Creative spirits

Scandinavian eyewear brand Carlotta’s Village offers a fresh aesthetic perspective on eyewear design, placing the wearer at the forefront of the frame concept. It’s no surprise that the brand appeals to those of strong opinions and colourful personalities who do not shy away from making a stand; whether that be in life, in their career, or in their own personal style. Eyestylist spoke to Charlotte Dokkedal Leth, Co-founder, Designer and Managing Director.

We have read that your love of visual expression started out at a young age. When was it that this passion first ignited and how has it continued to develop over time? Well, I think it probably started before I can remember. I say this because I’ve been visually expressing myself for as long as I can remember; whether it be drawing, painting, ceramics – whatever! Nowadays, I believe it is referred to as “a maker”. I’ve always been making things because although I liked the academic world as well, I fell in love with the feeling of actually creating something. It’s the fact that you can see it right in front of you, what has come from your work, from your imagination, you know? You have something you can literally touch, that started out as an image in your head.

Where do you find the inspiration for your work? It’s difficult to answer actually because it comes from a buildup of expressions from various sources. It can be, if I can find a word – it can be something like a type of light, for example; if I go for a stroll in the woods, it can be the way that light hits the trees or, how it falls down through the leaves and makes a pattern on the path that you’re walking on. Or it can be colour; there’s always such a lot of shades of green in nature, it’s in the trees, it’s in the leaves and it grows in mushrooms and fungus – the textures of those natural entities too, are incredibly special and inspiring. If I’m feeling totally lost, I go to an art museum because there’s always something there to spark my imagination – if I go and see what other creative people do, then it inspires me to go home and do something just as amazing. The same thing is true for architecture, I think a city like Paris that has all those beautiful cast iron balconies and details like that, it’s always going to make you feel something. Above: Charlotte Dokkedal Leth, Co-founder

As someone who is passionate about design, was creating a career specifically in the eyewear industry always your dream? No, it wasn’t ever ,actually. I ended up there by accident; if I hadn’t married Bo, I would have never got into the business – I think it would have been something else, something creative of course. When I was very young, being a designer or an artist was not really taken very seriously, it was not considered a “real job”. My parents said you will live a good life  if you go to this school and complete this course, and I thought ‘okay, I’ll do this and see what happens’. So, for many years I was in the IT business; my education is in Software Programming and I have worked within that industry for twenty years, in different areas. The fun thing about the IT sector is that one of the reasons there is so much freedom for creativity is that it’s a young business, so there are not many rules. When I started working in it, around twenty five years ago, there were not many options for education, or pathways; you had to build the business for yourself and find out how things worked, and what you can do with them. After doing this I married Bo, and he was in the eyewear industry; we went to all the fairs and shows and started discussing why we couldn’t find any of the frames we were looking for, and that’s how Carlotta’s Village started.

Could you tell us about your current collection of eyewear?  Of course! Right now we are focusing on acetate because that is where we started. The colours are translucent – I love the effect translucency has because it can reflect light and other colours; they can reflect what you’re wearing, they let your own skin pigment come through the frame, so they always somehow fit in. I love how our frames allow their wearer to play the main role, they don’t take centre stage. We want our frames to further accentuate and enhance the features and the style of those who wear them.

How would you describe the regular customer, or the client base of Carlotta’s Village? I think it’s hard to say something generally with any client base, but especially for us as our clients range from age fourteen to ninety four. However, I think the one thing our customers have in common is their attitude, they have an opinion, they are not afraid to take a stand. Of course they care about their appearance but they don’t necessarily want it to be what they are wearing – more so a reflection of who they are, a statement, but in a more personal sense. When we hear from some of our dealers they say “We have customers that once they’ve purchased a Carlotta’s Village frame, they’re passionate about it and want another – nothing else will suffice.”

We would love to hear about the founding of Carlotta’s Village; the steps it took to get where you are today… Well, we started off discussing the visible gap in the market for the frames we desired, but also the fact that being a couple was a factor to consider; it’s always risky entering into business with someone you live with and love. Bo had been an independent agent for many years and I did his bookkeeping and stuff like that, so in a sense that actually was a benefit to us because we already knew that we could work together. Then there are other things that are similar to work that also show you are compatible in a working environment like housekeeping, cooking, gardening etc. We started out very small with three frame styles in three colours. So we took our small tray of frames to the clients Bo already had and went from there. We had a bit of an advantage starting out, over other small eyewear brands. I still had my job as a software consultant on the side, but it was hard to do both things to a high standard, so I gave it up – I like to give my entire self to my work. I think it was a controlled kind of risk because we didn’t start out with a huge investment that could have made us bankrupt, or left us with nothing; we started with a small investment that was controllable. We didn’t just do it, I mean, we were talking about it for years.

