“Now’s not the t ime to get si l ly, so wear your

big boots and jump on the garbage clowns”

Bob Dylan, Tarantula -1965.

SPRING SU MMER 2015

SPRING SU MMER 2015

A s t h e c u l t u r e o f i r o n y , r e l a t i v i s m , a n d p a s t i c h e w a n e s , t h e r e i s c r e a t i v e l i f e t h a t o s c i l l a t e s b e t w e e n a n d b e y o n d i r o n y a n d s i n c e r i t y , n a i v e t y a n d k n o w i n g n e s s , o p t i m i s m a n d d o u b t . I f t h e p r e s e n t i s a s y m p t o m o f i m m e d i a c y a n d a b s e n c e , t h e n w e a r e c e r t a i n l y h i s t o r i a n s a s m u c h a s w e a r e f u t u r i s t s .

T h e s u n i s s e t t i ng , a n d we ’ r e i n p u r s u i t o f a p l u r a l i ty o f h o r i zo n s .

W h e r e H o p e i s n o t s i m p l e o r s o m e t h i n g t o a l w a y s d i s t r u s t , a n d L o v e n o t s o m e t h i n g t o p a n d e r o r r i d i c u l e , a n d N a r r a t i v e s a r e a s n e c e s s a r y a s t h e y a r e p r o b l e m a t i c . O u r s b e g i n s w i t h a q u e s t i o n : H o w m i g h t w e b e c o m e v i b r a n t l y o p e n , m a g n e t i c , a n d e v e r t r u e ? H o w m i g h t w e a r t f u l l y e x p r e s s a l l t h a t h a s h a p p e n e d a n d h a p p e n s a n e w ?

We a r e , l i ke s c i e n t i s t s , o n a q u e s t fo r p o e t i c e l e g a n c e .

W h i l e w e a c k n o w l e d g e t h e l i m i t a t i o n s i n h e r e n t t o a l l m o v e m e n t a n d e x p e r i e n c e , w e t h i n k i t p o s s i b l e t h a t t o g e t h e r , w e c a n m e n d t h e b u r d e n o f o u r p o l a r i z e d h e r i t a g e . R e c a l i b r a t e t h e o p t i c s ; i l l u m i n a t e t r a d i t i o n s ; e n r i c h t h e p e o p l e .

A p p ro ac h e ac h m o m e n t a s a s c u l p to r m i g h t a c l e f t o f s to n e .

Te s t t h e a i r f o r w h a t ’ s h a p p e n e d o v e r t h e c e n t u r i e s ; s e n s e t h e c u l t u r a l r e v o l u t i o n s , t h e g r e a t e p i c s a n d a n t i - h e r o e s o f o u r c o l l e c t i v e h i s t o r i e s . C a s t y o u r e y e s a c r o s s t h e o c e a n s a n d a g e s . E n v i s i o n l i f e t h r o u g h t h e l e n s o f t h e o t h e r .

S p a n c o u n t r i e s , c o u n te r c u l t u r e s , r e p t h e w i s d o m o f g e n e r a t i o n s .

Vision OfPast Future

J a c q u e s M a r i e M a g e i s a m a k e r o f r a r e , c o l l e c t i b l e s p e c t a c l e s t h a t c o m b i n e h i s t o r i c a l m o t i f s w i t h p r e c i o u s m a t e r i a l s , i n n o v a t i v e p r o d u c t i o n m e t h o d s , a n d e t h i c a l b u s i n e s s p r a c t i c e s .

J E R O M E M A G E - J A C Q U E S M A R I E M A G E F O U N D E R

P H O T O B Y A N D R E W A R T H U R

R i n g ; 1 6 t h C e n t u r y , F r a n c e ; G o l d & C a s t

I r o n . P r o c u r e d a t t h e R o s e B o w l F l e a M a r k e t ;

P a s a d e n a , C A . J u n e 2 0 0 7.

B u s t ; C h i e f S i t t i n g B u l l ; B r o n z e . P r o c u r e d

a t t h e N e z P e r c e R e s e r v a t i o n , N o r t h C e n t r a l

I d a h o . A u g u s t 2 0 1 1 .

P i p e ; 1 9 t h c e n t u r y ; W o o d & To r t o i s e S h e l l .

P r o c u r e d a t L e L o u v r e d e s A n t i q u a i r e s ; P a r i s ,

F R . M a r c h 2 0 0 7.

