Creative spirits

Woman with short blonde hair wearing a white textured top and brown trousers, hands in pockets, studio backdrop.

Jutta Kahlbetzer, Hoffmann Natural Eyewear

September 15th 2026

Jutta Kahlbetzer is one of the world’s buffalo horn experts, as Co-founder/CEO/Creative Director of IVKO, Hoffmann Natural Eyewear’s parent company. Her passion for the brand’s history and heritage is matched by a desire to explore what is still possible with this luxurious natural material, combining time-honoured skills with contemporary design and technology. Eyestylist spoke to her about Hoffmann’s specialist craftsmanship, the enduring appeal of natural horn and why individuality and time remain, in her words, “the rarest forms of luxury”.

Jutta, thank you for agreeing to speak to Eyestylist. For those who don’t know you, can you introduce Hoffmann and describe your role? Since 1978, Hoffmann Natural Eyewear has been creating glasses in the Volcanic Eifel region made from natural materials – especially natural horn. With this experience and a passion for perfection, each frame is created by hand in around 280 individual steps. Every pair of Hoffmann glasses is a unique masterpiece and of the highest quality.

For more than three decades, I have been working in the international eyewear industry. In 2000, Wolfgang Thelen and I took over Hoffmann, making the brand a very personal part of our journey. I am the creative mind with a passion for subtle communication, technology and planning. I am particularly fascinated by the possibilities of natural horn and constantly strive to push the boundaries of this unique material. As Co-founder and CEO and Creative Director of IVKO, the daily tasks are quite extensive, but on the days I can dedicate myself to creative work, I almost feel a little guilty – it feels more like pleasure than work (laughs). Above: Jutta Kahlbetzer, Hoffmann Natural Eyewear

Tortoiseshell round eyeglasses with thick frames shown from the side against a black background. — Hoffmann Natural Eyewear: 2308 in the S-Line Collection

Hoffmann Natural Eyewear is one the world’s eyewear companies that preserves traditions and craftsmanship in the production of fine buffalo horn eyewear. Why do you think the material has enduring appeal in the modern era and has technology played a role in achieving new standards of production in horn eyewear design? Natural horn has an enduring appeal because it stands for individuality, authenticity and time. Especially in the modern area, time is a true luxury. Every horn frame is unique, and our customers appreciate the craftsmanship, attention to detail and time invested in creating it. At Hoffmann, traditional craftsmanship and modern technology go hand in hand. CNC technology enables precise and efficient production, while every frame is perfected by hand through the experience and skill of our passionate artisan crafts. As the raw horn comes from renewable resources and is collected in harmony with the natural circle of life, for me, there is no doubt, that this material will remain a valuable and future- oriented choice.

Hoffmann Natural Eyewear: 2242 in the S-Line Collection

Do you find there is still some reticence about working with natural horn or has this situation now changed? In the past, opticians were sometimes hesitant to work with natural horn, as it was considered a sensitive material. And while natural materials do require experience and a delicate touch, there is no need for opticians to be afraid of working with natural horn. Respecting some really basic rules, everyone will discover the magic and durability of this great material and its numerous benefits.

At the Hoffmann booth at SILMO, opticians can also visit our manufacturing station and ask questions to an experienced colleague from our Hoffmann atelier. Hoffmann also gives masterclasses to partner opticians who are new or unfamiliar with the natural material horn. Additionally, we provide glazing instructions and videos to support our optician partners.

Handcrafting at Hoffmann Natural Eyewear

What do you personally appreciate about creating fine eyewear at an historic company, and how does the company history continue to play a part in the success of the collections worldwide? What I appreciate most is the combination of heritage and innovation. Since 1978, Hoffmann has built up a unique wealth of knowledge and craftsmanship, which is passed on from one generation to the next while continuously evolving. Our history gives us a strong foundation, but our openness to new ideas and contemporary design keeps the collections relevant worldwide. Every frame carries a piece of this heritage while still feeling modern and individual.

