Creative spirits

A new story, rooted in the past, at Christian Roth Eyewear

8th April 2013 I first started following Christian Roth when I got my first job in optical publishing back in 1999. In the ’80s and ’90s, this independent label had already played an impressive role in establishing sunglasses as a key accessory in the fashion arena, and their glamorous shades were worn by everyone who was anyone in fashion and music…memorably, because of the extraordinary images that ensued, Kate Moss, Agyness Dean, Lenny Kravitz, and many, many more.

Today Roth and Domège have new plans, both in eyewear and beyond, with new capsule collections including optical frames and sunglasses, and other Christian Roth accessories that they will unveil in 2014/15 via the website. As part of our special Vintage Edition, we asked them, in an exclusive interview, about their new project, the launch of their e-commerce destination and what the future holds for this iconic name in sunglass fashion.

“Our first overnight success was with Series A (above), our rimless frame in acetate and metal, designed so you could customise the lens shape with the colour of the frame. It was something very different back then, so that it became an overnight success and went straight on the cover of WWD. At that time, we were seeing our frames on all kinds of influential people from different walks of life, from Andy Warhol to Diana Ross, but it wasn’t endorsement, they were genuinely buying our frames and wanting to wear them because they loved them. It was incredible. It is our privilege to have lived in NYC in that period when celebrity culture was not such an issue.

“In the early 90s we joined the CFDA, thanks to Anna Wintour and Candy Pratts Price (the US Vogue team) who wanted the best eyewear designers on board as part of the Association; that was another important moment. We were the first to be a part of it, we were there at the right time!  And it offered so much – we were given the support of Michael Kors and Marc Jacobs as our ‘godfathers’. We began to work with these very big designers. We had a very inspiring working relationship with Karl Lagerfeld for the runway shows and collaborations with the most prolific and talented designers of our times continued for decades. We had our own studio in New York and we started to run private views of our collections. It was in a very cool place next door to a famous agency where we met a very young Claudia Schiffer.

“Today we have completely redefined the Christian Roth concept, our image, and collections – placing the spotlight on the best of “Christian Roth”. We have created a whole new life for the brand adding fun, excitement and the unexpected for eyewear aficionados. Our goal is to now connect through our crisp, conceptual and modern e-commerce destination – www.christian-roth.com –  with our many visionary fans from all over the world, and to reach more seekers of beautiful and unique eyewear. It is a very different, very personal site, where you can get behind the scenes.

“In 2013, the new frames will be availably via the site and through a few ambassador optical stores. Our first Block-On capsule collection includes Italian acetates and Japanese titanium. It is all about craftsmanship, high-quality and mixing geometric, precise, graphic and modern elements. We have worked in a very detailed way with special touches, mixing colour and chic transparent tones. Every frame is crafted by artisans to have its own identity and uniqueness, and we will renew our capsule every few months with new additions, another unusual concept in eyewear that we feel will be exciting for our online customers. On the site, we have added a small shopping area for rare vintage designs, both our own and others; it is something fun, for collectors and people who love the history of frames. The site also shows our support for OrphanAid Africa, something which touches our hearts.

“For the future we want Christian Roth to grow into a one-of-a-kind independent accessory brand with new categories which we will launch in 2014/15. We believe this is really something that will complement our frames and the spirit of the brand and appeal to the luxury market’s expectations. We have a great devotion to eyewear, and it is exciting for us to develop a new choice of accessories that will make sense for Christian Roth Eyewear”. CN

www.christian-roth.com

Turin’s unique eyewear company

1st March 2013 Home to the Fiat and an important industrial centre in north west Italy, Turin is not normally associated with eyewear. But Giovanni Vitaloni’s company has grown from a family business producing automobile parts and accessories to an eyewear design company, recognised for its pioneering spirit in terms of innovation, materials and uniquely Italian infusion of style and technical achievement. Working with Irene Chinaglia (head designer, above, centre) and Valerio Fava (pictured above, left), Vitaloni (above, right) is also a representative of the board of Anfao, the Italian association for producers of frames and sunglasses.

