Could you tell us about the advantages of this merger for DEG?
Lars Flyvholm: So to summarise the advantages, there were 4 key elements that made really good sense in this merger… We have added the British design heritage, via a brand that also has a very strong identity as William Morris London. We also added a product which fitted into our portfolio with the right price and target point. Finally, we identified a real growth opportunity in markets where Design Eyewear Group has already established a very strong presence.

Do you plan to preserve the collection portfolio as it is?
Lars Flyvholm: Yes, we will offer the core William Morris London collection and the luxury William Morris line – the Black Label. Alongside them, there is also the Gallery Collection, created in partnership with the William Morris Gallery. These are the three core collections with the strong British identity. Then there is also Charles Stone New York – which has a positioning that is young, fashionable and fresh and this we consider as a second brand. We have been working with Robert and his product team in the UK and our Danish team to look at where the opportunities are here for growth and expansion. Certainly, there are plans to expand the Gallery collection in the near future, with of course a sunglasses range, which has not yet been created within this brand. The Gallery collection will see a special mini launch in August as well as an additional launch for the collection in January 2024.

William Morris London was launched at 100% Optical in the UK for the first time since the merger with DEG. Could you tell us about what your UK customers think about this merger?
Robert Morris: Yes, this is the first time that opticians here in the UK have had an opportunity to see the two companies side by side which I think is really great, it’s important – and it’s great to see that when people look at it they can really see it makes sense. There have been some really interesting conversations at 100% Optical. There are plenty of independent opticians who are buying William Morris London who might not be working with FACE A FACE or Prodesign, so they are interested to hear how Design Eyewear Group can channel that business into their stores. And vice versa. It’s important also for them to see how Design Eyewear Group have created a number of concepts to help and support independent opticians which William Morris can now offer on a broader scale. Design Eyewear Group is a real partner to the optician.

Lars Flyvholm: We have some programmes for example where we offer the opticians ways to dedicate a part of their shop to our brands within the store. We can do this with a mix of our brands. There is a financial incentive within this board programme which allows them a one to one exchange so for example if you have 60 frames from 3 of our brands you will have a rep visiting you 4 times a year – and they will be able to exchange what is not selling and optimise the board. This flexibility – and of course the financial incentive – is something that we’ve had since 2020 at Design Eyewear Group and people find it really flexible and they love the chance it gives them to try new brands. Of course, the William Morris and Charles Stone brands are now included in this programme. We also offer a loyalty programme – we call it the Ambassador programme – where if you buy more or work with more brands your benefits increase. I would also add that we are lucky that we have had no issues at all since Brexit, given our infrastructure. Everything is running very well for us. Our logistics for all brands are run out of Denmark.

Could you tell us about William Moris London’s brand history and its current position?
Robert Morris: We started out as a distribution company in 1996 called William Morris Eyewear. It was from there, that we decided to create our own brand from scratch, and that was William Morris London. From there, we saw a further demand for a more luxurious product and so we created William Morris Black Label, with a more premium price point. Traditionally, I would say around 80% of our customers have taken both William Morris London and Charles Stone New York, but this can vary from practice to practice. 90% now take William Morris London and Black Label as part of that offer.

For William Morris London, British identity is very important and we see that you carefully protect this identity.  How did you create your identity?
Robert Morris: I think product is one thing, but what is so crucial to William Morris is everything around the frame, the whole “British world” in which the collection has grown up, and all the add-ons to that such as the carefully styled POS.. At the shows in particular, it has always been great that people were able to meet the designer, to recognise the London bus which forms the basis of the stand…so it’s really important to keep the whole package alive and moving forward.

Lars Flyvholm: As we have our own team in America, we know that the story about great British eyewear will be a great success in the US moving forward. That positioning is extremely exciting. We like the fact that the branding is so strong, and that Robert is an ambassador for that. Of course, we realise also that we must ensure the brand can also standalone already, and we must find that balance…which I think comes through the design, the strength of the campaigns, which are always distinctive with colours and British details such as the Union Jack. William Morris London really has a strength here, and as Britain has this incredible recognition all over the world, we will continue to show this side of the brand’s British heritage.

Could you tell us about your thoughts on the merger of DEG and William Morris London and your future goals?
Robert Morris: The brand has to stand on its own, and I know it can, it has established itself in the UK and globally as a brand. Of course, I hope that with Design Eyewear Group the brand can be taken to a place where I perhaps couldn’t take it. I believe that with all the synergy we have this will happen sooner rather than later.