MIDO 6-8 February 2027. Welcome to Eyewearland

LOFT Santa Monica Show October 16th and 17th

Hoffmann Natural Eyewear x Thierry Lasry – model Enemy

Hoffmann launched a luxury collaboration with Thierry Lasry in 2025. What has been positive about this experience and do you hope to carry the edition forward? Above all, the combination of two distinct areas of expertise. Thierry Lasry embodies a distinctive vision of modernity and artistic expression in the world of eyewear, which meets Hoffmann’s decades of craftsmanship and expertise in working with natural horn. The result is a unique dialogue between bold design and traditional craftsmanship.

The result is a collection that successfully combines creativity, individuality, material excellence and authentic craftsmanship. Never change a running system — stay tuned…

What do you personally love about the collection? I could actually list a lot of points which I love about the collection. What is really outstanding to me is the time invested and the individuality of each frame! As well as the natural grain, which is different on every single horn, there is the handcrafting aspect, which of course gives every frame that unmistakable aura of uniqueness. We believe that individuality is the greatest option we can offer our customers. After all individuality and time are the rarest forms of luxury!“ But my real heartfelt aspect about it is and will stay the strong bond to nature that a horn frame represents.

Hoffmann Natural Eyewear: the new packaging will be on show at SILMO

I note there is some new packaging for the collection. Please feel free to tell us more! We have recently introduced new packaging for Hoffmann. From the outer packaging and case to the cleaning cloth, every element has been redesigned to reflect the quality and premium character of our eyewear. It is a new home for our Hoffmann masterpieces – designed to protect what is truly unique and to create a refined stage for our handcrafted frames. With every frame, customers will also receive a small piece of craftsmanship as a special addition to the packaging, celebrating the natural material and the handmade character of each piece.

Find out more about Hoffmann Natural Eyewear at www.hoffmann-eyewear.com

Man in a white tank top crouches among tall red curling flower sculptures in a neutral studio.

Creative spirits

Artan Rushidi, contemporary artist shows at Le Bar à Lunettes

May 26th 2026

The multidisciplinary artist has created an installation at the optical boutique Le Bar à Lunettes in Liège

After beginning his studies in architecture, Artan Rushidi became a contemporary artist. Today he creates artworks exclusively using shoelaces. “My work consists of tying them, assembling them, and making them bloom. I have always enjoyed standing apart, and shoelaces gradually became my medium of expression. It is a new language, but one that deeply reflects who I am.” Rushidi has worked in collaborations before, creating an installation with the famous Belgian crystal manufacturer Val Saint Lambert. “We integrating a floral knotted artwork into one of their crystal vases. It was a meeting between two forms of craftsmanship, two materials, and two different worlds.”

“It was a first experience for me, but I hope it will not be the last,” he told Eyestylist. “I enjoy challenges and the opportunity to look at things differently, to connect my work with other worlds, other environments, and to reach a different audience. This collaboration allowed me to discover a rich, inspiring, and fascinating universe.”

His latest installation is showing at Le Bar à Lunettes (www.lebaralunettes.be) in Belgium, a design boutique specialising in luxury eyewear and brands like Ahlem and Lapima. “Occupying a space, taking installations out of the studio, and seeing them come to life elsewhere is a completely new experience. I was very happy to create this first project with Le Bar à Lunettes. Thibaut has a strong artistic vision, with a slightly futuristic approach that resonates with my own practice.” Above: portrait of the artist

Le Bar à Lunettes in Liège – Artan Rushidi’s floral work showing at the store

The artworks displayed in the boutique were created especially for Le Bar à Lunettes, which goes beyond being a simple retail space. Upstairs, an exhibition area provides a gallery space for the artist’s series of knotted canvases. The idea was to create a journey, inviting visitors to see things differently and “perhaps also to become connected to one another.”

“I would love to see more collaborations emerge, explore different themes, and build bridges between optics and my work with shoelaces,” says Artan. “Sometimes a simple encounter opens a door, and that is exactly what happened with Thibaut. I was honoured to install my work in his boutique during this “Spring” exhibition.”

Asked about how the installation unfolded, Rushidi said the creation process varies depending on my state of mind. “I can spend a few days on a piece, or several weeks. Some works contain kilometres of knotted shoelaces integrated into formats reaching up to two by two metres. Each artwork requires time, repetition, and a form of almost meditative patience.”

