. That’s my entire goal.

Why is your desire to empower women so strong?
It’s purely passion – it’s part of who I am. Since I was little, I’ve always sought harmony and wholeness. I never followed trends just because they were in fashion. Like everyone else, I’ve been unconsciously influenced by visuals around me, but my style has always been my own. I wear Stan Smiths and elegant dresses; I like tight fits and loose ones – I simply enjoy being a woman. That’s why I’ve always admired the 60s. Women looked like living dolls – carefully styled hair, dresses in vibrant colors… so full of life.

Where do you draw inspiration when designing your collections?
Inspiration always comes from the material or the shape. Take nylon, for example – the moment I saw this material, I wanted to design a collection around it. I “warmed” the material with my color palette, added soft, wavy curves to the temples to bring in femininity, and used titanium to preserve its lightness. I usually design in a way that honors the material. In a talk I gave in Australia, I used a first date analogy: You work out, wear your best dress, carefully pick your bag and shoes. But once you’re at the table, the man across from you sees only your glasses all evening! Everyone laughed – but it’s true. That’s what inspires me. Every time I see a woman put on my glasses, look in the mirror, and like what she sees – that’s when I say, “This is what I’m meant to do.”

What inspired you to create a collection for children?
Just as I hoped women would feel better wearing my glasses, I wanted the same for children. Wearing glasses often affects kids emotionally, especially since they’re frequently teased at school – it’s a cliché by now. That’s exactly why I designed a children’s collection that closely mirrors my adult line. The aim was to enhance their appearance while preserving their childlike essence. I once met a little girl who got a pair of Caroline Abram glasses and was absolutely over the moon. When she went to school, everyone loved her glasses and wanted to go to the eye doctor too. She was as happy as if I had sold her high heels. That’s exactly the kind of effect I want to create. Little girls who wear glasses shouldn’t be teased – they’re already beautiful.

As the founder of a globally recognized design brand, what’s your next goal
Growth is exciting for most people, but I don’t have a specific plan for what comes next – and I’m fine with that. For years, I worked outside of my comfort zone; I had to learn the business and take each step carefully. Now, I just want to keep creating things that people love. I feel a sense of responsibility to those who connect with the brand. I want to preserve my human and family-oriented side. I have no intention of growing any bigger.

Source: Pret a Voir & Lunettes Originales

May 2025

Hello Gisela. Please tell us about you and Gustavo’s background, where you come from, your origins…
Gustavo and I have been together since 2002. At that time he was already an entrepreneur with several fashion stores. We met in Campinas. We’re both from Campinas, a city in the countryside of São Paulo State, Brazil, South America. Gustavo graduated in Business and I studied marketing after spending three years in Germany and Switzerland studying classical ballet. We became business partners in 2010 after being together for 8 years and having two kids. It was only in 2014, after a successful period working together, that we started dreaming of Lapima.

What is the meaning of the name Lapima, and why did you choose it?
Our oldest, Guga, at the age of 2, couldn’t pronounce ‘Lá em cima,’ which means ‘up there’ in Portuguese. Instead, he said ‘Lapima.’ We loved the word, its meaning, and the way it sounded. In addition, it’s easy to write and read in any language, so it made sense for our brand.

How is Lapima’s dedication to revitalizing and preserving sunglass craft executed today?
When we researched the market and planned the Lapima, we aimed to create a new aesthetic for sunglasses. We wanted to be the first luxury eyewear brand from Brazil, handcrafted in our own atelier. The essence of the brand is a Brazilian way of life translated into disruptive design and high-quality products. Our philosophy is of a haute couture business. We produce on demand, we don’t waste materials, and we don’t accumulate stock. Lapima works at a slower pace. Each piece is hand-designed, prototyped, and crafted, and the process of developing a new collection can take up to one year. We know that the client can see and feel the love in each purchased frame. To be able to provide the 30 artisans working in the atelier, in Campinas, where the sun shines three hundred days a year, (of which 25 are women) a great environment, a feeling of belonging, and the certainty to be crafting a unique product, it’s absolutely priceless for us. It’s what makes us happier and happier each and every day.

What are the materials you prefer for Lapima collections?
As Lapima, we partner with an Italian acetate manufacturer that does not use petroleum acetate, but cotton-based acetate. The lenses are all certified by the European Community and the FDA. Hinges are made in Germany by a family-owned business. We don’t produce stock, because we produce by demand, similar to a haute couture house, and as I mentioned earlier, all of Lapima employees are from our local community.

You and Gustavo draw inspiration from Brazil, but also from your hearts and souls. What are your other inspirations?
Lapima reflects what we live and feel. Brazil and its unique spots are our biggest inspiration. The nature, colours, architecture, and the designers that preceded us, are all influential. We have a rich culture, and what we show is what we see. Additionally, our states of mind and surrounding feelings inspire us greatly. In an artistic, authorial process, the inspirations begin with drawing on paper, made by hand, and going through millimeter calculation, the curves and volumes of each frontal, the perfect game of light and shadow harmony. And then color comes into play, the desired tone to better serve that inspiration. Lapima has many journeys ahead; there’s much to show and discuss and we’re excited about what’s to come.

How would you describe a Lapima wearer?
Lapima was launched in 2016 in the art gallery environment, and coincidently most of our clients around the world share the same love for art, architecture, and nature. Confident women, who know what they want and have no need to express themselves through logos. Also very confident men are discovering the Lapima World, as our “X Collection” (sculpture pieces that offer longer temples and wider noses) welcomes anyone with larger features.

Source: Eyebook

April 2025