Over the last two decades, Jerome Jacques Mar ie Mage has been qu iet ly shaping the d i rect ion of act ion

sports and luxury product des ign. Mov ing to Los Angeles at the age of 20, the French-born des igner

opened h is stud io in 2001 , and present ly works wi th a var ied and loyal c l iente le . Known for h is keen

eye and sartor ia l f la i r, Mage’s latest venture , Jacques Mar ie Mage (J.M.M. ) , is a smal l-batch, l imi ted-

edi t ion eyewear co l lect ion that ref lects the des igner ’s matured v is ion and ref ined aesthet ic vocabulary,

one that bo ld ly reconf igures inf luences ranging f rom Art Deco to Amer ican Fo lk to La Bel le Époque.

Why J.M.M. , why now?

JM: What ’s lack ing most these days is a po int of v iew. Especia l ly when i t comes to luxury, an industry segment in which sk i l ls and t rad i t ions are d isappear ing , supplanted by pr ice dr iven, over-marketed product. That ’s why we focus on craft and ind iv idual i ty, to create rare and t imeless mementos that convey powerfu l narrat ives . In other words , we’ re not in the bus iness of just making accessor ies . But u l t imate ly, the pro ject is an inv i tat ion to d iscovery and cur ios i ty, an impetus for te l l ing and re-te l l ing stor ies , for reshaping the past into the present and pro ject ing the present into the future . I th ink th ings more than ever are standing st i l l in some sort of d istor ted mono-creat iv ist hor izonta l f latness , therefore J.M.M. thr ives to int roduce a new art is t ic landscape.

What makes an ob ject co l lect ib le?

JM: What makes an ob ject co l lect ib le versus d isposable is rea l ly the sum of the i r s tor ies . For example , i f you look at a p iece of Napoleonic memorabi l ia , i t w i l l te l l you about the t ime, the geography, the reg iment, the po l i t ica l h ierarchy. When you look at a pa i r of J .M.M. spectacles—its shape, construct ion , and mix of raref ied mater ia ls—it too references a mix of part icu lar t imes, p laces , and sens ib i l i t ies , un i t ing these e lements

into an utter ly un ique statement regard ing h istor ica l happenings and present-day att i tudes . So what makes an ob ject co l lect ib le is the sum of a l l th is interconnected informat ion .

Descr ibe the J.M.M. aesthet ic .

JM: Wi th th is f i rst season, I was inf luenced by a certa in number of stor ies , so rather then just des ign a pa i r of sunglasses , I wanted each f rame to conta in a l l these stor ies , a l l the co l lected interests in the aesthet ic inf luences of bygone eras—from Bruta l is t arch i tecture to the French F i rst Empire . The resul t is a co l lect ion of spectacles that not on ly embrace an ar ray of r ich mater ia ls and bo ld geometr ic shapes, but a lso possess an exuberance of at t i tude and an en igmat ic qual i ty.

Does th is season have a part icu lar theme?

JM:This season is very Bob Dylan-esque. H is l i fe and music were very inf luent ia l to my th ink ing , and served as an over-arc ing inf luence on the whole pro ject, in terms of l is ten ing to h is music , reading h is b iography, interv iews, watching h is movies , reading h is book “Tarantu la ,” whatever i t was. The way Dylan has been able to funct ion and to steer away f rom the c l ichés or the expectat ions . He was about re-creat ion , about mashing up b ib l ica l , l i terary, poetry and b lues references and creat ing something

inscrutable and unpredictable .

How would you descr ibe your approach to des ign?

JM: Our work is about pass ions , authent ic i ty, and craft. I t ’s a lso about honesty. We have a very honest approach, f rom the get go . We’ re not t ry ing to rep l icate c lass ic shapes and just co lor them or twist them in some c lever way. Our obsess ion wi th or ig ina l i ty and qual i ty demands that we ut i l i ze on ly the most premium mater ia ls , develop industry innovat ive hardware , ut i l i ze on ly the most respectable manufacturers in the wor ld , and conceptual ize un ique f rame archi tecture to empower personal ized impress ions . So , genera l ly speaking, our des ign approach is centered around the craftsman and mainta in ing the ar t of our craft .

What ’s the b ig p icture?

