African beauty and mystery influence L.G.R.’s Sahara sunglasses. The bold character of the design is characterised with superb quality cellulose acetate in Havana brown that extends to the temples, and a black stainless steel lower rim and nose bridge. Tempered mineral glass lenses are an important feature in sunglasses, and the Blue High Definition lenses in Sahara are exceptionally fine quality. For more L.G.R. eyewear excitement, visit their new website at www.lgrworld.com JG
Zac Posen launched his modern American glamorous fashion collection in 2001. The award winning designer is recognised for his artisanal craftsmanship and masterful use of textiles.
Do you have any favourite inspirations for designing clothing and eyewear? “I’m inspired by everything that surrounds me – people, places, art, and even a mood. I recently created a colourful gown in my ZAC Zac Posen collection that was inspired by a sunset I saw while taking a vacation in Harbour Island. I wouldn’t say one influence has driven the design of our eyewear collection. I’ve drawn inspiration from the essence and DNA within the Zac Posen brand. The collection, both men’s and women’s, is infused with the notion of modern American glamour that is always present in everything I create. Translating that to eyewear has been an exciting process for me.”
What is your favourite material in which to design clothing – and eyewear? “That’s hard to say, I’ve used so many wonderful and highly innovative materials and fabrics from all around the world over the years. In eyewear I’ve always loved the use and look of metal combined with other materials. We always try to use it in innovative and interesting ways to create a bold and distinctive frame that exudes sophisticated glamour.”
What do you find the most interesting aspect in eyewear design? “Form and function within the design of eyewear has always interested me. The use of certain methods when designing eyewear fascinates me. It’s essential that you consider the function of the product when introducing certain design elements or materials to the frame.”
You are now designing Bridal wear – are their other items you would like to design – perhaps beyond fashion? “Of course! Design and my love for creating is definitely not exclusive to fashion. I’ve been fortunate enough to create many other things outside my Zac Posen brand. I’ve designed cars, technology products, and even a Barbie! I always look to stretch my design skills outside of my everyday role so I am continually inspired and challenged.”
www.zacposen.com www.kenmarkoptical.com JG
1st January 2015 “She was beginning to find that everyone had an air of remoteness; she seemed to see people and life through the confusing blur of the long crape veil in which it was a widow’s duty to shroud her affliction.” Edith Wharton, “New Year’s Day,” in Old New York (New York; D. Appleton, 1924
Mourning after the death of a loved one was an intricate part of social mores in the 19th Century. Throughout this period, the duty of wearing mourning fell primarily on women, whose sartorial choices were seen as a reflection of the family’s collective grief, as well as their social status, economic standing, and level of respectability. A woman in full mourning dress became the emblematic icon of bereavement in Europe and America. Mourning dress served as a visual symbol of grief and respect for the deceased.
The Metropolitan Museum of Art in New York traces the mores and fashions of this period in Death Becomes Her: A Century of Mourning Attire. The mourning period could be up to a year; however, after being widowed in 1861, Queen Victoria limited her public appearances, and dressed in shades of mourning for the remaining forty years of her life, presenting an image of chast widowhood, in her “widow’s weeds.” The thematic exhibition is organised chronologically and features mourning dress from 1815 to 1915, primarily from The Costume Institute’s collection.
Formal rituals of bereavement aided in memorializing the dead, and mourning attire was subject to increasingly complex codes of etiquette and fashion. For Queen Victoria, in her forty years of widowhood, her mourning never lightened. When King Edward, Victoria’s son died in 1910, The Palace issued messages that wedding celebrations should take place as scheduled. The weddings did take place, but most guests still wore black. Even in sadness and grief, fashion played an influential role. Death Becomes Her: A Century of Mourning Attire continues at the Metropolitan Museum of Art through 1st February 2015. www.metmuseum.org JG
All images: Gallery View Anna Wintour Costume Center, Lizzie and Jonathan Tisch Gallery Copyright: The Metropolitan Museum of Art
and accessories showcase our holiday edition. Throughout the month you’ll find chic, stylish frames and accessories to brighten your merriest of events. Click on all our sections to discover frames by international designers; an exclusive boutique; an inspiring design trio; and an historical museum. Joyous holidays to our sponsors and readers!
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23rd December 2014 The finalists have been announced for the Eyewear Design Competition organised by 100% Optical and The Royal College of Art. The next generation of eyewear designers will present their creations at 100% Optical in February 2015. Top image: Alice Howard-Graham for ‘Ready to Wear’
There are two categories – Ready to Wear and Couture. The judging panel includes eyewear luminaries Lawrence Jenkin and Jason Kirk; Marie Wilkinson from Cutler and Gross; designer Emma Montague; Walter Berwick from Algha Works; and RCA tutors Flora McLean and Heather Holford. The students will make the frames themselves at legendary Algha Works in London, with the help of experienced frame-making professionals.
How do British students envision eyewear for the future? Visit 100% Optical 7-9 February 2015 for insight into what is next in frame design. The winners will be announced at the show. www.100percentoptical.com www.rca.ac.uk JG