Lars Flyvholm: Certainly, we think that this merger is very good for both Design Eyewear Group and William Morris London and we will achieve great success together. We have our sights set on growth in the US, but also in Europe and in markets like France and Germany.

Source: 20/20 Europe

August 2023

Then we can say that your father made a significant contribution to your sense of style…
From a visual point of view, old photos of my family from the 1930s to the 1950s still excite me today. Based on their stylish outfits and the shape of the glasses, I can say that they were simply stylish. Based on these vintage photos, I started to create my own design sketches. On top of that, I was fascinated by the classic frame material cotton acetate and its fantastic properties. From my love for experimentation and the idea of integrating natural materials while preserving their wonderful colors forever, I created the ‘Colours of Nature’ collection.

We know that you and your husband Dieter work together to develop the Funkeyewear collections. Could you tell us a bit about your production workshop in the Bavarian countryside?
During our rebellious years in the nineties and early 2000s, we lived together in the heart of Munich. But in 2000, we felt the desire to make an uncompromisingly radical return to eyewear design with our own production facility. So moving to our new headquarters in the small town of Kinsau was a big change for the better. We finally have enough space to prepare all of our eyewear and to create our creative ideas. We also work with the best eyewear manufacturers and technicians in our workshop.

You also run a ‘transparent workshop’ in your center, open to the public. Do a lot of opticians stop by to witness the production?
Absolutely. And it’s not just our transparent workshop, the Funk Optical Store in Berlin Mitte also produces its own glasses. Here in Kinsau, there are a lot of people who learn how elaborate the production process really is through organized guided tours.

What are the main advantages of having your own production workshop?
First of all, I would say the ability to test new designs very quickly. Also the complete independence from external manufacturers is a big advantage for us. Because we have full control over the types of models we want to prioritize for finalization and shipment.

You have developed your own eponymous brand, Sashee Schuster, aimed specifically at female users. When and how did you establish the brand?
The Sashee Schuster brand has been presenting its collections for almost fifteen years. The motivation and support of my husband Dieter and the need to develop a brand of my own was the driving force behind the founding of Sashee Schuster. I was very lucky when I started my brand because I had the know-how and assurance of a strong team by my side.

What distinguishes your own designs from Dieter Funk eyewear?
I would say the clarity and simplicity of the designs. This is actually something Dieter and I have in common. But still, my collection is quite feminine while Dieter’s is quite masculine. So I would say we have a good harmony.

Do you both work independently on your own brands or is there some kind of brand building that happens hand-in-hand for both labels?
Each brand does its own photo shoots, lookbooks and campaigns. Naturally, there is some overlap in the external presentation of our brands. But this is more accidental than intentional. Also, the fact that both of our brands are produced in the same manufacturing facility is not a negative thing. But still, to answer your question, each collection stands on its own.

Which materials do you enjoy working with the most and why?
If we are being honest, acetate is our best friend. But we are even happier when titanium is involved. Acetate is an amazing raw material. The whole surface feel is beautiful, with several stages of polishing in the polishing machine and a final manual polish. Acetate also offers tremendous longevity in eyeglass frames. This is because with polishing you can immediately remove every scratch on the surface. So you can patch things, repair things, rework things and upgrade the final product. I really don’t know of any other material that allows you to do that.

Is it true that you have a secret archive of vintage transparencies at your headquarters?
Yes, Dieter is quite fond of his vast supply of vintage acetate weighing more than eight tons with a retrospective from the 1980s to the 2000s. We continue to create small batch collections from this source on a regular basis.

Are there any designs in your collections that could be described as your typical signature style?
As a common denominator, perhaps I would say our avoidance of unnecessary gimmicks on the temples. We like the temples simple and anatomically balanced, most importantly with the goal of perfect wearability. This means you don’t need flashy logos. In my own collection, I use my special lamination and finishing technique, probably from acetate, which results in one-of-a-kind glasses.