JM: At the heart of J .M.M. is a dual commitment to t rad i t ion and innovat ion , a be l ief in the idea that by combin ing innovat ive product ion methods, d ist inct perspect ives , and eth ica l bus iness pract ices , we wi l l c reate a raref ied product that exempl i f ies the balance of form, funct ion , and fa i rness that we seek in the wor ld . As a pro ject, J .M.M. is meant to represent and benef i t a community of people by pos i t ive ly contr ibut ing to an equi table marketp lace and thr iv ing ecosystem.

CIRCA COLLECTION

CIRCA COLLECTION

CIRCA COLLECTION

The ‘C i rca Col lect ion’ is compr ised of h istor ica l ly insp i red des igns based on

an extens ive personal l ib rary of v intage f rames, pa instak ingly accumulated

over the last two decades f rom dozens of c i t ies around the g lobe. Drawing

on int imate associat ions to cu l tura l icons that inc lude Bob Dylan, P ier Paolo

Pasol in i . Henry Moore , and Joan Mi ró , the ‘C i rca Col lect ion’ appl ies modern

deta i ls to c lass ic f rame shapes, resul t ing in t imeless companions for sunny days .

D E A L A N

DEALAN

Bob Dylan. Photo by Lisa Law, Los Angeles, 1966. Vietnam War. Photo by Horst Faas, Vietnam, 1965. Early Ford Mustang Prototype. Photographer unknown, 1964

D y l a n c a n b e s e e n w e a r i n g h i s i c o n i c

d a r k s h a d e s t h r o u g h o u t h i s 1 9 6 5 U K

t o u r , a f t e r w h i c h h e w a s h a i l e d a s a h e r o

o f f o l k . Tw o m o n t h s a f t e r r e t u r n i n g ,

h e ’ d a l i e n a t e h i s f a n s b y g o i n g e l e c t r i c .

“ To s a y t h a t w e a r e c l o s e r t o v i c t o r y t o d a y

i s t o b e l i e v e t h e o p t i m i s t s w h o h a v e b e e n

w r o n g i n t h e p a s t . To s u g g e s t w e a r e o n t h e

e d g e o f d e f e a t i s t o y i e l d t o u n r e a s o n a b l e

p e s s i m i s m .” — W a l t e r C r o n k i t e , 1 9 6 8 .

I n 1 9 6 5 , t h e i c o n i c S h e l b y M u s t a n g w a s

b o r n , e q u i p p e d w i t h a s w e p t - b a c k r e a r g l a s s

a n d d i s t i n c t i v e v e n t i l a t i o n l o u v e r s . S t a n d a r d

f e a t u r e s i n c l u d e d a d j u s t a b l e b u c k e t s e a t s ,

a n A M r a d i o , a n d a f l o o r m o u n t e d s h i f t e r .

A B C

Throughout the mid-1960’s , Bob Dylan toured the wor ld wi th a so le companion: one pa i r of

icon ic , b lack , cat-eyed spectacles . The DEALAN pays homage to th is un ique re lat ionship

between a man and h is eyewear, incorporat ing bo ld vo lumes and sharp l ines that

evoke the music ian’s dev i l -may-care char isma. Just put these on, and don’ t look back.

T h e C i r c a C o l l e c t i o n i s a c c e n t e d w i t h

s i g n a t u r e a r r o w h e a d h a r d w a r e , a n o d t o t h e

t i m e l e s s q u a l i t y o f t h o s e p o i n t e d p r o j e c t i l e s

u s e d t h r o u g h o u t h u m a n c i v i l i z a t i o n a s a

t o o l f o r h u n t i n g o r a w e a p o n o f w a r f a r e .

A n c i e n t a r r o w h e a d s w e r e m a d e o f

s t o n e a n d o r g a n i c m a t e r i a l s , s u c h a s

f l i n t a n d o b s i d i a n , a n d o f t e n c o n t a i n e d

u n i q u e d e s i g n s , s u c h a s f l u t e s o r n o t c h e s ,

d e p e n d i n g o n t h e i r d e s i g n a t e d u s e a n d t h e

w h i m o f t h e i r m a k e r .

A C E t h n o g r a p h e r a n d p h o t o g r a p h e r

E d w a r d S . C u r t i s w a s f a r a h e a d o f h i s

t i m e i n h i s t o l e r a n c e a n d o p e n n e s s t o

N a t i v e A m e r i c a n c u l t u r e s , a n d c r e a t e d

s o m e o f t h e m o s t i m p o r t a n t p r i n t s e v e r

m a d e i n t h e h i s t o r y o f p h o t o g r a p h y .