Would you ever consider branching out with the brand of Carlotta’s Village into another area of design? That’s funny that you should ask that, because that was actually our initial idea! Calling our brand Carlotta’s Village was done so it could be seen as a virtual, global village of products for our customers. We wanted to ensure we would not be limited by our brand in the future. There are some creative people who are only in one line of work; they are painters or clothing designers or whatever else. I’ve always been doing many different things, I’m never only doing one thing – I like to have multiple outlets for my creativity. I crave variety, and I’m not good at having only one focus. I always say I could never have been a ‘tennis pro’ or something like that, because having the restraint and dedication to playing tennis seven or eight hours every day, seven days a week and never doing much else – that would kill me. So yes, I think our original idea of Carlotta’s Village is still something I would like to explore, and something we will likely do in the future – I can’t say when just yet, but it’s definitely on the horizon.

Carlotta’s Village prides itself on being a conscious eyewear brand. What would your thoughts on that be regarding sustainability and how do you implement it within your products / or brand? Well, I think ‘sustainability’ is a word that has been so misinterpreted and taken as a hostage for all kinds of marketing speculations. It’s funny because we attempted to launch sustainable packaging for Carlotta’s Village about five years ago, before it was ‘cool’ – it really wasn’t received well then;  while it probably would have been welcome and encouraged today. I’m of the opinion that there isn’t actually a fixed definition of what being sustainable is other than that you shouldn’t leave the planet in a worse condition than it was when you arrived. I’m someone who is allergic to so many things, so in that sense I’ve always been very attentive to what materials are used in whatever products I am purchasing or consuming. So, it was important to me from the beginning that we didn’t use any materials that we couldn’t vouch for – luckily, acetate is biodegradable and today you can create really high quality acetate with no bad chemicals or anything in it so it’s very skin-friendly. In the business of eyewear, there is also the other advantage that it’s a small product, with a long life-cycle that doesn’t weigh much, meaning transport is not as huge ca oncern as it is for many other companies and manufacturers. I also think you get what you pay for; if you want the cheapest product and the fastest delivery you’re not going to get the highest quality, most beautiful and durable frames – it just doesn’t make sense to think otherwise. That’s why we have such a strong, good relationship with our manufacturers, we never doubt their costs or timelines and they never fail to meet our expectations – that respect, that line of chain production, is sustainable in itself. Find out more  about the brand at https://carlottasvillage.com

A Zoom interview by Victoria G. L. Brunton exclusively for Eyestylist.com

Beate Leinz may not be a household name (yet), but she is responsible for designing some iconic frames in the world of eyewear – some of which provide inspiration for other brands and makers to this day. Designing for PRADA, Tom Ford and Yohji Yamamoto, Leinz has a ‘claim to fame’ or two – now she has set out on her own, to create a collection of iconic frames with her own aesthetic, for a change: LEINZ Eyewear.

What was the beginning of your journey? Did you always know you wanted to work in accessories?  Oh, I think at that time in my life the word ‘accessories’ didn’t even exist in my world; I was young, it was 1985. In terms of the ignition of my journey, I knew I had to learn a lot about design and production. After high school I started an apprenticeship as a watchmaker – I was really thrown in the deep end, learning how to fix watches with a monocle on my eye on an extremely technical level. Although the technical drawing really stood to me later in life – when I first started in eyewear this experience and background was invaluable. The technicalities in watchmaking and eyewear are not the same, but the method in which they are practiced is almost identical. I didn’t stay in watch making because… my watches never really worked! I’m not such a technical thinker, more of an aesthetic constructor. That is why goldsmithing was more my world; that’s where I went next. I worked with the jewellery designer Wilhelm T. Mattar in Cologne who I still admire deeply today. I think of him as more of an artist, he creates art in the shape of jewellery. I learned a lot from him that I practice in the creation of my frames today.

