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This is not a comprehensive history of frame manufacture, but there is much historical detail on the development of eyewear, supplemented by a broad selection of prints, and several plates of contemporary eyewear accompanying each chapter. The early regulatory work of the Worshipful Company of Spectacle Makers is featured, and there are some interesting portraits of influential 18th century opticians such as Scarlett, Ayscough and Martin (a surprising omission is the equally important Cuff).
Primarily the book is a work of social history. The author, who taught theatrical makeup and worked as a makeup consultant, previously produced Fashions in Makeup and Fashions in Hair. The stated purpose of Fashions in Eyeglasses is to provide a practical guide to styles of eyeglasses worn throughout history, for the benefit of costumers, makeup artists, actors and illustrators.
The book is particularly good on analysing the relationship between eyewear fashions and the media, initially in print and latterly via film, television and the growing cult of celebrity. The modern collaboration between designers and manufacturers is also well delineated. There is a wealth of anecdotes and literary excerpts which is worth dipping into, such as PG Wodehouse's rules for novelists (1930): '(A) Spectacles: These may be worn by (1) good uncles, (2) clergymen, (3) good lawyers, (4) all elderly men who are kind to the heroine by (5) bad uncles, (6) blackmailers, (7) money-lenders. (B) Pince-nez: these may be worn by good college professors, bank presidents, and musicians. No bad men may wear pince-nez. (C) Monocle: This may be worn by (1) good dukes, (2) all Englishmen. No bad man may wear a monocle. (D) These beastly, tortoise-shell-rimmed things: Never worn in fiction.'
Two minor criticisms. There is no discussion of NHS frames other than a mention of John Lennon wearing the 422CJ as an anti-fashion statement they are surely an important British cultural phenomenon. Also, the lack of any colour illustrations, although there are copious line drawings, by the author, of 20th century frame designs. Overall, one could not better Optician's summary of the original edition: 'A delightful book to browse through or read as a serious summary of history.' ?
? David Baker is an independent optometrist