A

B

ZEPHIRIN

Insp i red by b ig th inkers and ambit ious outcasts , the ZEPHIRIN (named after Pope Zephyr inus) is

notable for i ts d ist inct ive pre-WWII s iz ing , met icu lous hand-f in ish , and sculpted temple construct ion .

Wi th i ts s l im l ines and ec lect ic s i lhouette , these spectacles are perfect for everyday use by the

cu l tura l aesthete , imbuing the wearer wi th the panache of a professor and the swagger of a sa int.

A

B

C

C u s t o m s p u r - s h a p e d h a r d w a r e

r i v e t s m a d e o f 2 2 k g o l d a d o r n C i r c a

C o l l e c t i o n s t e m s , d e s i g n e d a f t e r t h e

c l a s s i c 8 - t o o t h e d w h e e l f i x e d o n t o a

h o r s e r i d e r ’ s h e e l i n o r d e r t o h e l p

t h e s t e e r t h e i r s t e e r . U s e d a c r o s s

t i m e a n d c o n t i n e n t s b y k n i g h t s a n d

c o w b o y s a l i k e t o s i g n i f y a s u p e r i o r

l e v e l o f s k i l l a n d s e n s e o f c e r e m o n y .

R o d e o e v o l v e d a f t e r t h e T e x a s

R e v o l u t i o n , w h e n A n g l o c o w b o y s

s t a r t e d l e a r n i n g t h e s k i l l s , a t t i r e ,

v o c a b u l a r y , a n d s p o r t s o f t h e

v a q u e r o s , w h o w e r e c l e v e r r i d e r s a n d

s k i l l e d h o r s e h a n d l e r s , p a r t i c u l a r l y

o f t h e b r o n c o — s o m e t i m e s a m u s t a n g ,

s o m e t i m e s a n I n d i a n p o n y . R o d e o s

b e g a n a s c o n t e s t s h e l d a t r a n c h e s ,

r a c e t r a c k s , a n d f a i r g r o u n d s , a n d

f e a t u r e d b r o n c o a n d b u l l r i d i n g ,

r o p i n g c o n t e s t s , a n d e v e n t u a l l y ,

s t e e r w r e s t l i n g .

T h e s p u r i s o n e o f t h e A m e r i c a n W e s t ’ s

m o s t d i s t i n c t i v e f u n c t i o n a l p i e c e s , u s e d

b y h o r s e m e n s i n c e t h e R o m a n E m p i r e .

O f t e n h a n d m a d e , u s i n g s i l v e r a n d o t h e r

p r e c i o u s m e t a l s , t h e s p u r f u n c t i o n a s

b o t h a t o o l a n d a r t f o r m .

C

BA

HATFIELD

The HATFIELD is a ref ined nod to the r igors of a bygone era , when the West was st i l l w i ld and people

fought wi th honor and gu i le . Un iquely ba lanced and armed wi th an exaggerated teardrop lens , our

contemporary take on the c lass ic av iator s i lhouette is for the rugged indiv idual ist wi th impeccable taste .

A

B

C

T h e d o m e d , m e t a l J . M . M . l o g o f o u n d

o n t h e i n s i d e t e m p l e o f e a c h s p e c t a c l e

i s a h e r a l d i c c r e s t c r e a t e d i n t h e f a s h i o n

o f F r e n c h F i r s t E m p i r e c a m e o j e w e l r y .

A s i l v e r c h a k o p l a t e o f t h e I m p e r i a l

E a g l e , c h o s e n b y t h e E m p e r o r N a p o l e o n

i n 1 8 0 4 a s t h e s y m b o l o f t h e F r e n c h A r m y .

A l b e r t D i e u d o n n é a s N a p o l e o n i n

N a p o l é o n , a n e p i c s i l e n t F r e n c h f i l m

d i r e c t e d b y A b e l G a n c e i n 1 9 2 7 , d e p i c t i n g

t h e f u t u r e e m p e r o r ’ s e a r l y y e a r s .