Sashee Schuster’s new campaign is all about the 1968 generation. Where did you get your inspiration from?
My sister Renate was a woman of the 1968 generation. Untameable, wild, free, provocative. It was a fascinating generation. She told me about Afghanistan and how women there could move freely and undisturbed in miniskirts on university campuses. India, where she met many gurus and free thinkers. True, we are talking about the 1968 generation born in the forties and fifties. The hippie generation of that time is now 70-80 years old. Their grandchildren probably have houses in the city and life insurance. In some cases I’m sure they adopted typical lifestyles that they never thought of living – rejected at the time because it was too stuffy. We can learn something from the ’68ers. They started the first mega-event, “Woodstock”, intuitively and without concept, but with courage and a great passion for music. Although they were often criticized for their mindset, they exemplified what love instead of war means, how to break the conservative strings and how to see the world with colored eyes. They influenced all the generations that followed. Look at your grandmothers with different eyes. They were fiery, independent, defiant women with dreams and flowers in their hair. In heart and soul, they still are. That’s why in the campaign for my new collection I wanted to say “Embrace your hippie grandmothers, embrace their spirit, carry it forward and keep it”.

Could we say that your campaign answers the question of what the women of the ’68 generation would look like today if they were still so wild, free and provocative?
This question inspired me to create images in dialog with artificial intelligence, which I believe represents that generation. So I put on them models of glasses that emphasize the beauty of the wearer across real-life generations. The technique of laminating with acetate, refined by years of experience, makes it possible to create the most beautiful works of art in Funk’s eyewear production. We have created unique pieces with flowers, seeds, feathers, silk and much more, and the cuts that accumulate in the eyewear workshop are not thrown away, but made into earrings or necklaces. From raw material to finished eyewear, all from one workshop.

Source: Favrspecs

July 2023

Why is innovation important to you? Hasn’t everything already been invented in glasses?
Innovation is part of our dna – the goal is to offer our customers something new and relevant that brings a tangible benefit that didn’t exist before. We strive to experiment with new materials and new design techniques to improve how our frames look, feel and weigh. This is our goal and it seems like it is relevant to others too. We serve over 25,000 opticians in over 80 countries worldwide. Our innovative materials and technologies matched with fine craftsmanship have been recognized with awards such as the Red Dot Award for Product Design. We are the only eyewear brand included in the Museum of Design in Milano. As we know our city is a world capital for design, and it was an honor to sit next to some of the best design brands like Ferrari, Ducati, Vespa, Boffi, Cappellini and so on. 

That’s an impressive track record. You also mentioned quality and craftsmanship. Can you elaborate on your approach in these departments?
We founded our brand along the idea of bringing a level of quality that is unparalleled at this price point. We believe that quality – even more so than price – is part of the definition of luxury. We want to bring this experience to a broad public, part of which may now be buying mainstream brands with an average level of quality. In this scenario we may be the first step into the world of independent boutique brands. Or in many other cases, our customers may be the ones that navigate this world already and enjoy how we constantly evolve our range, while still maintaining the highest possible craftsmanship standards.

Is there a new design direction for the SS23 collection?
For SS 2023 we are strengthening the design direction we have introduced last year. We are convinced this approach is enhancing the power of our families: Air, Bold, Sun.

Can you tell us about Air collection?
Modo’s Air frames have long been an attention-grabber, and SS 2023 is no different. Innovation fused with comfort and style – that’s what we’ve always sought to deliver with our Air frames. For SS 2023, we are introducing five new styles in multiple new colors. All benefit from our patented hinge technology to make them more durable and comfortable to wear.

What distinguishes the Bold collection?
Our Bold frames were first conceptualized to help our customers show off their sense of style and flair. Since then, we’ve continually updated the category with new additions that offer intense colors, unique shapes, and uncompromising construction materials. In 2023 we are having seven more stunning styles.

And the sunglasses?
At last, the Sun collection. In 2023 we will have five more options of frames that protect the eyes from the sun while showing off our sense of style at the same time. HCD (High Chromatic Definition) is our top-notch proprietary technology which makes our lenses stand out in the market for quality and technology. Together Polarized and Anti reflective features it sets us on a different level from most competitors.

You pay a lot of attention to the materials. Which materials do you prefer to work with at the moment?
We work with noble materials like titanium, beta titanium, the finest acetates and hi-tech plastics like our own R 1000 resin. At the moment R 1000 is what we and our customers are having more fun with. It is an incredible material that we picked from the aeronautics, a memory plastic, very resistant, flexible and light with a wide color range. This allows us to create the lightest thin and bold frames in the market. Our R 1000 + titanium line won the Red Dot Award, the IF Award and brought us amongst the finalists of the Compasso D’Oro Award.