Would you say that you implement your learning from that period in your life into your designs now? Yes, absolutely. I think it’s more in the aesthetic rather than the technical side – the base is beauty – you bring what you feel inside and create something beautiful with it. First, you need to understand what it is, what makes something beautiful; something is beautiful when it reaches your heart – not only your eyes, like a beautiful person – it’s deeper than that. Mattar and I discussed this a lot in our work together and I still think about it when I design and create.

You’ve worked for some absolute giants in the fashion industry, tell us about your time there…Yes! I worked for Prada, Tom Ford and Yohji Yamamoto, being a part of these brands was exciting and a highlight in my life, absolutely. For Prada, I worked in a team of designers, we worked on the theme “minimal baroque” – the theme of Prada’s show that year. The team worked tirelessly to contribute to and design a pair of truly iconic frames. I complemented the spiral design on the arms with the best matching fronts. The frames ended up being sold really successfully, so much so they are still copied to this day. Of course seeing the success of my designs was a huge confidence boost; it erased any doubts I had and proved to me I was capable of creating something special. Design is a process; you have to try, try and try again to find something that is widely accepted and adored by the market, whilst still creating something innovative and new.

Was it the success of these iconic frame designs that encouraged you to start your own brand? It was and it wasn’t – I mean that in the sense that the desire to do so was always there, but of course this success brought me reassurance and confidence as I mentioned. I think it only pushed me further towards finally getting the courage to do what I had always wanted to do. Even when I was in Cologne all those years ago, I met with a producer from Denmark who created some prototypes of my designs – of course at the time I didn’t have enough money or experience to start my own brand – but the urge to do so was certainly there. I realise now the amount of work and creativity that goes into inventing a revolutionary and iconic frame. Although my earlier design successes are credited to another label, I know that’s what I signed up for. You put so much into something, and then you give the work up and it’s gone. But I am proud of that.  All the same I feel thrilled to see my own name on my own work for a change.

Tell us a little about LEINZ Eyewear? I mean, to put it simply; my brand is me. There is not much else to add!

We’d love to hear a bit more about your latest collection…The inspiration for my latest collection came from my desire to “re-invent” 3D printing, giving it a bit of a “glow-up” as my daughter says. I am also in love with acetate as a material, so this provides the perfect contrast to the 3D printed material – I think contrast is necessary in all design, in materials, colours, tones and textures; that’s what my work and my design is about, it’s important to me. This collection brings that contrast to another level; the frames are deconstruct-able and they each incorporate two tones / colours, this is not something typically done in 3D printing. There are a lot of brown tones in the collection, it’s incredibly on trend at the moment and I love the colour. The structure of the frame itself has a fluctuating wave of density throughout, flowing seamlessly from lens to arm. Each section of the frame was printed as its own independent shape – endless combinations of contrasting colours. I’m eager to see how this will succeed in the market, because I love bulky frames.

In terms of sustainability, where does LEINZ Eyewear stand?  I am passionate about sustainability and the world we live in, it’s nothing other than fact to say we are part of a world that over-consumes. However, I think in the world of eyewear over-consumption is not the major problem – some people hang on to glasses for years, there isn’t as intense of a desire to keep up with trends in comparison with the rest of the fashion industry. Packaging, display props, care tools and cases is where our area of waste and destruction lies, and it is here that I am trying to create as little waste as possible within LEINZ Eyewear; our display stands and cases are made of recycled leather and are recyclable. I hope to have zero-waste surrounding my frames in the near future. For more information visit www.leinzeyewear.com. (Instagram: @leinzeyewear) This feature interview took place on Zoom after SILMO 2021. Written by Victoria G. L. Brunton exclusively for Eyestylist.com.

The Swiss eyewear designer cherishes film-making, working with others – and any opportunity to travel. In an interview, we asked him to share his creative design philosophy and explain how it applies to his work.

What was the path that led you to eyewear design and how do your formative experiences shape your design style?  Drawing was always a way of communication for me. I have a Persian background, it was not easy to talk German with the other kids in kindergarten. So I mostly expressed myself through small sketches. Over time this turned into a fascination for design and fashion design, everything from jewellery to clothing. Later on, I began an apprenticeship to be an optician. Then the future was clear to me ‘I will design eyewear’ I decided. How this design finally looked was largely inspired by my past, the multicultural aspect of it to be exact. Putting various, different pieces together to create something new, this will always be fascinating to me.