T h e d i s t i n c t i v e h e l m e t o f a F r e n c h

c a r a b i n e e r , e q u i p p e d w i t h s t a n d a r d

s c a r l e t c o m b , w o r n d u r i n g t h e

N a p o l e o n i c w a r s w i t h i n t h e H e a v y

C a v a l r y D i v i s i o n .

A v a s e b y C h a r l e s P e r c i e r a n d

P i e r r e - F r a n ç o i s - L é o n a r d F o n t a i n e ,

a d e s i g n d u o k n o w n f o r d e v e l o p i n g

t h e r i c h a n d o r n a t e v e r s i o n o f

n e o c l a s s i c i s m k n o w n a s t h e

E m p i r e S t y l e .

FONTAINEBLEAU

Much l ike the imper ia l pa lace that bears i ts name, the FONTAINEBLEAU incorporates

c lass ic notes f rom I ta l ian sty le , combin ing a softer lens-shape wi th ref ined f ramework

deta i ls to create a sense of e legance and versat i l i ty. These s ignature spectacles

can be comfortably worn walk ing Sav i le Row or d in ing at your local chateau.

A

B

C

D

E

A B

C E

D

HAND CRAFTED IN NAKATSUGAWAT h e “ C i r c a C o l l e c t i o n ” i s e x c l u s i v e l y m a n u f a c t u r e d i n N a k a t s u g a w a , J a p a n u s i n g a d v a n c e d

t e c h n i q u e s s t e e p e d i n a r i c h h e r i t a g e t h a t s t e m s f r o m t h e g o l d e n a g e o f e y e w e a r p r o d u c t i o n .

T h e f a c t o r y i s s i t u a t e d w i t h i n a h i s t o r i c a l t o w n o f t h e J a p a n e s e E d o p e r i o d , l o c a t e d a l o n g

t h e N a k a s e n d ō , a n o l d t r a v e l r o u t e p r e v i o u s l y u t i l i z e d b y S a m u r a i k i n g s , n o w h o m e t o f u l l y

i n h a b i t e d v i l l a g e s a n d n a t i o n a l l y r e c o g n i z e d a r c h i t e c t u r a l p r e s e r v a t i o n s i t e s .

E a c h c o m p o n e n t o f J a c q u e s M a r i e M a g e

e y e w e a r i s c a r e f u l l y c o n s i d e r e d t h r o u g h o u t

e v e r y p h a s e o f i t s c r e a t i o n , f r o m c o n c e p t i o n

t o c o m p l e t i o n .

T h e C i r c a C o l l e c t i o n i s a d o r n e d w i t h p r e c i o u s

m e t a l h a r d w a r e , c u s t o m t o o l e d o f e i t h e r s i l v e r

o r g o l d c o m p o s i t i o n . E a c h p i e c e c r e a t e d b y

o u r J a p a n e s e m a n u f a c t u r e r r e q u i r e s i n t r i c a t e

t o o l i n g u s i n g t h e l o s t w a x c a s t i n g m e t h o d

f o l l o w e d b y h a n d p o l i s h i n g t e c h n i q u e s .

I n t h i s a n c i e n t p r o c e s s d a t i n g b a c k h u n d r e d s

o f y e a r s , e a c h m o t i f i s c a s t i n r o u g h f o r m ,

t h e n p o l i s h e d b y h a n d , a n d a n t i q u e d o n e

p i e c e a t a t i m e .   O u r s i g n a t u r e s p u r - s h a p e d

r i v e t s , d e s i g n e d a f t e r t h e c l a s s i c 8 - t o o t h e d

w h e e l f i x e d o n t o a h o r s e r i d e r ’ s h e e l , a n d

f r o n t - f a c i n g a r r o w h e a d p i n , a n o d t o t h o s e

t i m e l e s s q u a l i t y o f t h o s e p o i n t e d p r o j e c t i l e s

u s e d t h r o u g h o u t h u m a n c i v i l i z a t i o n , s e t f o r m

a n d f u n c t i o n i n a h o l i s t i c b a l a n c e .

VANGUARD COLLECTION

VANGUARD COLLECTION

VANGUARD COLLECTION

The ‘Vanguard Col lect ion’ is heav i ly inf luenced by the ar t deco and neo-cubist

per iods of the ear ly-20th century, in which ar t is ts sought to ba lance and combine

geometr ica l shapes and mixed mater ia ls to create new aesthet ic forms. Wi th these

t ra i lb lazers in mind, we’ve developed our own nuanced des igns that incorporate

offbeat appl icat ions of horn , wood, and prec ious metals . Our dual goal is noth ing

less than unpara l le led craftsmanship and a new v isual pa late for women’s eyewear.