Which technical features are typical for Modo?
We like to play with small technical details that are usually loved by opticians and experts and make our frames special for consumers, like our hinges for example. Our hidden screwless hinge delivers several key benefits – starting from no longer having to deal with a screw, which falls off and leaves you “eyewear-less” to include significantly increased stability, strength, and resilience for eyewear. The use of self-lubricating metallic surfaces ensures fluidity of motion and the smoothest rotation possible for a difference that can be felt each time the arms are folded or unfolded. It also enables a sleeker, more streamlined design. The resulting “invisible” hinges foster the ability to create entirely new designs, allowing us to use opaque colors to completely hide the hinge or translucent colors that showcase the hinge’s form and operation.

What are other special features that can be found in your glasses?
There is something big we started developing in SS23, it is a project we very much care about and it is all about customization of our Paper-Thin Rimless collection. This collection has grown to be a best-seller for us and is a real alternative to the leading brands in the market. We thought there still was some unexpressed potential. That’s why we now offer customers the possibility to compose their own frames, by choosing the lenses’ shapes, color combinations, the bridges’ and temples’ sizes.

What is the core of your new SS23 campaign?
Our roots are the core! We were founded in NY and later expanded into our three cities – NY, Milano and Stockholm. We shoot our campaigns rotating across each of them. For the SS23 campaign, we decided to build on our heritage and go back to where we were founded in 1990 – New York City. Because there’s no place like home. And because New York City’s environments and people are just as diverse as our collection of frames. Inspired by elements as varied as a rooftop in the heart of SoHo to the celebration of craftsmanship in Brooklyn’s Industry City, the SS23 campaign brings a vibrant new look and mood to the Modo brand. But one thing that will never change is our commitment to delivering quality, durability, and lightness, no matter where we go.

We can assume that Modo will continue in this direction in the future, right?
Probably yes. We were founded in 1990 along the concept of “Eyewear for the Individual”, which we feel stands fresh and relevant over 30 years later. Our mission to bring the best design, quality and innovation possible in our world remains the same – how we will roll it out along the way is what will evolve constantly. This is what excites us about the future and why we love our job.

Source: Favrspecs

June 2023

Could you explain additive manufacturing and why do you prefer it?
Additive Manufacturing (AM) is understood as a production technology where materials are added onto each other, as opposed to most contemporary production technologies, where processes are used to remove material. This approach is far more resource and energy efficient. Of course, there are also many different kinds of AM technologies. We use the Powder Bed Fusion technology, which involves melting a very fine polyamide powder using a laser and then applying it in layers. To our system, it’s totally irrelevant whether you make a hundred identical or a hundred completely unique pairs of glasses. That allows you to focus on producing on demand, and on making custom pieces. We can also recycle most of the remaining powder, which means we generate far less waste than traditional manufacturing processes.

What are the key features of 3D printed glasses?
They are thirty percent lighter than traditional acetate glasses and they’re more durable with a carbon footprint that’s only a third of what we get from acetate production. It’s a very sustainable way to make eyewear.

Your eyewear designs are based on prototype frame with a more basic design. What does that mean, exactly?
The design process starts with pen and paper, as you would expect. Our two designers create the basic design, which is then turned into a parameterized 3D design using our own proprietary software. We can then put that design onto scans of our target market to try them out and then optimize them. After that, we start prototyping, where we start actually printing the first few models. Thanks to our designers’ experience and the optimization we do using out software, the result at this step is usually already very close to the final product. At the end, our software department goes over it one more time and calculates an average face shape based on our data for our target market, which we then use to fine tune the design.

How do you customize an eyewear model further after all that?
Oftentimes the glasses will already fit quite well in their standard form. If a customer’s face shape is a bit outside of that average, or the customer just really wants a perfectly sized pair of glasses, the optician can scan the customer’s face in using an iPad. With that, we can adjust the design to fit the customer’s face exactly.

Why is it important to you to keep production in Germany?
We founded You Mawo in 2016 in Constance, and our headquarters are still there. In general, you could argue that Germany has the strictest requirements for us, but we don’t see that as an obstacle, really. Rather, it’s an opportunity to push for higher standards and to ensure a solid quality standard.

Could we say that manufacturing in Germany gives you a competitive advantage?
Made in Germany still means a lot to people in many markets internationally. We enjoy having that “Made in Germany” seal, and we’re proud that we get to actively help shape the reputation of that label.

