Creative spirits

Independent optical store owner and eyewear expert launches own collection with NA eyewear

Dana Prekopova opened a boutique style optical shop in Slovakia in 2005 – a time when very few independent collections had reached her home town of Bratislava. “The beginnings were not really easy,” she explains. “Slovak clients weren’t well educated about “independent eyewear”. I began to introduce individual pieces gradually.”

The first original, handmade frame collection stocked by IOKO came from French artisan designers Vue dc. “At that time this was a young brand as well and the people behind it seemed to me extraordinary and original. We first met at Opti – the trade fair in Munich, and we immediately had an incredible connection.”

As her business grew, Dana became more and more enthusiastic about unique independent brands and she started to organize events “IOKO Meets…”. “I later started to invite all the independent manufacturers of spectacles we represent in our shop. My idea was supported by the Slovak National Gallery, an incredible place for a presentation of original design and the people behind all brands. For three years we hosted designers like Jason and Karen Kirk, Fréderic Ferrant, Chris and Yoma Mascre, Allan and Bettina Petersen, Sergio Eusebi and Livio Grazziotin, and Veronika Wildgruber, who won the prestigious Silmo d’Or 2017 the same year she was presented at one of our events. Our latest event was dedicated to our new own label. In October 2018 we launched IOKO & NA eyewear – this is a personal passion set up as a small creative start up.”

“IOKO x NA Eyewear is my dream come true” – above, photoshoot featuring the new collaborative collection

Asked to explain her plans with her own line Dana tells the story from the beginning: “I should tell you that Slovakia, after the dissolution of Czechoslovakia in 1992, didn’t have any eyewear production or history in this field, on which we might have built or drawn ideas. When we used to be Czechoslovakia, the production of spectacles was located in Czech and there it remained.

The aim of the IOKO events in cooperation with the Slovak National Gallery was to speak not only to the public but also to young designers, who might be interested to start a business in this field. I eventually came across one young ambitious Czech jeweler who decided to produce handmade spectacles under her own brand: NA Eyewear. Connected at first on social media, after some time Dana visited NA’s founder in her studio. “I really wanted to get to know her work and hold the final product in my hands.

I travelled to Prague to meet Nastassia Kahotski Aleinikava and Pavel Kahotski. From that moment I knew that together we could develop a perfect result…and this is when the new IOKO collection was born. This day became one of the most special days of my life, and on the way back I was sitting in the train drawing first proposals for new frames.”

The first IOKO x NA collaborative collection is launched with six models, each one produced with three alternatives, in colour and design. Each frame is exclusively handmade and, in the method used, there is zero waste. The frames are produced in Mazzuccheli’s bio acetate, and presented in an original jewellery box or a compact textile packaging by designer Lea Fekete. “Her works are special because of the textile produced through a special technique of layering wool and silk.” The collection is now available exclusively at IOKO, launched with beautiful portrait imagery featuring Dana herself. For more information visit www.ioko.sk and www.naeyewear.com CN

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