C L A R A

HORTENSE

Channel ing the fabled femin in i ty and unwaver ing loyal ty of Hortense de Beauharnais ,

s tepdaughter of Emperor Napoleon I and Queen consort of Hol land, the HORTENSE

balances the grandeur of the imper ia l crown wi th the urgencies of the here-

and-now, shaping beauty and bo ldness into a modern v is ion of o ld wor ld charm.

Closeup of brown carpathian elm burl wood. Source unknown. Knife Edge Mirror Two Piece by Henry Moore, 1876-1878 JMM Concealed Hinge System. Photographer Ken Hansen.

T h e d e v e l o p m e n t o f c i v i l i z a t i o n i s

c l o s e l y t i e d t o t h e d e v e l o p m e n t o f

i n c r e a s i n g l y g r e a t e r d e g r e e s o f s k i l l i n

t h e w o r k i n g o f n a t u r a l m a t e r i a l s , s u c h

a s w o o d , s t o n e , a n d p r e c i o u s m e t a l s .

T h a t l i n e a g e i s u p h e l d b y t h e V a n g u a r d

C o l l e c t i o n , c r e a t e d w i t h w a l n u t a n d

e b o n y i n l a y s b y b e s t - i n - c l a s s a r t i s a n s .

“ F o r a n y t h i n g w o r t h h a v i n g o n e m u s t

p a y t h e p r i c e ; a n d t h e p r i c e i s a l w a y s w o r k ,

p a t i e n c e , l o v e , s e l f - s a c r i f i c e — n o p a p e r

c u r r e n c y , n o p r o m i s e s t o p a y , b u t t h e g o l d

o f r e a l s e r v i c e . ” — J o h n B u r r o u g h s

T h e V a n g u a r d C o l l e c t i o n m o v e s b e y o n d

t h e t r a d i t i o n a l w i r e c o r e c o n s t r u c t i o n

o f c o n v e n t i o n a l g l a s s e s b y i n t r o d u c i n g

p r o p r i e t a r y a c e t a t e l a m i n a t i o n m e t h o d s

t h a t a l l o w f o r i n n o v a t i v e d e s i g n s , m a t e r i a l

c o m b i n a t i o n s , a n d u n e x p e c t e d v o l u m e s .

A B C

P h o t o g r a p h e r H e l m u t N e w t o n ’ s t e s t

P o l a r o i d s h o l d a s p e c i a l p l a c e i n t h e

h e a r t s o f m a n y f a s h i o n a n d p h o t o

e n t h u s i a s t s , h a r k e n i n g b a c k t o w h e n

“ i n s t a n t p h o t o g r a p h y ” m e a n t a o n e -

o f - a - k i n d p r i n t t h a t d e v e l o p e d w i t h i n

m i n u t e s o f c l i c k i n g t h e s h u t t e r .

T h e b l a c k p a n t h e r i s a p o w e r f u l

s y m b o l o f f e m i n i n i t y , a n a n c i e n t a n d

p o w e r f u l s p i r i t g u i d e t h a t r e p r e s e n t s

g u a r d i a n s h i p , c l a i r v o y a n c e , a n d t h e

e t e r n a l c y c l i n g o f l i f e a n d d e a t h .

T h e u n i q u e l y c o l o r e d a n d a d o r n e d

E m e r a l d c o l o r w a y c o l l e c t i o n i s s e t o f f

w i t h g e n u i n e i n s e r t s o f e b o n y w o o d

a n d a v a r i e t y o f i n n o v a t i v e h a r d w a r e ;

i n c l u d i n g o u r p r o p r i e t a r y c o n c e a l e d

h i n g e , l a m i n a t e d d o u b l e w i r e c o r e , a n d

b a c k A R l e n s c o a t i n g .  

D a i d o M o r i y a m a , a p r o l i f i c J a p a n e s e

a r t i s t , i s w e l l - k n o w n a s a p h o t o g r a p h e r ,

g r a p h i c d e s i g n e r , a n d w r i t e r . H i s

c o l l e c t i o n s o f p h o t o g r a p h s p o r t r a y a

v i v i d p h y s i c a l s e n s i b i l i t y , a s s e e n h e r e

i n “ U n t i t l e d ( L i p s ) ” , 2 0 0 7 .