You have a local production concept based on needs. What would you like to say about this?
Traditional production technologies are almost always designed for mass production. Glasses need to be produced in massive numbers with a lot of lead time, three to twelve months or even longer. In the optics industry we have thirty percent overproduction—nearly one in three pairs of glasses that’s produced is never sold. The number of individual models doesn’t matter in our production cycles. We can produce on demand, react to new trends quickly, and even adjust to regional needs and peculiarities. That allows us to avoid the risk of overproduction, which also helps us when it comes to pricing.

You aim to further expand your concept of local production and decentralized production. Could we learn your reasons?
The eyewear market is organized like the fashion industry, with centralized production. There, it doesn’t matter at all whether production is in Germany, Italy or China. The product is made or assembled at one location, and then shipped off to a central head office, from where it gets sent off to opticians all over the world. We are changing that. As soon as a market is large enough, we’ll build a local production hub and produce in that market, for that market. This allows us to keep out supply chains short while still guaranteeing our quality standards. We keep the development as well as data sovereignty in Germany. As a result, we also maintain the strict data protection guidelines that we have here, and everything is taxed and monitored from here.

You’re already 100% carbon neutral. Is there still any motivation for you to boost sustainability further?
Yes, of course. Every business should anchor sustainability deeply into their own Dna, always considering ways to improve. For example, since 2021 we’ve also become “plastic positive”. Not only do we abstain from using plastics as much as possible, we also remove a larger amount from the oceans. That makes us not just carbon neutral, but carbon negative. Basically, we are never satisfied with “state of the art” as it is. That’s the motivation driving us to look for ways to develop and optimize further.

Could you tell us about the general characteristics of the collections you have launched? Does your new range have anything in common with the others in terms of design?
As You Mawo, we have four basic collections that we offer for a variety of user types and styles. The Bold Collection is for characters who like bolder and bold lines. The Fineline Collection is a versatile line. The faceplates, made of polyamide, weigh about as much as a piece of paper without the lenses, for which we developed our own patented hinge. Design Lab is like a pool for new and creative ideas and we have Young Mawo Line for the younger generation. Our newly launched sunglasses collection has design influences from these four core lines, but it has its own unique spirit and definitely reflects our ambition in the market.

Have there been any models that you’ve removed from the collections over the years?
As a rule, we allow designs to phase out to keep the collections compact. However, we have all of the data saved, so if a customer comes back after five years, we can reproduce his model, no problem. We can’t make any guarantees about the exact colors, but that just means you get your favorite model in a new shade.

Kaynak: Favrspecs

May 2023

Is it hard to reconcile both past and future of such a historic brand?
I’m always thinking that we have big shoes to fill. But one of the things that I love about the brand is that throughout the entire fifty+ year history, Matsuda has felt “current” and “of the moment”, all while staying true to the vision. So to answer your question, it is always a bit challenging, but the challenge is what drives us.

One of the similarities that you share with Mitsuhiro is a love for France. He traveled to Paris in the 80s to find inspiration for his clothing line. And you also fell in love with France at a young age. What does France mean to you?
Ah, France… One of the most beautiful, fascinating countries in the world. I think that there is such an appreciation for life and for history that exists in French culture. When I moved to France as a teenager, there was so much to explore and discover and it was so different from where I grew up. I also love seeing “old world” and “new world” existing at the same time. I try to draw on this for Matsuda.

How do you keep track of original material, sketches from Mitsuhiro or old products from Matsuda in the company?
We have an incredible archive of original sketches, clothing, eyewear, accessories and lookbooks that we have built over the past 10 years. We are constantly using these for inspiration. As you know, our Heritage Collection features products that we’ve resurrected from the archives that have been re-released in limited quantities.

What are the aspects of the Matsuda brand that inspire you the most?
Matsuda has always celebrated artists and artistry. From the product design, to the craftsmen producing each frame, to the way the campaigns are created – each artist plays an important role in what we do. We will always love and celebrate the work of artists.

You’ve worked as sales manager for Cartier and have some good knowledge about the luxury segment. What are the biggest changes in luxury that you’ve witnessed in the last decade?
Luxury brands have to be great storytellers today – it is what consumers are drawn to. Of course the quality and design of the product are still the most important, but now more than ever consumers want to connect with brands and feel like they are a part of them. There are a lot of great luxury brands out there today, which is very inspiring – but we just put on blinders and focus on staying true to our vision.