Today Nirvan Javan is a well-known Swiss frame brand. When you first launched, what was your focus, your approach and your goal? When we started, the approach was centered around purism. The glasses themselves stood in the forefront, while details were discarded. The glasses were freed from any kind of excess, not even a logo. Clear lines and a timelessness in design that survives the decades, that is what made the early models unique. Since then, the brand has evolved. This philosophy of purism transformed into a lifestyle, into a concept of ‘enablement’: to let others experience the world at its best.

What has been the most inspirational part of your journey, and what has been the most challenging? It’s the literal journeys I take that offer me immense inspiration. Every time I come to a new destination it is an amazing moment for me. Traveling through foreign streets, while trying to be as open as possible, without any kind of preconceptions, makes unique experiences possible. You’re taking in the architecture, the culture and the way of living and let them merge with your own experiences. This year and the past year didn’t make it easy to live this openness though. The pandemic closed the world of and made it difficult in some places and even impossible in others to experience them. But in the end, it has increased our anticipation for visiting the world, when borders open again.

Can you give us an example of your most enjoyable collaboration to date? This summer we created a new collection with Kochoptik – a well-known optician in Switzerland. Our inspiration was the Arabica coffee bean!

How do you reflect on the last 18 months (of pandemic) and what did you find in that period that has had some positive bearing on you or your company? Last year was a challenge, as well as a great opportunity. One could go deeper into oneself, get inspired and let this inspiration flow into the collections. Nevertheless, I am looking forward to the year ahead with great expectation.

Craft and design are at the very heart of your independent label. When you’re not working, what other passions do you have that relate to these artistic tendencies? Travel is one of my biggest passions. Going to distant places and experiencing different cultures will always be a great pleasure. I would also add storytelling and film. The visual creativity and coordination that goes into the creation of a film fascinates me; I hope this passion translates into our own video production for the brand.

As the new launches arrive, can you pick out for us the theme in your collections that point to the way ahead for your brand and your collections for autumn/winter. The brand counts creativity as one of its guiding principles when translating cities into frames. Capturing the pure essence of a metropolis and then turning it into a material representation of the city, with everything that makes it unique, that is creativity. No matter what new destination the brand is trying to capture in the frames, elegance will always be a defining factor. There’s nothing as elegant as walking through life with an open mind, taking in all the impressions of all the vastly different locations and forming something new out of them. So the act of experiencing new cultures is deeply rooted in my design process. Every aspect of a city and its culture are reflected not only in the shape, but also in the material of the glasses. Tokyo’s interplay of tradition and technology for example can be found in the extravagant forms and high-quality titanium frames. Nirvan Javan will show the new collections at Hall of Frames in Zurich this weekend on 12th and 13th September 2021. www.nirvanjavan.com

Lunettes Alf or ‘Atelier de Lunetterie Français’ to give their full title, is an emerging artisanal brand of high quality eyewear located in Paris, founded by two brothers – Alexis and Germain Bouchara. Alf stands out from the crowd as a timeless family owned brand, with a frame style that nods to former decades, and artisanal craftsmanship in the making of each frame, in respect of traditions passed down by generations. Eyestylist spoke to founders Alexis and Germain Bouchara (pictured above).

Did you always envision venturing into business together as brothers?  Alexis: My brother and I have always been very close and family spirit is very important to us. So, venturing into business together was not planned but it was not a surprise either; it just happened naturally.

Was eyewear something you both always felt drawn to? Tell us a little about your journey that led to the creation of Lunettes Alf? A: I have been working in this industry for almost 20 years now, and I am truly passionate about the product and its history. After my training with the “Meilleurs Ouvriers de France” (“Best Workers of France”) I instantly knew I wanted to introduce a brand into the market, to tell my story and to share the way I see ‘the perfect eyewear’. I believed in putting quality first as a tribute to the craftsmanship and noble materials used in creating our frames. As for my brother, he has been working in the fashion and accessories industry for over 20 years in both sales and marketing positions. When I shared my vision of the project, he was as enthusiastic as me and I saw that our dreams would match perfectly – that was the beginning of the journey, three years ago now.