A B

C

OLYMPE

Our s ignature cat-eye sty le conjures the myst ique of O lympia Mancin i , the 17th century ar istocrat

known as much for her i r res ist ib le charm as her penchant for p lott ing murder. With i ts s leek l ines and

indel ib ly fe l ine design, the OLYMPE is less for a damsel in d istress, and more for a devi l in a blue dress.

A

C

B

D

D

1 . T h e “ G i ò ” R o y a l O a k M a r q u e t r y C a b i n e t b y A c h i l l e

S a l v a g n i , r e p l e t e w i t h p a t i n a t e d b r a s s t o p , i n s e t

h a n d l e s , g u n m e t a l l e g s , a n d r e m o v a b l e g l a s s s h e l v e s .

2 . T h e w i l d l y e r o d e d a n d v i b r a n t l y h u e d b a d l a n d s

o f Z a b r i s k i e P o i n t , D e a t h V a l l e y N a t i o n a l P a r k .

3 . The Discours De La Methode by Descartes, designed and

hand-bound by Rose Adler, perhaps the greatest book gi lder of

the Art Deco era.

4 . Q u i n t e s s e n t i a l l y A r t D e c o d o o r s , b e a u t i f u l l y c o m b i n i n g

c r a f t m o t i f s , M a c h i n e a g e i m a g e r y, a n d i n d u s t r i a l m a t e r i a l s .

5 . R e p r e s e n t i n g H e n r y R o y c e ’ s u l t i m a t e v i s i o n o f

a l u x u r y c a r , t h e R o l l s - R o y c e P h a n t o m I I I C a b r i o l e t

( 1 9 3 9 ) , d u b b e d t h e “ S p e c t r e ,” c a m e e q u i p p e d w i t h

a V 1 2 e n g i n e a n d c o u l d r e a c h s p e e d s o f 1 0 0 m p h .

10 . T h e r i c h b l a c k a n d g o l d c o n t r a s t o f t h e s e

1 9 4 0 s b r o n z e a n d p o r c e l a i n e n a m e l b a t h r o o m

v a n i t i e s c a n m a k e a n y l o o l u x u r i o u s .

1 1 . T h e F l o a t i n g M u s e u m s e r i e s , c re a t e d

by M a x y m e D e l i s l e a n d S i m o n D u h a m e l , i s a

co l lect ion of ob jects photographed in suspens ion ,

i n c l u d i n g a n e a g l e b e a r i n g i t s g o l d e n e g g .

1 2 . As a longt ime res ident of Brooklyn

and  f r iend of Duchamps, Man Ray once to ld h is

contemporary that,  “Dada cannot l ive in New York .

A l l New York is dada, and wi l l not to lerate a r iva l .”

1 3 . The works of renowned Romanian sculptor

Constant in Brâncuși emphasize c lean geometr ical

l ines , infus ing h is mater ia ls , whether wood, stone,

or marble , w i th powerfu l symbol ic a l lus ions .

6 . S c u l p t o r Te r u o K i n o s h i t a p ro d u c e s d e l i c a t e

a b s t r a c t w o o d s c u l p t u re s t h a t c o n t e m p l a t e

e l e m e nt a l fo r m s s u c h a s t h e e g g a n d t h e ra i n d ro p .

7 . Tr a i n e d i n t h e P a r i s i a n c a b i n e t m a k i n g

w o r k s h o p s o f t h e F a u b o u r g S a i n t-A n t o i n e d u r i n g

t h e 1 9 3 0 s , J e a n R o y è re ’s d e s i g n s e m b o d y

t h e p r i n c i p l e s o f 2 0 t h c e n t u r y a va n t- g a r d e .

8 . NYC-based designer Kristin Victoria Barron’s

whimsical sculptures form the foundation of

Kriest, a collection of delicate, unexpected

objects inspired by dreams and magic.

9 . Futurist sculptor Umberto Boccioni expresses

movement and fluidity via his infamous bronze

creation, “Unique Forms Of Continuity In Space”, 1913.