Knotted canvas by Artan Rushidi, shown in the gallery space at Le Bar – and bouquet of flowers

Asked to explain how he thinks a retail space can lend itself to an experience of art, he told us: “I truly believe that art belongs in these spaces. I like the idea that my work can surprise people, spark curiosity, and create questions among visitors entering the boutiques that host my pieces.

Sometimes you need to surprise people to leave a lasting impression, to bring art into places where it is not expected. It is an exciting challenge to occupy such unique and beautiful spaces. These encounters give the artworks a new life and create an unexpected dialogue with the public.”

Find out more about work by Artan Rushidi at www.artanrushidi.com

This Eyestylist exclusive feature was written by Clodagh Norton and published on 26th May 2026. All rights reserved. Photos by kind permission of Artan Rushidi. Eyestylist.com does not use artificial intelligence to write or edit copy published on this website.

Creative spirits

Martin Guentert, Ørgreen Optics

March 24th 2026

Trained as an industrial designer, Martin Guentert is the Head of Design at Ørgreen Optics. With over 16 years of industry-defining experience, including pioneering laser-sintering techniques, Guentert is one of the optical industry’s foremost product designers. We asked him about his current approach to design in his work at Ørgreen Optics, Denmark’s premium eyewear brand.

When you joined the Ørgreen team in 2024, you talked about wanting to make the brand “future-proof” through even more innovation. Could you explain in a little more detail your production direction at Ørgreen so far? When I joined, Ørgreen already stood for great competence in colour and design and for highest quality in product and service. And while our titanium lines are still what we are most known for, since then, products like our ACETATE CUT collection with its flex hinge, and fresh shapes and a more sculptural approach to the QUANTUM HIGH collection – with models like MEGAHERTZ – have widened the horizon.

Last autumn, we launched a new family of frames called NYHAVN. Because they are made of stainless steel and with a simple monocolour concept, we were able to develop and add a feature hinge to the package and still keep an entry price level. It speaks to a slightly younger audience and opens up new clients to Ørgreen. Generally we try to sharpen our product identity along with a brand overhaul, which you are starting to see in everything we do.

And we won’t stop there. A stronger emphasis on sunglasses will help shape our brand in the near future and we will have more exciting titanium news this year. So watch this space… Above: portrait of Martin Guentert, Ørgreen Optics.

*Ørgreen Optics offers a selection of high quality eyewear collections with timeless designs*

What do you feel are key directions in eyewear in 2026, and how does this apply to the Ørgreen Optics’ collections? Honestly I don’t spend much time on trend research. I mostly trust my intuition, my team and our own statistics. On the Ørgreen side of things you are going to see that we lean into more sculptural details across sheet titanium, acetate and 3D printing. Well-placed chamfers and surface details can really enhance a great cut. On the other hand, in NYHAVN we are also trying to simplify and offer something that is reduced to outline and colour.

You have had an incredible career in eyewear design so far, first at MYKITA and now at Ørgreen. What did you originally train to be and how did you get into eyewear? I studied industrial design. I had done one eyewear project as a student, which was exhibited in Berlin and discovered by the MYKITA founders. They took me on board. I learned a tremendous amount and was able to specialise, experiment and grow with them. And after 16 years it was time for me to write a new chapter in a new city and I took the challenge to lead the design team at Ørgreen. Generally we try to sharpen our product identity along with a brand overhaul, which you are starting to see in everything we do. Although I was trained more as a generalist, I never wanted to return to classic industrial design. The longer I am in eyewear, the more interesting it gets.

What draws you to the eyewear product from a design point of view? We design fashion items, medical devices, lifestyle statements all at once. And we do it for the most sacred area on the human body, the eyes. To do this with the right respect for the wearer, expertise and brand awareness is no small feat. We’re not saving lives here, but we make everyday companions that enable our wearers to see better and express themselves. It’s a very intimate thing.