Design keeps evolving as well. One of the big movements in the past was a tendency towards less and less details. Yet Matsuda feels so fresh precisely because it has lots of filigree, metal work and “old world details” …
I think that consumers are tired of the monotony of the new ubiquitous brands that keep popping up. I think that you can still appreciate and respect minimalism and pair it with interesting details that give brands like Matsuda a unique personality. Once again though, we haven’t really shifted our vision to fit the current state of trends – this is just who we are and what we enjoy doing.

What was the most important lesson you learned with Matsuda in the past ten years?
We are always looking for new manufacturing processes that will allow us to push the boundaries of design and eyewear even further. I love seeing how all of these new technologies are evolving and becoming more accessible. That being said, craftsmen are an integral part of our company and we will not be abandoning them for machines any time soon…

One great aspect in your endeavor to revitalize the brand was getting parts of the original Matsuda team together. Is that still the case today?
We still have many of the original team members on board and are fortunate to have so much experience and history in the company.

Fashion and art were inseparable for Mitsuhiro Matsuda. Do you think that statement still holds true today?
I can easily say that this perspective and tendency continues one hundred percent. In my opinion fashion is art and is the perfect vehicle for self-expression.

Campaigns were an extremely strong side of the Matsuda heritage. You’ve continued this tradition very well. How do you manage to stay cutting-edge as a brand?
We just like to push boundaries and create beautiful images for our campaigns. Our campaigns are not commercial at all. We never approach them from a commercial point of view, but rather as an art project. At that point, it’s more about creating something that interests us. I think by staying true to what we love we are able to create images that people connect with and help tell a story.

With a decade since you took over Matsuda, what’s a meaningful trend in eyewear that you’ve been able to watch over that timeframe?
Wow, where to begin… I feel like the industry is constantly changing. The change that stands out to me the most is the rise of the independent brands and the amazing level of creativity that exists today. In the last decade both the retail partners and the consumers have fallen in love with independent brands again.

We’ve talked at length about the vision of Mitsuhiro and the brand. But where do you personally find inspiration in your life today?
I would like to say that from everywhere, as cliched as that sounds. Travel, art, fashion, and music are my biggest sources of inspiration. I just like to have fun and create interesting things.

Source: Favrspecs

April 2023

Hi Patricia, Gigi Studios is one of the up-and-coming young fashion brands in the eyewear universe. We would like to hear about how you got started in the sector.
It started when my grandfather created an eyewear factory in Barcelona, back in the 1960s. Then my father, Luis Ramo, carried on his legacy. I inherited my passion for a well-made product from him. I started working in my father’s company when I was 21 and I quickly became hooked on this world.

How did the family values carry over into your brand?
From the very beginning, the aim has been to create a global brand with a constant commitment to improvement. Over the years, professionals from the optical sector wanted to join Gigi Studios. So today, our team includes over 100 people who work up to the highest standards in a creative, young, and international setting.

What distinguishes Gigi Studios from other brands?
I felt that the industry needed a fresh designer brand with high attention to detail and, most of all, one based in fashion. For this purpose, I brought Gigi Studios to this day. I believe that at this point, we are meeting this need more than enough.

What was the reason for changing your brand name to Gigi Studio?
“Gigi” is the name I was called by part of my family when I was a child. And “Studios” comes from a rebranding we did in 2019. We loved the idea of evolving the name of the brand to “Gigi Studios” because we felt that it endowed the brand with an artistic and art studio character. At the same, it provided a more international approach.

You mentioned the studio character. How would you describe the philosophy behind your brand?
Eclectic, avant-garde, traditional, and innovative. We are an independent company with head offices in Barcelona that merges design and creativity with craftsmanship. A free, pluralistic view of fashion that promotes people’s unique identity.

Describing yourself as traditional and innovative at the same time seems like a contradiction. At the end of the day, which aspect is stronger?
Both! I’m the third generation of a family that has always been surrounded by eyewear. This heritage is so important to me. Craftsmanship is our essence and I think it’s also where our modernity lies. I think craft will always be relevant.

You already mentioned your Barcelona heritage. The city seems to be a true melting pot for eyewear. Why do so many eyewear fashion brands originate here?
Barcelona has been a reference in terms of design for many decades now. Today, it’s home to plenty of fashion brands and artists. And the same is happening in the eyewear field.