The classic ‘panto frame’ is a recognisable crowd favourite among creators and consumers of eyewear alike; a quirky shape with a nod to twentieth century vintage style. Lunettes Alf includes a ‘panto frame’ in every collection – what are your thoughts on this design and why do you think you feel drawn to it as designers? A: Alf draws its inspiration from old glasses frames; the panto shape has marked the history of eyewear as an evolution of the original frame – the round one. This evolution has occurred in two areas; a lens shape offering wider fields of vision and the introduction of the pantoscopic angle to keep a constant lens-eye distance. This angle is generated by a high temple anchor point (this is different from the typical medium position anchor point on a round scope). These developments have increased the wearer’s comfort of vision. For all these reasons, it made perfect sense to have the panto shape as a principle part of our collection. Comfort, innovation and a nod to the origins of eyewear – all ideas that strongly resonate with us.

Who do you design your eyewear for and what do you believe separates your brand as well as your target consumer from the rest of those on and in the market? Germain: We create our eyewear for customers who care about quality materials and craftsmanship, those who cherish time and longevity, those who don’t want to over-consume and those who prefer to repair than replace. To meet these criteria we have chosen a combination of Japanese acetate and French manufacturing to create robust sunglasses with a timeless and chic design. Beyond the product, we are passionate about eyewear. We believe that being close to our customers, maintaining a sense of rigorous service at heart and delivering high end products are key points of differentiation.

What are your thoughts on sustainability within the eyewear industry or even within the fashion industry as a whole? Do you think your brand makes an effort to produce sustainably, and how do you do so? G: Over the past years eyewear has become a consumer accessory and often loses out to over-consumption. Some glasses are sold so cheaply that many consumers consider them as a disposable product. “I paid 30 euros for this pair of glasses, if I lose them or break them, I’ll buy another one”…. We too have consumed a lot in our lives; the countless clothes we purchase, wear a few times and end up giving away almost unused, for example. We find it absurd that we can still think like that in the times we now live in. Today, I feel that we buy much less, but better / this is why we are supporters of slow fashion. We care about sustainability in that sense. Of course, every day we are working on improving our impact with less packaging and bicycle deliveries when possible – for two examples. At ALF the best way we have found to make our glasses sustainable is to focus on three criteria: timeless design, the quality of materials and manufacturing. When we started developing our brand, our goal was to make our eyewear an object that would be passed on from generation to generation. That is still a goal we dream to achieve one day.

Was eyewear always the end goal for your creative vision, or do you have any plans to venture into other areas of the fashion industry? A: The day I came up with the idea of creating an eyewear brand, I thought I needed to surround myself with people to manage the distribution. The same evening, I called Germain to tell him my idea and I concluded by telling him: “I’ll make this brand with you or I won’t make it” – for the past three years we have been working together perfectly. We remain humble and try to build a consistent brand that will last over time, but it doesn’t exclude us from venturing into other areas such as collaborations with other fashion brands who share the same values as us. That being said, we are very excited to share with you very soon a collaboration with a fashion brand that we love – stay tuned for Summer 2022!

Where do you typically seek and source inspiration from in designing your collections? Has the pandemic impacted your motivation and creativity in any capacity? A: To me, eyewear inspiration can be found everywhere: old magazines, trade books, movies, family photos and of course nowadays social media and the internet. I try not to look too much, I don’t want to be inspired by my peers. The different confinements we have endured have provided us with the advantage of time, time to think, to invent, to be creative and to improve.

Can we expect anything exciting in the world of eyewear from Lunettes Alf in the near future at Silmo? G: As a young brand we will keep on developing our collection. We are excited to share not just two but three new models and two new colours in our upcoming September collection to complete our palette. Lunettes Alf are available worldwide in selected retailers including Kitschenberg (Munich), Frank Lo (Rome), Pour Vos Beaux Yeux (Paris) and Blick Brillen (Rotterdam).  https://lunettes-alf.com  An exclusive interview by Victoria G. L. Brunton for www.eyestylist.com

Tyche + Iset is a Los Angeles based brand named after the Greek goddess of fate, fortune and luck and the Egyptian goddess of life, magic and wisdom. Brand founder Morganne Leigh is a talented creative with a passion for art and design as well as a strong connection with spirituality and adventure, inspiration which is apparent throughout the brand and in each pair of frames produced.

I understand you have trained as a painter and a graphic designer – were you always a creative person at heart?  Yes, I think I have been imaginative since I was a toddler. Then, I began traditional art classes when I was six years old, which was the foundation for my artistic exploration. My creative abilities have never been limited to one area of art or design.