What are your favourite contemporary materials and where do you see the future of eyewear design headed? I love working with additive manufacturing. I had a chance to pioneer 3D printing in the eyewear world back in 2011 and I still learn new ways to use it. Although 3D printing has its limitations, this production method represents the most direct way for me to shape what’s in my head. And this is also a field where most incremental improvements are being made, almost every month. Smart eyewear is making some interesting developments, but is still far from ubiquitous or unobtrusive. The industry needs more R&D here to really interest large amounts of people.However, the general eyewear market will hopefully focus on issues of sustainability first, especially in the field of preconsumer waste. And forcing the big players to have better answers here is a task for every designer and every consumer.

Bright colours or a minimal palette (as they coexist in 2026) – what is your preference and how do you feel customers are now approaching colour in eyewear? There are no simple recipes here. It’s not about a certain palette, it’s about consumers understanding what you do and feeling a connection. What I am looking for is clarity and emotion. If the cut of a model is very austere and minimal, the emotion can be injected with colour, even if it’s just a small detail or on the inside of the frame. But a paint bucket is not a panacea for boring designs. Me personally… I’m a monocolour kind of guy.

When you are not working, what are your interests and do they somehow inform your work? I love great food and Copenhagen seems to be its capital. I like to make the act of eating a reward for myself and a joy to share with others. I like to always have a craft project going on. The one thing I keep coming back to with passion is costume making. I enjoy learning multiple techniques, from integrating electronics to sculpting with foam clay or classic sewing. I love the character design and people’s reactions to it. And yes, that absolutely informs my work.

When you look back at eyewear history, what product/products do you most admire or which eyewear designer do you look at as both original and inspirational? Of course there are seminal designs in eyewear, but the designer personalities I refer to are often generalists. If we only ever look at our own industry, the risk of generic and referential ideas is too high.Jasper Morrison has been an important influence for me as an industrial designer. And lately I have looked more at Danish designers like Finn Juhl or Grete Jalk to get a more nuanced understanding of the Danish design tradition, which we are a part of.

To find out more about the Danish eyewear brand Ørgreen Optics at www.orgreenoptics.com

Creative spirits

Yoshinori Aoyama: “a new perspective, beyond existing values…”

March 3rd 2026

The eminent Japanese eyewear designer, Yoshinori Aoyama is well-known as the Founder of FACTORY900, a multiple award-winning Japanese eyewear label. He began the label in 2001 as Aoyama Optical’s ‘own brand’ and since that time he has been involved in all aspects of running the brand and developing its success in Japan and abroad. In 2023, Yoshinori Aoyama started his eponymous label, a collection that takes a new approach to titanium by exploring all its possibilities with depth, creativity and the innovative study of spatial design. Eyestylist.com was priveleged to find out more in a first interview exclusive about the launch of this distinguished eponymous collection.

Can you explain briefly your family connection in eyewear, and how eyewear design has become a focus in your life? I was born into a family that has been involved in eyewear making for three generations, starting with my grandfather. There was a factory right next to our home, so I grew up surrounded by the manufacturing environment and watching craftsmanship very closely in my childhood. Perhaps because of this, eyewear always felt like a natural option within my life.

When I was a child, the adults around me would often say, “Your father is a genius.” As I grew older and began helping out at my father’s factory, I came to truly understand the greatness of both my grandfather and my father, and the meaning behind those words. Anyone who has been involved in eyewear manufacturing can immediately recognize the excellence of what Aoyama Optical produces simply by holding one of our frames. It was at that time that I made the decision to work in the eyewear industry seriously as my chosen profession.

Your first own label was FACTORY900. How old is the brand and what is its focus today? Give us a little summary of how this brand has evolved? FACTORY900 celebrated its 25th anniversary last year. Since the brand’s founding, my constant goal has been to create “beautiful eyewear”. Building upon the specialized acetate craftsmanship established by my grandfather and refined by my father, we manage every step of production in-house to bring our vision to life.

By making full use of acetate as a material and pushing its possibilities to the absolute limit, FACTORY900 is known for its sculptural and avant‑garde forms. The brand has received numerous international awards, including two Silmo d’Or prizes and an iF Design Award. At the same time, we have continued to evolve through active collaborations with brands such as theo, Lexus, and Undercover.

