Claire Ferreira, a key figure in eyewear design and co-artistic director at Design Eyewear Group for nearly fifteen years, takes us through the creative journey and the many challenges involved in imagining and developing new eyewear collections. Through this conversation, she shares her sources of inspiration, her unique creative approach, and how she turns technical constraints into opportunities. Regularly spotlighted by the Design Eyewear Group, Claire invites us to discover how each frame becomes a unique piece, blending aesthetics, innovation, and originality.
Parisee -. Could you tell us about a specific model you designed that you’re particularly proud of?
C. Ferreira -. I’m especially proud of the Sotsasmodel from FACE A FACE, inspired by the work of Italian designer Ettore Sottsass. For this model, we aimed to merge eyewear and sculpture, drawing from Sottsass’s vibrant color style and playful expressiveness. The arm design revisits a cylindrical armrest principle used by Sottsass for a sofa. It was a technical challenge to attach a round shape to the hinge and integrate it into the arm structure. Aesthetically, its design also stands as one of the brand’s iconic models. Both surprising and elegant to wear, we later adapted the concept into a more refined optical version called Kyoto.
Parisee -. Do you believe it’s possible to design glasses that suit everyone?
C. Ferreira -. Some brands aim to create universally appealing glasses. As a designer brand, we inevitably take risks with bolder choices that may either spark a genuine love or a strong dislike. However, we strive to create fresh aesthetics within a framework that appeals to a broad audience. For this, we follow a sort of “universal template,” with proportions and line shapes that resonate with many.
Parisee -. It’s always hard to decide on a new pair. Do you have any advice for determining if glasses look good on someone?
C. Ferreira -. People often ask me, “What would suit me?” And I have to say I’m not a stylist. To see if a frame suits you, several factors come into play, some of which are very personal.
The frame should fit your face shape. Here, I can offer solid advice: it’s always preferable for the pupil to be horizontally centered in the lens. If you have a large face and prefer small glasses, it’s easier to go with round shapes. Square or rectangular frames should be proportionate to the face size. For a slender face, there’s more freedom. By opting for large glasses, you immediately adopt a trendier style.
In any case, give yourself time to embrace the change without making a hasty decision. Find a model where you feel you can express your personality while recognizing yourself. Glasses shouldn’t be a disguise but rather a tool to express yourself.
Parisee -. What’s the hardest constraint to manage?
C. Ferreira -. The challenge of innovation is the most difficult to tackle, as we strive to refresh collections while preserving the brand’s recognizable identity.
Parisee -. What are your sources of inspiration when designing a new eyewear collection?
C. Ferreira -. Our inspirations are varied. With our showroom located in the heart of Paris, we’re fortunate to find ideas in galleries, museums, or simply on the streets.
We closely follow contemporary art and fashion. Fashion Week shows, the “Première Classe” accessories fair at the Jardin des Tuileries, and Milan Design Week are essential events. But inspiration doesn’t stop there.
Because we’re passionate about what we do, we’re deeply immersed, and ideas can emerge at any moment.
Parisee -. In eyewear design, where can we still innovate?
C. Ferreira -. We can innovate everywhere! Innovation can occur on a technical level and/or an aesthetic level. However, we always align with broader trends. Thirty years ago, for instance, glasses were much smaller. Today, larger, thicker shapes and a more androgynous approach are trendy.
Parisee -. Could you tell us about a specific model you designed that you’re particularly proud of?
C. Ferreira -. I’m especially proud of the Sotsasmodel from FACE A FACE, inspired by the work of Italian designer Ettore Sottsass. For this model, we aimed to merge eyewear and sculpture, drawing from Sottsass’s vibrant color style and playful expressiveness. The arm design revisits a cylindrical armrest principle used by Sottsass for a sofa. It was a technical challenge to attach a round shape to the hinge and integrate it into the arm structure. Aesthetically, its design also stands as one of the brand’s iconic models. Both surprising and elegant to wear, we later adapted the concept into a more refined optical version called Kyoto.
Parisee -. Do you believe it’s possible to design glasses that suit everyone?
C. Ferreira -. Some brands aim to create universally appealing glasses. As a designer brand, we inevitably take risks with bolder choices that may either spark a genuine love or a strong dislike. However, we strive to create fresh aesthetics within a framework that appeals to a broad audience. For this, we follow a sort of “universal template,” with proportions and line shapes that resonate with many.
Parisee -. It’s always hard to decide on a new pair. Do you have any advice for determining if glasses look good on someone?
C. Ferreira -. People often ask me, “What would suit me?” And I have to say I’m not a stylist. To see if a frame suits you, several factors come into play, some of which are very personal.
The frame should fit your face shape. Here, I can offer solid advice: it’s always preferable for the pupil to be horizontally centered in the lens. If you have a large face and prefer small glasses, it’s easier to go with round shapes. Square or rectangular frames should be proportionate to the face size. For a slender face, there’s more freedom. By opting for large glasses, you immediately adopt a trendier style.
In any case, give yourself time to embrace the change without making a hasty decision. Find a model where you feel you can express your personality while recognizing yourself. Glasses shouldn’t be a disguise but rather a tool to express yourself.
Parisee -. What are the iconic eyewear shapes that have marked the history of eyewear design?
C. Ferreira – I think of a period when eyewear transitioned from a medical object—a metal pince-nez used for holding corrective lenses—to the “glasses” seen as a new means of identity and expression.
Since the second half of the 20th century, eyewear has become a true fashion accessory. This shift began in the early 1950s with the Wayfarer, which broke away from the aviator shape by creating a new, now-iconic form.
In the 1960s, the trend grew, with eyewear design becoming bolder, worn by personalities like Jackie Kennedy, Yves Saint Laurent, Andy Warhol, and Grace Jones. Examples abound, such as John Lennon’s legendary round glasses.
Parisee -. And today, what strong trends are emerging?
C. Ferreira – More recently, I’d point to the trend of “Matrix” glasses, with very flat and sharp shapes that are making a strong impression at Fashion Week and are on their way to becoming iconic. Another example would be the Pantos, with its clean, round shape, which has established itself as a timeless classic.
However, in the designer eyewear world, we’re increasingly moving away from predefined shapes like round or aviator. Today, you can find hexagonal shapes or a more polymorphic approach, combining different shape types.
Parisee -. Beyond commercial success, what defines design success?
C. Ferreira – In a different field, we can take the example of Eames chairs. Their success lies in their perfect understanding of the object, resulting in a distinctive aesthetic and an iconic form.
Parisee -. The Design Eyewear Group collaborates across Denmark, England, and France. Are there any specific design sensibilities from each country?
C. Ferreira –While avoiding stereotypes, there are noticeable regional sensitivities. We see this within our three design teams.
In Denmark, function drives form, with a minimalist and radical design philosophy akin to “less is more.”
In France, the approach is more Latin, bolder, and freer, with a strong focus on concept and storytelling.
In England, the focus is on the final wearer’s style. New shapes are inspired by street fashion.
Parisee -. Do these consumer preferences vary?
C. Ferreira -. Yes, we respond to an international market, taking these differences into account.
In the U.S., consumers often prefer classic, rectangular, or butterfly shapes. American clients tend to choose more conventional products that don’t require much risk-taking.
On the other hand, Spanish, Italian, and French customers often seek taller, more square, and colorful frames.
This is why all our models come in two shapes and six colors. These various options allow us to cater to each preference with several choices.
Meeting Claire Ferreira brings us into the heart of the optical design world, where each collection becomes an artistic exploration. If this interview inspired you, be sure to also read our article on Dance by Design Eyewear Group.
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