Creative spirits

As he travels the world, David Duralde, Chief Creative Officer for Kenmark Optical, cuts a dashing and debonair figure in his sleek wardrobe. In an exclusive interview with Eyestylist, Duralde shares his thoughts on personal style.

How would you describe your personal style? “My personal style is edgy + classic. I like mixing metaphors and twisting convention so the unfamiliar becomes familiar. I’m intrigued by classic elegance with an edgy twist – it’s like a whisper in an echo chamber. You don’t have to be loud if it’s intentional. My mindset is to always question the status quo and wonder if something can be more beautiful and efficient. This is the curse and obsession that drives creativity.”

What men’s designer do you find most influential?  “I really admire creative minds like Virgil Abloh, Riccardo Tisci, Raf Simmons and Allessandro Michele, who had to shake up the vocabulary for global men’s fashion collections and offer something truly new in these established brands for a younger generation. It’s quite an undertaking and I’m sure engenders some real nail-biting moments. Someone had to redefine what luxury looks like in menswear, as it all was looking very stale. The only differences in men’s brands were very, very subtle cuts and applications of fabrics. Now, when you go shopping for menswear, there’s a real energy in the category.”

Do you have a favourite colour and is there an anecdote or story behind that? “Three-quarters of my closet is black for obvious reasons. I travel a ton and black is very practical and timeless. A black Prada lace up I bought in 1992 at Maxfields in LA still looks good after all these years. Every season there is a new colour deemed the new black, but for me, Black is always the new Black. If Black went away, green would be next. The colour has so many moods. It can be murky, slimy, fresh, primary and always looks new when it’s in a new shade or hue.”

What is your favourite accessory? – apart from eyewear of course! “Cars. So many men’s accessories are imagined and created to pair a great car. That’s why I think of great car design at the top of the food chain for other items such as watches, rings, wallets, bags, etc.”

Do you enjoy shopping for clothes? Do you have a favourite store – curiosity or professional instinct that draws you there? “I love shopping at Barney’s New York, Traffic LA, Forty Five Ten in Dallas. It’s also a lot of fun to spend time in Gucci stores. The stores have the same excitement, buzz and energy you first saw at Apple Stores when they arrived on the retail landscape. This reminds me that people will always want to buy something if the store is unique and compelling.”

Your work demands you travel frequently. Is there a city abroad where you like to shop, explore and cultivate new ideas? “I love to shop and people watch in Milan. People are never afraid of fashion in this town. It’s like oxygen for a designer. Then shopping in Paris is next on the list, because it’s an equal reminder that one should work to live and not live to work. There is a different sensibility in these towns. There is a pursuit for the aesthetic and a respect for intelligent, creative design. These cultures understand throughout history the importance and work behind making things that are great – from food, to experiences, to art, architecture and everything in-between.” www.kenmarkeyewear.com JG

Goldsmith, furniture maker, innovative eyewear creator – Serge Bracké’s formidable talents highlight theo designs. In an exclusive interview with Eyestylist, the Belgium designer shares his viewpoints on creativity, inspiration, and the future.

What event in your life may have motivated you to pursue a challenging career in creative design? “Like most things in life, it’s probably a combination of events, influences, being at a certain place at a certain time…With my final exams, the school strongly hinted that I look for ‘new opportunities’ and my parents had all but given up on me. Luckily my art teacher showed up during the examination board meeting. He didn’t really have to but – divine intervention? he did. Based upon an interpretation I had made on a Mondrian painting, he convinced the other teachers to refer me to a design/art college. The funny thing is that the Mondrian assignment, the search for balance between horizontal and vertical lines, and primary colours, is still of great influence in my daily work. I can still literally lose myself in the equilibrium of a shape, the mix of materials, or the combination of colour shades.”