“Nico Design as a design company, has always been interested in product development and experimenting in colour, shapes, and materials. My family was manufacturing components originally so we used that experience in other sectors and applied it to eyewear; that is really how we began. I believe it is this direction that gave us a chance to create our own market in the frames’ business.

“For 10 years we have had our own showroom/store in Turin where all the collections are on display. It is like the heart of the two brands we have created, Vanni and Dérapage….we do special exhibitions here but it is also a place where our customers from the surrounding area can buy their frames direct from us.

“We have a design team in which I am involved, for the two labels. Personally I have developed my knowledge in terms of eyewear over the years, since I first started working with my dad. We opened our own factory in Belluno for metal frames and we had that for about 5 years, so I was able to learn a great deal about the production side.

“My aim has always been to have our own taste and identity – so we always start from a blank sheet of paper. Our process for developing the collections lasts in total about 9 months from start to finish. For example, we are developing our own colours with Mazzucchelli and in order to do that you need time.

What’s new at Vanni? ” We are launching new collections for the Hydra and Happy Days lines in Milan this month. We are also launching a new surface treatment on a metal frame called Mock-rock – we have created a unique matching  “Vanni” nail varnish in the same colour as the frame which is given with the frame as a gift. It’s beautiful!

“Vanni was born in 1991  – it is a line that has, and continues to be, based on colour concepts but our aim is always to find a balance between creativity, originality and wearability. We work very hard on our own acetate colours and unique patterns in collaboration with Mazzuchelli – this requires true dedication. www.vanniocchiali.com

“Our other brand  – Dérapage – is dedicated to frame innovation. The latest addition here is a special MoleCube hinge which is made in Italy in its entirety – this consists of three strips of steel held together by a square pivot. Their is no need for adjustments and no risk of it coming undone which makes it very, very practical and popular for those who want integrity in the design and true wearability.” www.derapage-eyewear.com CN

Eyewear With Innovative Engineering

1st February 2013 Lucas de Staël frames have always intrigued me – I’d seen the designs and liked the de Staël engineering concept, incorporating traditional frame making and fashion. So it was with pleasant anticipation that I made my way to de Staëls new workshop in the 19th arrondissement in Paris. Lucas was at the door to greet me, and I was escorted into a beehive of quiet activity where artisans craft the award-winning designs that Lucas so enjoys creating. His persona overflows with enthusiasm, passion and knowledge about frame making, and de Staël is involved in every step of each design and its production.

“Making fames like this takes a lot of time,” says de Staël, “and since we moved premises, there are fifteen people working here now. There is a lot of handwork involved in each frame – just one process can take up to an hour. Our team includes artists, engineers and architects. The main concept – and the main identification of our designs – is that there are no hinges; everything is in one piece. We make the parts inside our workshop, and use a special Swedish material that adds strength to our designs, without weight.”

In 2005, de Staël launched Undostrial – and in 2011 started his own collection – LDS – which won a Silmo d’Or in 2012. “The LDS collection is a more traditional range, with marquetry accents, plus goat skin and leather designs. We only use leather from the neck of the cow, so everything is supple and light.” Alexandre Lepeu designs the machines and tools that are used to create the frames. Lepeu and de Staël attended the School of Industrial Design in Paris, and met there as students. De Staël was fascinated with eyewear, and his first training with with Eye D’C in Marseille. “It was amazing,” recalls de Staël, “working right in front of the sea – it was so inspiring!”

With his recent Silmo d’Or award, and the vast new premises where the frames are all handmade with amazing design and construction ingenuity, de Staël is now ready to embrace the future. “We make only 4000 frames per year,” says de Staël, “we are a small producer, but now we are ready to grow. We are reaching world markets. Our best market is China; clients really like our designs. When I am quiet, I like to try different things. During the weekend and evenings I design, and work on new technical concepts. Creating the designs is even more interesting now!” www.undostrial.com www.lucasdestael.com JG