Yoshinori Aoyama: exquisite Japanese craftsmanship and creative ingenuity + innovation converge

The new eponymous label YOSHINORI AOYAMA launched in Japan a few years ago. What is the concept and how did it come about? YOSHINORI AOYAMA made its debut at Silmo 2023 (A/W). The core concept is ambivalence. When it comes to FACTORY900, I spent many years focusing intensively on acetate as a material because of our family business. At the same time, however, I had a strong desire to challenge myself with different kind of materials.

YOSHINORI AOYAMA is an all‑titanium collection. By working with titanium, I feel my design expression has expanded significantly. I found it extremely fascinating, and I am dedicating myself fully to exploring the possibilities of titanium.

What materials, special features and innovative techniques are used in the production of your Yoshinori Aoyama frames? YOSHINORI AOYAMA collections are primarily with titanium, as well as 18‑karat gold. While FACTORY900 is known for sculptural forms, YOSHINORI AOYAMA is defined by spatial design. Although their expression is different, the philosophy remains the same: to create beautiful eyewear.

By separating the frame from the lenses, we introduce free, three‑dimensional curves into space—an idea that challenges conventional metal‑frame design. Technically, this work is supported by the high level of craftsmanship in Sabae, Fukui, Japan. In our production meetings, they tell me the designs are ‘too difficult’ or ‘take too much effort.’ But it is precisely this complexity that we overcome together, step by step, to bring YOSHINORI AOYAMA’s vision to life.

Yoshinori Aoyama: a new direction for titanium eyewear

Do you already have optician stockists for this collection outside Japan? How are you working with partners in the rest of the world? The YOSHINORI AOYAMA collection is currently available in 14 countries across Asia, Europe, and the United States. Depending on the country, we work either through local agents or, in regions without agents, directly with individual retailers. We collaborate with partners with flexibility according to the conditions of each market as we expand internationally.

What is your priority with this collection and its positioning in the luxury segment? Creating beautiful eyewear is a central part of my design philosophy, and it is something I value highly. I aim to let this approach naturally shape how YOSHINORI AOYAMA is perceived within the luxury eyewear market and express a quiet, essential sense of luxury—something that resonates deeply with those who understand and connect with it.

Yoshinori Aoyama: new collection in titanium – made in Sabae

What have you added in the collection since we first saw it in Japan in October 2023? This is my first time working with titanium, so I am currently spending a lot of time exploring and understanding it through my collection. I am not too influenced by the market, and am conducting various experiments to find out how far I can go with titanium as a material.

How would you define the reaction to the collection in Japan so far? Overall, the response in Japan has been very positive. I know that preferences differ depending on the retailer, and the end user, and those differences become even more pronounced in a global market. That said, I don’t believe it is realistic—or even necessary—to create something that appeals to everyone.

What matters more to me is whether the collection can introduce a new perspective beyond existing values and conventions. Seen from my current standpoint, I feel the feedback we have received has been very encouraging, and I am satisfied with those responses.

Yoshinori Aoyama will exhibit at Eyecon Show in New York from 6th to 8th March 2026.

Find out more about Yoshinori Aoyama at https://yoshinoriaoyama.jp

Creative spirits

Fabian Burgard, fashion photographer, co-founder, Burbas

February 11th 2026

Fabian Burgard co-founded Burbas with Max Bastian as a full-service creative studio based in Cologne. Working across photography and video, the team produces content ranging from e-commerce shoots to major campaigns for clients in Germany and abroad, with a growing presence in the eyewear sector. With AI beginning to influence how the perfect frame is captured, Eyestylist asked Burgard to share his perspective on photography, eyewear, and the future of image-making in luxury fashion.

When did you start specialising in eyewear and how does this style of photography fit with your expertise? I first worked for an eyewear brand in 2019. It fits well with what I do, as I also shoot in other areas of fashion. Outside of work I also developed a big interest in the fashion industry as well (even if my own outfit looks pretty much the same most days). A real “expertise” for eyewear came over time. Glasses are a tricky product: they’re reflective, often super delicate, and the photographed angle makes a huge diﬀerence. Over the years, I think I developed a feel for what makes a frame look right, how to place and light it. So it’s something that really grew through doing it and will probably keep growing.