Please elaborate on how you became involved in creating eyewear for theo? “I spent my college years in jewellery design, but designing more practical objects already had my preference. When I had a  job with an eyewear brand near Brussels, my  skills as a goldsmith helped me make prototypes as if they were finalised production frames. From the start, I knew that eyewear was going to be a big part of my future. That challenging balance between aesthetics and functionality was right up my alley. I contacted Wim Somers at theo. It took about a year to convince him to meet. I wasn’t playing football, a needed skill back then at theo. Nowadays, cycling is a plus…”

With regard to your unique creative process, how do you cultivate and energise your instincts for design concepts? “For me inspiration and new concepts are everywhere – stay curious, open and alert for new impressions. For children everything is new and exciting. Too often, as a grown-up we stare at things in a singular, mono-dimensional way, or observe on a superficial level only. ‘Growing old is mandatory, growing up is optional’ should be on a tile in every kitchen and design studio. I try to absorb as much as possible from ‘exotic’ disciplines, and stay fresh and inspired. I have a weak spot for cities that never sleep, for industrial heritage, for youth subcultures, for…so many impulses, so little time!”

Are there any designers – past or present – whose creative concepts provided inspiration and guidance for your own artistic innovations? “I have a thing for movie directors with a distinctive layout and a creative identity. The balanced framework and colour schemes of Wes Anderson’s films, as well as the vibrant, eclectic scenes from a Baz Luhrman movie (inspiration for the theo ‘Graffiti’ frames came from his Nextflix series ‘The Get Down’) can really overwhelm me with respect, inspiration and a healthy dose of jealousy. Of course, these two examples are relatively easy to translate to the theo story.”

What particular trends in shapes, colours, and materials do you envision or anticipate in eyewear? “History repeats itself. We had the vintage 80s revival – which back then was already a revival of 50s shapes – followed by the oversized 70s frames that positioned the eyebrows into the rim shape again. Today the small, flat shapes of the 90s overrun all sunglass collections, and optical frames follow in their wake. The advantage at theo is that we don’t follow trends. Patrick and Wim always considered small metal frames as being a part of the brand’s DNA. I think in the long term there will be an even larger amount of new brands that develop 3D printed frames. And I see two directions that will survive: first, bespoke frames with a perfect fit and framing. Today the algorithms to scale frames aren’t yet what they should be. German brand YouMawo as well as Yuniku from Hoya and Materialise are really leading the way in this young niche. Secondly, the frames you can’t make in a traditional way. 3D printed manufacturing allows for shapes that cannot be made by milling or even injection moulding technology. The theo strategy for the future remains on creating interesting colours and combining them in original ways, while experimenting with extraordinary shapes and techniques. We set our own trends.”

Are there possibly any new and different products – other than eyewear – you would be interested in developing? “I took a seven-year furniture course and have amassed an eclectic range of woodworking machinery. I spend time in my workshop as therapy or meditation: just the machines, the timber and me. Honestly – and this is by no means meant to be disrespectful or politically incorrect – I think it would give me great satisfaction to develop and design prosthesis. What attracts me is the crossroads of technique and aesthetics, as well as the fact that it can fundamentally change a user’s life. With regards to styling and personalisation there is a universe to be explored. New materials, new combinations, interchangeable covers…In fact, a pair of glasses is also a sort of prosthesis, but one that has become an expression of someone’s identity. See what I mean?” www.theo.be JG

Multi-talented and visionary Swedish eyewear designer Anna-Karin Karlsson (above photo) now brings her prodigious abilities, stunning motivation for beauty, and luxury perspectives to statement jewellery. “As a child, I was obsessed by accessories. Sunglasses are an instant glamour addition, and they always fascinated me. I tried to find jewellery with enough attitude and complexity for me to be fascinated, but decided to start designing my own jewellery, and create designs for fearless Romantics.”

Karlsson’s signature jewellery collection is cohesive with the DNA of the eyewear designs: extravagance, originality, and glamour juxtaposed with strong, decisive and impressive elements.

