Kuboraum is an eyewear brand born in Berlin and crafted in Italy, challenging the conventions of optical design. Its vision blends experimentation, art, culture, and introspection into every frame.
Founded in 2012 in Berlin by three Italians with distinct yet complementary backgrounds—Livio Graziottin (visual artist), Sergio Eusebi (anthropologist), and Antonio Pincin (engineer)—Kuboraum was never meant to be a traditional eyewear brand. Their goal was to create masks. Not to conceal, but to reveal: glasses as extensions of the face, as zones of tension between inner self and outer gaze.
Located in a repurposed former post office in Berlin, the studio operates as a hybrid space—part artist workshop, part object lab, part identity research hub. The raw concrete, Cold War remnants, and vast emptiness amplify a creative process that rejects industrial norms. Berlin is not just a setting here; it’s a conceptual and aesthetic catalyst.
In contrast to this urban radicalism, Italian craftsmanship provides the counterbalance: precision in movement, material excellence, and a culture of deliberate slowness. The tension between these two poles shapes Kuboraum’s identity. These are not market-driven products—they are fragments of identity, unfit for trends, categories, or consumer segmentation. Each frame becomes a sculpture scaled to the face; each series, an anthropological study in how we choose to be seen.
Kuboraum’s visual language is unmistakable. Sharp edges, bold volumes, deliberate asymmetries—each frame asserts itself as a facial micro-architecture. Some pieces feature scorched textures, hammered surfaces, metallic irregularities, or engraved details that defy the polished norms of conventional design. There’s no intent to charm through softness; visual impact is the goal.
Every pair is handcrafted in Italy through a short, direct production chain. The acetate is carved, not molded; finishes are raw, sometimes intentionally uneven. Material effects—broken glosses, non-linear reliefs, shifting densities—become identity markers. Irregularity is not a side effect of craftsmanship; it’s the core philosophy. Rejecting industrial sanitization, Kuboraum elevates imperfection to a deliberate aesthetic principle.
At Kuboraum, glasses are neither accessories nor corrections. They are conceived as masks—not to hide, but to reveal. These masks don’t cover the face; they express it. They navigate the unstable space between what we feel, what we project, and what others perceive. The frame becomes an interface, a partial mirror, an active filter between the self and the outside world.
This founding concept permeates every aspect of the brand. Each model arises from a question of identity—not from a commercial brief. The goal is not to flatter facial features or match a style, but to embody a stance. Kuboraum creates pieces that channel internal tensions, accepted dissonances, and silent affirmations. The frame becomes a language—non-verbal, sculpted, deliberate.
Kuboraum is more than an eyewear producer—it has built a full cultural ecosystem around its Berlin-based studio. Housed in a former post office, the space operates as a living cell of artistic experimentation. Exhibitions, performances, artist residencies—each initiative embeds the brand within the active network of contemporary art, especially through events like the Berlin Atonal festival.
This dynamic extends far beyond the physical space. Kuboraum initiates editorial projects and collaborates with figures from experimental music, fashion, and design. Its partnership with Junya Watanabe for Comme des Garçons and installations at Dover Street Market Tokyo exemplify this curatorial approach. The eyewear object is never isolated—it’s part of a broader language, a mental and visual scenography. The brand doesn’t operate as part of the industry; it functions as an independent artistic structure.
Kuboraum’s identity is expressed without markings. No frame carries a logo, inscription, or visible signature. This isn’t a marketing tactic—it’s a principle. Each piece is recognizable by its structure, texture, and formal language. Design alone holds authority.
This position stands in stark contrast to luxury norms, where branding often overshadows creation. Kuboraum moves in the opposite direction: visual silence, deliberate restraint, trust in the object itself. The brand appeals to those who seek no affiliation, no status display. What they wear is not a social emblem, but a form they recognize in themselves—without explanation.
Kuboraum has never relied on traditional advertising. No global campaigns, no strategic placements. The brand has gained visibility solely through the strength of its pieces—radical visual objects, released slowly, chosen without mediation. It’s the creators themselves, figures on the margins of mainstream culture, who have embraced them.
Ai Weiwei, Marina Abramović, David Lynch, Elton John, Lady Gaga, Oprah Winfrey—all have worn Kuboraum without commercial agreements. They’re not ambassadors; they’re wearers—autonomous, visible, and fundamentally dissimilar. What unites them is a singular reading of the object. Here, the eyewear is not a status symbol but a continuation of posture. Kuboraum doesn’t target a market—it captures a tension: the one between anonymity and affirmation.
Kuboraum follows no dictated path. It doesn’t interpret trends—it speaks a language of its own, forged between raw material and artisan precision, between introspection and geometry. Each frame is not a product, but a fragment: a form designed to resonate with a face, a state, a silence.
This is not fashion, nor a concept. It’s a silent dialogue between object and wearer. A pair of Kuboraum glasses is never merely functional—it’s relational, narrative, situated. To see differently here means to wear differently—beyond prescriptions, beyond familiar signs.
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