What is your view on AI and photography campaigns? Are you using AI at Burbas and what advantages have you seen? AI is a great tool, when it actually makes sense. We’ve been developing workflows that let us keep the product design consistent, to use when it serves the concept. That can make it possible to create more complex looks without blowing the budget, which is a win for a lot of brands. At the same time, it’s very client- and brand-dependent. Above: Fabian Burgard, photographer @burbas.de

Coblens Eyewear campaign 2026 – shot by Fabian Burgard at Burbas

We actually still produce full analog shoots, and we even have our own in-house darkroom for film development. The main thing for me is that AI shouldn’t override a brand’s authenticity. If a label is rooted in tradition or draws from specific decades and craft, you need to reflect that honestly and sometimes that means AI simply isn’t the right tool (at least right now). In the end, I don’t think you should ignore AI either or use it just because it is new or even hyped at the moment.

What was the latest campaign you worked on? Our latest campaign was actually a special one. It was for Coblens Eyewear (https://www.coblens.com), a label from my hometown, they make beautiful frames. We shot it at the Gerling Quarter in Cologne, a 1950s building from the post-war modern era. The location as part of the building is run by a university that’s also one of our clients, so we were able to produce there. And the architecture matched the frames perfectly, so visually it feels like a match.

Besides the video assets, we produced a fully analog photo series: shot on film, then we made hand prints in our darkroom and scanned those for the final files. It’s a workflow I love, but in this case it also fits the brand so well because it has that crafted, handmade character. With a great team, it turned into one of those productions that’s just really fun from start to finish.

Do you also do still life work and what is your opinion of still life photography for eyewear? Yes we do still life, and I love it. It’s such a strong (and easy) tool for building brand identity, especially in eyewear. For me, still life works best when it’s reduced and focused — not overloaded with as many beautiful objects as possible. Sometimes texture and framing is already enough to set the tone. Putting frames on a material that fits the brand can do a lot. Technical frames on stainless steel, brands with a heritage feel on materials that reference older interiors or architecture, whether that’s marble, a specific carpet, or something similar. If the concept is more modern or playful, you can also go in a slightly more unexpected direction. I recently saw a jewelry campaign where the product was photographed on baking paper, super minimal, and it looked amazing. In the end, I think smart, reduced choices often make the frame look stronger than an overloaded set.

Coblens Eyewear campaign, shot by Fabian Burgard at Burbas

What’s your work goal/ambition for 2026? For 2026, we’ve got many goals. On the main side, we want us to keep producing strong work. Staying current, pushing new ideas, and doing more creative productions. We are happy to work with new brands. Partly because it’s creatively exciting to build visuals for diﬀerent brand identities, and yes, also because working with new clients is always a motivating part of the job.

And then there are the smaller, personal goals: pushing my own ongoing documentary work, refining my style, and finding a few dream locations I’ve been wanting to shoot at for a long time. Right now, I’m trying to get access to a museum space in Wuppertal that I’m completely obsessed with. So if anyone there is reading this… feel very free to reach out, and maybe we’ll end up seeing that shoot on Eyestylist.com very soon.

What is the future of photography for eyewear brands? Digital. Or Analog and Digital? I’m pretty sure it’s going to be both. AI will keep getting better, which makes it a great match for a lot of brands, and it’ll definitely lower the barrier for newer brands to create strong visuals. But at the same time, I don’t think the handcrafted side of production will ever fully disappear, especially when it comes to creative campaign assets. In marketing, it’s not only about the final image. Often, it’s also about how it was made, who was involved, and the human side of the process. That “made by real people” aspect has always been part of what brands communicate. Whether it’s a collaboration with a bigger artist people identify with, or just creatives in general behind the scenes. That human process often matters, because it helps sell the feeling around the product. Realistically, the balance will probably keep shifting further toward digital work because the possibilities are growing so fast, but I don’t see the traditional, hands-on side of production completely vanishing. There will always be brands that look for authenticity in craft and character not only in what they produce, but in how they communicate it.

To find out more about Burbas.de, click on the link: https://burbas.de