To what extent does this creative environment influence your eyewear designs?
This environment is a constant inspiration for me and it’s great to have independent brands around us. But the underlying inspiration comes from all around the world and from many different disciplines – including fashion and street trends, artistic movements, also from past decades.

What characterizes the design of Gigi Studios frames?
I would say what characterizes our design the most is our unique metal collection. We were one of the first brands that made a bet on metal at a moment when everyone was focused on acetate. So, we offered the market a trendy and special collection, both in stainless steel and beta-titanium. Nowadays we maintain a very good metal collection but the designs we execute in acetate have a very distinctive approach. That’s due to the way we work with angles and volumes in special constructions.

What would you like to say about your sunglasses collection?
I believe we have one of the most interesting sunglasses collections in the market at the moment. We have a fresh, trendy collection that is desirable for a wide range of consumers.

And the optical collection?
We are slightly more exaggerated in the intention of the sunglass designs compared to our optical styles. But we always maintain a coherence and transversality of the underlying concepts. Plus, we’re always looking to express our unique vision of fashion.

You currently have five collections Vanguard, Icons, Men, XS and Lab. Can you tell us about the characteristics of these collections?
Vanguard is our most emblematic collection. We describe it as the top expression of fashion, modernity, and sophistication. It includes optical and sun designs for women. Men is our collection that offers contemporary designs for men. Optical and sun models in bigger sizes. The Icons collection is characterized by timeless shapes and iconic designs. It’s a genderless collection, also with optical and sun designs. Our Lab collection is inspired by technology and fashion. It comes from experimentation with new materials and technological advances. The subtlety of the designs and the extreme lightness define the collection. Some designs can be called genderless, others more feminine. Finally, the* collection XS* takes up our Dna and applies it to designs for slim faces.

You also like to launch capsule collections and special concepts. What’s currently in the pipeline?
The latest ones were our capsule collection in May and a special Vanguard Collection with a new design concept in June. Besides that, we are working in partnership with brands which I personally like and respect, in order to develop new models together. Stay tuned, many surprises coming in this area.

Source: Favrspecs

March 2023

Hello Hajime, when and where did Minamoto’s journey begin?
It all started at the end of 2019, with a conversation with EU management about how we could improve market recognition for our company. When I was working in Europe, I heard some comments from our customers—that they weren’t aware that our company is Japanese. So, our initial discussion was to bring that “Sense of Japan” into the product for European people.

What is the brand name all about? Does the term have a deeper meaning?
Minamoto means “Origin”. Our team chose Minamoto as our brand name because we wanted more people to know about the spirit of Japanese craftsmanship and the roots of our company.

This meaning is also evident in your calligraphic logo…
Yes, our logo is expressed in a single Kanji character referring to the source, the origin of water. The logo represents our hope that our Japanese products will be accepted and loved by Europeans, just as a small spring becomes a river and, after a long distance, eventually pours into the sea and mixes with it.

Could you tell us about Minamoto’s Dna and philosophy?
It can be described with two words: Zen and Craftsmanship. The word Zen has a broad meaning, but in terms of what Zen means to Minamoto, it’s about eliminating what is unnecessary and maximizing its value. To express what Zen means in Minamoto’s designs, we can give the example of a single flower vase. The eye should be focused on that single flower, which is selected with the utmost care so the viewer can experience the beauty of the flower to its fullest extent. Craftsmanship isn’t just about the technical aspect of manufacturing eyewear, but also to the attitude of the person—approaching manufacturing critically to make things better. Craftsmanship is therefore one of the core principles of our brand.

Japanese brands are known for their attention to detail. Is meticulous attention to detail a priority for you as Minamoto?
At Minamoto, we are strongly committed to the traditional Japanese way of making eyewear, so we pay close attention to every detail in the creation process. We focus on the longevity of our products and try not to overlook any detail. We avoid showing hinges and screws clearly and avoid using plastic nose pads and temple tips.

It’s not surprising that you specialize in titanium. What speaks for this material?
Light, Durable, Hypoallergenic, chemically stable titanium is the best material for eyewear. And titanium is also a part of our origin, so it is a perfect match to our brand.

Could you tell us about your future goals as Minamoto?
I would like to increase the number of Minamoto fans even more. I will continue to work hard to showcase our craftsmanship to make the brand better, because craftsmanship is a journey that requires constant learning.

Source: Spectr

February 2023