Optical Creativity in Australia

1st December 2012 The lively, joyous colours in frame collections by Jono Hennessy gives a clue to his location – Sydney Australia. Here in “down under” -with  kangaroos and koala bears, amazing surfing and natural splendours, and the dazzling Opera House, is where Hennessy and his lovely, vivacious wife Louise, create eyewear that is sold globally. The land and its history are all inspiration for eyewear designer Jono Hennessy – where outdoor pursuits and cultual dimensions merge comfortably. The latest version of F. Scott Fitzgerald’s memorable “The Great Gatsby” (opening in spring 2013) was filmed in Australia. “My designs, inspirations, and philosophy include growing up in the surf culture of Australia, where Billabong, Mambo and Quiksilver were born,” says Hennessy “and we grew up with the same rebellious approach to what we liked, and what was exciting around us. There were no rules – no magazines or people telling us what was cool – or not. You just created things that you liked and reacted to.  I studied graphic design and marketing at the School of Visual Art in Sydney – when I started my business, I did exactly the opposite to everything I had been taught at school.

“For me an influence is what creates excitement, or love, or respect, or intellectual appreciation. An influence has to give you a feeling of butterflies in your stomach and a ‘wow, isn’t that clever,” or “doesn’t that look incredible’!” For eyewear, the influences come from the influences of fashion.So when architecture moves to wood and natural products, we know this will appear in fashion, as it has over the past two to three years. Or it can be an influence of the 1920’s. I saw a Bally 1920’s flying jacket in the window of a store the other day, and was excited by how clever it was, and it engendered the feeling of a First World War fighter pilot heading off on a terrible mission. I got butterflies looking at it. Maybe that is all a bit strange, but as a designer, the joy is in what you make from these influences, how well you make it, and how it feels.

“I love acetate. I love its softness, and its strength to hold the lenses and metal hinges. I love the feel of acetate and the smell when it comes out of the polishing barrels. I love that we use the best polish in the world in the barrels. My joy is to fill the samples with metal files – these are long metal files with turned wooden handles. They are mainly used in wood working, but I use them to hand shape the acetate. I found these metal files in a country market in Tasmania. They were made by an expert craftsman who was so proud of his work. So my influences are fashion – when it results from other influences such as periods in time, like architecture and industrial design, and of course, my passion for Pop Art”. www.jonohennessy.com JG

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Rolf Spectacles

November 1st 2012

All in the Family with Austrian Creators

1st November 2012 The spectacular beauty of the Austrian Tyrol region, and a fascination with classic cars, has produced one of the more unusual – and successful collaborations in eyewear. A chat with any member of the Rolf team usually begins with how beautiful the weather/scenery/trees/snow is in their area. Rolf founders – Roland Wolf, his partner Marija Lljazovic, Marija’s brother Martin, and Christian Wolf (above photo, left to right) – draw upon nature’s mountainous bounty and beauty to create their eyewear. I’ve had the pleasure to chat with Christian on various occasions, and most recently, with Christian’s brother Bernhard, who is Sales Director, during SILMO. Bernhard reiterated how the Tyrol area has influenced their work. “Our parents are natives of this region, and our love of the land is the foundation for our frame creations, with trees and stone enabling us to realise our dream of perfect natural eyewear,” says Bernhard.

 

Rolf Spectacles burst onto the eyewear scene in 2009 with beautiful wood frames sourced from the Tyrol – and immediately they won a Silmo d’Or, and again in 2010. They won two Red Dot Awards (2010 and 2012); they received the Eyewear of the Year Award in Japan this year; and last month, Rolf Spectacles were the Gold winners in the Hall of Frames/Eyestylist.com Newcomer Awards. Very impressive for a three year old company! The other driving force for Rolf Spectacles is old cars – because decades ago, cars were made by hand. “Nowadays, only a few car companies build cars by hand – this happens everywhere  – also in the optical business,” says Christian, “however, at Rolf, everything is made by hand, and crafting just one pair of glasses requires hours of handwork, and a high degree of craftsmanship. The sanding stages require lots of concentration and precision.

“At Rolf, we are always searching for new materials that correspond with the company’s philosophy of using natural sources. One of our challenges was to try a material that was not yet used in eyewear. So stone is the perfect addition to our wood and bamboo frames, since stone also offers unique characteristics.” Rolf Spectacles adhere to the fine traditions of classic crafting and detailing precision, and these qualities are realised in each innovative design in natural materials. www.rolf-spectacles.com JG