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Silmo’s strong French character was more evident than ever in 2008, with France and things French frequently reflected in the themes of the frame collections unveiled at the exhibition. The absence of a number of Italian manufacturers also allowed their French competitors a greater share of limelight on both the show floor and at the Silmo d’Or awards where French companies won eight out of the 14 prizes.
Proudly emphasising its French heritage through its new Riviera collection, a spring/summer 2009 optical and sunglass range was Lafont Paris. Marketing manager Matthieu Lafont explained how the line was inspired by the Côte d’Azur of the 1920s and 30s, an era whose glamorous style is easily identifiable to the company’s customers from around the world. ‘We wanted to bring the notion of l’art de vivre a la Française (the art of French living) to the collection,’ reveals Lafont. He explains that this is embodied in ‘a very chic, not bling bling, way of displaying luxury and exclusivity’.
In aiming to infuse all its frames with this concept of chic, elegant luxury, Lafont prints patterns in the acetate to resemble Toile de Jouy (a luxury French fabric from the late 18th century).
The Riviera line consists of close to 40 shapes, each in 4-6 colours, totalling 170 new frame references. It is stylised by combinations of materials such as the acetate front with beta-titanium temples of the men’s Belleville frame or the acetate and stainless steel of the men’s 50s Byron sunglass. In accordance with a trend demonstrated by many luxury eyewear brands, Lafont is also offering for the first time a limited edition box-set containing a Riviera optical and sun frame, both in a unique colour. Lafont disclosed that the box, of which only 500 were made, was solely available at Silmo and was intended to enhance the collection’s air of exclusivity. ‘A trait of the luxury eyewear market is that consumers want to feel different. They don’t want to feel the same as everybody else,’ he says.
An allusion to summer, hot weather and the beach is another purpose to the collection’s title. ‘The notion of seasonality in optics is not the same as in other areas of the fashion business; opticians do not empty the shelves of their practices to accommodate the new season’s collections. So we decided to give the collection a title that reminded them what it is,’ says Lafont.
Speaking about changes in optical fashion in the six months between Silmo and Mido, Lafont says that the trend for retro eyewear has become even more widespread, but has also evolved slightly. He claims that optical frames are becoming deeper ‘not just for progressive lenses, but because people want larger, comfortable frames’.
Perhaps as a response to the recession he claims there is demand for fashions that won’t change every two months. He also cites the popularity of Lafont’s frames ‘that people might wear to work, but with little details’ that are suitable for wear in every situation.
Another exhibitor using its French nationality as a marketing tool is Henry Jullien. A competitor to brands such as Cartier and Tiffany, Henry Jullien places great importance on its frames being ‘made in France’, in particular in the eastern department of Jura. Near to the Swiss border, the Jura possesses a similar reputation to neighbouring Switzerland for precision manufacture, also making luxury timepieces as well as frames.
Intended for the affluent 35+ market, the feminine Connivence collection was one of the new ranges presented by the company at Silmo. Offered in two styles, three eye shapes and five colour combinations, the collection, made from flexible sandvik nanoflex, retails at around €400 to €500.
Described by marketing and communication manager, Stéphanie Barthoulot, as ‘classical, refined and chic’, Connivence’s discreet sophistication is shared by the company’s new men’s range, Protocole. Acetate and surgical stainless steel frames in understated colour schemes such as matt black, matt grey, and graphite and tortoise should sell well on the European market, according to Barthoulot.
Henry Jullien was also exhibiting a limited edition box-set at Silmo, containing four gold-filled aviator sunglasses with 24-carat gold-plated lenses. Barthoulot divulges that although Henry Jullien does not usually make sun frames, they wanted to make a special frame to celebrate 60 years since they made their first aviator. The two frame shapes will retail at around €600 and although Barthoulot says there is considerable demand for such opulent eyewear, she concedes that that are likely to sell better in markets such as the Middle East and Russia than in Europe.
The UK marketing manager for Cartier eyewear, Xavier Giammattei, has an optimistic view of the top-end eyewear market for 2009 and predicts the sales of Cartier frames will increase further. He explains that production of Cartier Eyewear worldwide has increased by 15 per cent compared to last year and worldwide sales are going up all the time. Giammattei adds that in the UK, general sales have also grown significantly over the past year, revealing that chains such as David Clulow and Vision Express have both reported increases in their sales of its eyewear. However, he asserts that these gains in the UK may well have been at the expense of Cartier’s competitors rather than through an expanding market.
Giammattei explains that because Cartier frames are jewellery items priced upwards of £200, but can cost tens of thousands, its designs are not influenced by fashions that can quickly change. However, the rimless Panthere de Cartier sunglass collection features slightly smaller eye shapes than previous Cartier sun collections, echoing a general trend observed at Silmo 2008. The range includes a gold-finish limited edition frame set with fine stones. Individually numbered, only 1,500 of these frames will be produced. Also presented at the show was the R de Cartier men’s optical collection. Discreet and minimalist, the semi-rimmed rectangular frames feature a brushed platinum finish and black composite temples.
The identity of Silmo was also heavily influenced by the palatial show stands occupied by the larger French manufacturers, which could not fail to grab the attention of visitors from around the world. The biggest of all belonged to Essilor, measuring 944m