“We march to the beat of our own drum”

The company began in 2008 as a purveyor of original deadstock designer vintage eyewear, then launched its own production in 2018.

Eyewear produced by the Vintage Frames Company draws inspiration from the production techniques and material selections of the past.

The UK has been a strong market for the company, Vintage Frames Company shared, even prior to beginning its own production, partnering with accounts in optical and fashion sectors.

OT spoke to Corey Shapiro, founder and creative director of the Vintage Frames Company, to find out more about the business.

Behind the scenes with Vintage Frames Company

What makes the Vintage Frames Company and its approach unique?

We don’t look at other current brands – we march to the beat of our own drum. Although we have a high-end brand with cultural relevance in many sectors, most of the frames that we design pay homage to people, places, and things of the past.

I am always imagining what it would be like if I had the opportunity to design for someone, or something, that I was inspired by from my childhood. I imagine giving my 17-year-old self a platform to bring his passions to life.

The way we look at the optical industry in general has never been the same as the rest of the world. The landscape of consumer has changed, and we are at the forefront of moving the industry.

I imagine giving my 17-year-old self a platform to bring his passions to life

What is the latest collection that you have released and why does it stand out from the crowd? How many frames are included in this collection?

The latest collection that we have released pays homage to 90s opulence. This was the first time the world saw designer brands being worn by communities that they weren’t initially intended to be worn by. In my opinion, this was the official pivotal point when lines began to be blurred in fashion. No longer were fashion houses just looking at the traditional high–income consumer, they were taking inspirations from the streets around them.

We made sure that we paid tribute to certain materials, people, and moments in the 90s, that helped shape our current outlook on life. This collection has more than 20 new styles and various new lens colourways for both sun and optical.

What is your personal favourite frame?

My personal favourite frame is the ‘XXL.’ Our whole approach to optical is inspired by this frame. The sheer presence and size almost ensures the person wearing it assumes a different level of confidence. The same frame can be seen on Robert De Niro in the movie ‘Casino.’ The frame was so iconic to us that we aggressively entered a movie house auction and were successfully the highest bidder, winning the pair that Robert De Niro wore in the movie.

Vintage Frames Company

The ‘XXL’ from Vintage Frames Company

What are the company’s main ambitions for the next 12 months?

Our main ambition, even though it’s not necessarily fiscally responsible, is to consistently be having fun. Too many companies take themselves too seriously in this industry and don’t empower the fun that can exist behind the frame. We aim to expand and bring our extensive, already existing clientele into accounts of our current, and future partners. There is a whole industry that most optical retailers cannot tap into; we want to partner with them to satisfy those people.

Are there any new projects in development that customers should be aware of?

As part of our collector’s series, my staff always give me a challenge to take a vintage object and turn it into a frame. We’ve done that with our ‘Ace,’ which is a deconstructed 1970s tennis racket. We chose to use the same materials and pieces that you would find on a vintage tennis racket, to bring a functional and wearable editorial frame to life.

We’ve collaborated with gallery artist, Trevor Andrews (Gucci Ghost), to bring to life a pair of frames with cigarette temples, poking fun at a time when people would wear cigarettes behind their ears as part of their fashion. Everything about the frame is authentic, down to what we believe to be some of the best packaging available in optical.

This year we have some incredible new collaborations in the series that we are super excited to introduce to the industry.

What key trends do you expect to see in the months ahead?

Over the past couple of years, we have noticed people getting more comfortable once again with wearable editorial frames. What once was seen as almost comedic, is now becoming a statement piece once again, as part of someone’s everyday fashion. We’ve also noticed people who shy away from larger, bold frames, are now searching for frames that are in size 60 to 63.

We have noticed people getting more comfortable once again with wearable editorial frames

What informs and inspires your work?

Every single frame that I design is inspired by a person, place, or thing of the past. I might be naming a frame after the place where I am currently sitting to design it, a musician that has inspired me, or a movie that shaped my ideologies in life. A frame to me is not meant to fit your face – it’s meant to fit your personality. It allows someone to turn from Clark Kent to Superman. Behind that frame, within the barrier between your eyes and someone else’s, anything is possible. We are inspired by the opportunity to empower people.

Beyond the brand

What are some of the external or market challenges you see facing the eyewear sector?

As we are not classically trained in the optical field, we are always looking for partners who want to help us expand our portfolio. The challenge has always been partnering with the right people who can amplify our message to market.

What differences do you see in the market in the UK?

I feel like the UK market has always been a little bit more experimental, which I personally love. People are willing to take bolder fashion choices, right off the bat, with the need for fewer references to feel comfortable wearing them.

What are the biggest opportunities that you see currently for optics?

The optical industry is typically run and governed by a couple of large corporations. We are definitely seeing an upswing in incredible independent brands that are starting to dominate that space. There’s a huge need for innovation, and definitely an upswing in quality, not necessarily being represented by high price points.