Necklaces, earrings and bracelets feature exclusive materials, often decorated with Swarovski Crystals in vibrant colours. Dramatic long chains – very on-trend – are plated in 24K gold and white gold.

The handcrafted, lavish designs created with exceptional components are characterised by luxury, and an indulgence in artistic pleasure. The Haute Couture jewellery collection is currently in selected stores in France, Russia, and Portugal, and will soon be available online at www.annakarinkarlsson.com JG

Annette Esto, Head of Design at FLEYE Copenhagen, warmly shares her perspectives with Eyestylist, and highlights her design concepts that transcend eyewear itself…and into the beautiful FLEYE Headquarters and her homes.

What qualities and character of Danish design history – with its simplicity and subtle details – have been the most important influence for your eyewear creations and home interiors? “Danish design is renowned for its clean lines, functionality and timeless approach. I like when classics come with a twist: a bright colour or an edgy detail, despite the clean simple lines of the Danish aesthetics. This is highly reflected in my home, where for example, I have a classic Scandinavian ‘smedker’ kitchen – I combined the traditional wood work with a bright, modern orange colour. Also, in FLEYE’s eyewear design we mix classic simplicity with a twist, where tradition meets the modern in innovative ways.” (Top image: Annette Esto with art by Inka Sigel)

Enriched cultural concepts ostensibly filter into your eyewear designs – like the Smorrebrod. What other perceptions filter into your home decor, as well as frames, such as travel or other artistic inspirations? “I love artworks – especially abstract art and abstract paintings that play with powerful colours, sharp contrasts, and different materials. My favourite painting is the one I have in our entry – an oil painting by Inka Sigel where different materials are sewn through the canvas. I have always been creative beyond what has become my profession, and personally I love to make flower creations and bouquets. For FLEYE AW18 eyewear, we have actually found inspiration in Flora Danica – an iconic collection of botanical illustrations from the 18th century. Taking a fresh look at the subject, we created our own floral portraits using flowers, trees, and shrubs often seen in Danish gardens. In order to set the right mood for an Autumn & Winter campaign, we decided to freeze flowers in ice blocks, leading to rich and dense colours, as well as the structures and shapes of our newest eyewear.”

You have a great interest in architecture. How has this inspired and cultivated interior creations in your home? “My home is a balance of traditional and modern furniture. In the dining room, I have a nice classic dining table where I have mixed Eames chairs in all kinds of different colours to give it a more personal and contemporary – yet timeless look. The same goes for the FLEYE office building, which is an old architect-designed manor house from the beginning of the 18th century. The building is protected and preserved in an old-fashioned style with high ceilings, but I have combined it with modern furniture in contemporary colours to give it a personal twist.”

Please tell us a brief history of the FLEYE offices and the intriguing building where frames are designed blending “urban impulses with classic simplicity.” “The FLEYE office is a historically beautiful manor house – Barfredshoj – built in 1800 by a German architect Peter Hetsch. Barfredshoj’s architecturally unique rooms and idyllic location form the setting for FLEYE’s creativity and inspiration. To me it is very important to be surrounded by nature and to have a wide and beautiful view – this is reflected in both the eyewear design, at the FLEYE office, and in my home.”

What designers most influence you in today’s constantly changing, dynamic and tech-savvy environment? “Issey Miyake – because he is timeless and classic. I can wear a ten-year-old piece from Issey Miyake at a fair and still receive compliments. His clothes are designed in amazing shapes and structures, and he mixes clean lines with patterns or fun colours. It is also very functional at fairs because the clothes don’t crease or wrinkle.”

In the future, what is a design project that you would most like to create and pursue? “I will continue to work within this nice path, which my team and I have worked so hard to get to, where we keep on surprising and challenging ourselves positively as well as our customers. The next project will be to transfer this beautiful flower concept into a Spring/Summer setting for our SS19 eyewear.” www.fleye.dk JG