Tyche + Iset is marketed towards ‘searchers, thinkers, stargazers …’ How would you illustrate the typical Tyche + Iset customer?  I have been so lucky to have met the majority of my customers in person! This has been a grassroots brand, and it has been awesome to get to know them. They come from all walks of life and are of all ages, they aren’t afraid of colorful styles, they love to stand out from the crowd, they’re funny and kind but most important of all – they enjoy life. Above: Morganne Leigh, founder of  Tyche + Iset Eyewear

I have learned that the origin of Tyche was the name of a Greek Goddess and Iset was the name of an Egyptian Goddess… Where did you find the inspiration to delve into history and why did you choose the names of these specific ancient heroines? History is among my favorite subjects and I’ve always enjoyed mythological stories because they are filled with adventures and lessons about life.

I am not traditionally from the eyewear or – more broadly speaking – the fashion industry. When I first started the brand, I had no network to open doors, zero guidance and no financial help. I had no idea what I was doing, but I needed to find a way to survive and take care of myself. It was also a necessity for me to find success in something I was passionate about; so I turned to my love of art and design. Each of the Goddesses represents my willingness and determination to find my destiny using my own creativity – they guide me, in a sense. It is all about taking a risk and perhaps being rewarded by being prepared when opportunity arrives. Plus, a little luck along the way (or bad luck in the form of a lesson learned). I am always learning, even when the process is difficult. The origin stories and histories of each Goddess are linked to me in serendipitous and very personal manners, further strengthening my belief that they also chose me.

Tyche + Iset encourages their wearers to ‘follow their cosmic intuition’ – where did you first find a connection with your own spirituality? We would love to hear a bit more about what following ‘cosmic intuition’ means to you, and to the brand as a whole… Throughout my whole life I have had spiritual experiences and received ‘messages’ through dreams as well as in the physical world. My intuitive and semi-psychic sensibilities are very strong. Our minds are magnets and we attract what we consistently think about. To me, following your cosmic intuition is allowing the Universe to connect with you, to guide you, and to teach you so that you can move forward through life in a positive manner. Internal journeys require patience and there will be difficulties. But, if you trust in the Universe, it will always take you to where you need to be to find your happiness.

People are paying more attention to their zodiac signs than ever before. Having founded such a spiritually driven brand – what are your views on astrology?  I have been a fan of astrology (birth charts) and tarot since I was a teenager. I also believe in Numerology, which reflect our life cycle journeys and challenges. I often make decisions for the brand using tarot cards – I trust in the answers I receive!

What do you think makes Tyche + Iset designs unique? Our eyewear tells a vivid story through design, color, and details. As an artist, I create work in order to connect with someone and share my vision. My goal is to design products that people have an emotional connection to.

Tyche + Iset has just launched some gorgeous new sustainable packaging – how important is sustainability to you? What do you see for the future of fashion and sustainability?  Sustainability and environmental protection has been of lifelong importance to me. These goals are also within the brand and my plans for its future. We only produce products with integrity. We do not want to be a part of the problem.

There is a lot of “green-washing” within the fashion industry. Many brands also want fast, easy money for the cheapest investment. But, the price we pay is environmental damage with communities suffering. I hope that companies will become more responsible in how much they produce each year as well as their own carbon footprint. Slow-fashion and small-batch production is what the industry needs to focus on. For the past several years, I have been experimenting with recycled materials for new products or eyewear. I want to create things that people cherish and do not want to throw away. It is unfortunate that producing new plastics is much cheaper than cleaning and re-using excess waste that is destroying our world. Many recycling centers have closed down and manufacturers do not want to deal with the difficulty of using recycled materials. But, I will never give up hope on my ideas. I’d love to inspire more designers/brands to participate in innovative practices. Let’s find solutions to problems we all face. If more people ask for these things, we can be effective in modifying consumer culture into a more positive future.

Can we expect anything new and /or exciting that may be on the horizon for Tyche + Iset? Yes! We are working on our next collection and some exciting new projects. I am superstitious, so I’m not able to share too much information before launch. However, we are thankful to continue our creative energies in design and innovation. We appreciate those who support Tyche + Iset – we are a small brand with a big heart! Find our more about the brand at www.tycheandiset.com  Interview by Victoria G. L. Brunton for Eyestylist.com