1

6 11

10

8

2

7

4

13

5

3

9

12

A m u s e t o s o m e o f t h e 2 0 t h

c e n t u r y ’ s m o s t d i s t i n g u i s h e d

w r i t e r s a n d a r t i s t s ,   N a n c y C l a r a

C u n a r d h e r s e l f   w a s a w r i t e r , p o e t ,

h e i r e s s a n d p o l i t i c a l a c t i v i s t w h o

d e v o t e d m u c h o f h e r l i f e t o f i g h t i n g

r a c i s m a n d f a s c i s m .

“ T h e t w o c r e a t i v e e x p r e s s i o n s o f m a n ,

a r t a n d s c i e n c e , m e e t a g a i n t o f o r m a n

i m a g i n a r y c o n s t r u c t t h a t i s i n a c c o r d

w i t h o u r s e n s i b i l i t y a n d c o n t e m p o r a r y

k n o w l e d g e .” — V i c t o r V a s a r e l y , g o d f a t h e r

o f t h e O p A r t .

R o g e l i o P o l e s e l l o w a s a n A r g e n t i n e

O p A r t p a i n t e r a n d m u r a l i s t w h o

c r e a t e d h i s w o r k s u s i n g G e s t a l t t h e o r y

a n d p e r c e p t i v e p r i n c i p l e s t o p r o d u c e

p a r t i c u l a r o p t i c a l e f f e c t s .

A C

CLARA

Designed for the artistically incl ined, the CLARA, with its unconventional frame and Surrealist motif,

takes its name from Nancy Clara Cunard, the bohemian heiress and activist who helped popularize

African culture in the early 20th century and social ized with the who’s who of the era’s avant-garde.

Provocative and playful, these spectacles are for those big-hearted sirens forever blazing their own path.

A

B

C

B

A

T h e “ V a n g u a r d C o l l e c t i o n ” i s e x c l u s i v e l y m a n u f a c t u r e d i n V a l d o b b i a d e n e , I t a l y , u t i l i z i n g w o o d ,

h o r n , a n d o t h e r p r e c i o u s m a t e r i a l s t h a t h a v e b e e n e t h i c a l l y s o u r c e d . T h e f a c t o r y s i t s a t o p a

h i l l s i d e o v e r l o o k i n g a d e n s e s t r i p o f v i n e y a r d s , w i t h i n s h o r t d i s t a n c e o f t h e n e a r b y I t a l i a n A l p s .

J a c q u e s M a r i e M a g e s p e c t a c l e s i n t r o d u c e a

w i d e r a n g e o f i n n o v a t i v e c o m p o n e n t s r a r e l y

s e e n i n e y e w e a r , s u b t l e d e c o r a t i o n s a n d

r e v o l u t i o n a r y i n t e r n a l c o m p o n e n t s t h a t s e t

f o r m a n d f u n c t i o n i n h o l i s t i c b a l a n c e .

T h e V a n g u a r d C o l l e c t i o n f e a t u r e s a

p r o p r i e t a r y c o n c e a l e d h i n g e s y s t e m w i t h i n

a n i n n e r - s t e e l c a r r o s s e r i e , c o m p o s e d o f a

r e v o l u t i o n a r y d o u b l e - w i r e c o r e l a m i n a t e d

b e t w e e n t w o s h e e t s o f a c e t a t e u t i l i z i n g a

p r o p r i e t a r y p r o c e s s c a l l e d t h e r m o f o r m i n g ,

w h i c h a l l o w s f o r u n i q u e t e m p l e d e s i g n s h a p e s

a n d u n p a r a l l e l e d f i t a n d s t a b i l i t y s t a n d a r d s .

I n c o r p o r a t i n g w o o d , m o t h e r o f p e a r l , a n d

e t h i c a l l y t r a d e d h o r n , t h e V a n g u a r d C o l l e c t i o n

i s c r e a t e d i n I t a l y b y m a n u f a c t u r e r ’ s w h o

h a v e p a i n s t a k i n g l y w o r k e d f o r s e v e r a l y e a r s

t o m a s t e r t h e l a m i n a t i o n p r o c e s s o f p r e c i o u s

m a t e r i a l s . T h e i n v a l u a b l e e x p e r i e n c e o f t h e

f a c t o r y ’ s a r t i s a n s p r o v i d e s J . M . M . t h e a b i l i t y

t o m i x o r g a n i c c o m p o n e n t s a n d c o n c o c t c o l o r

c o m b i n a t i o n s i n w a y s n e v e r b e f o r e s e e n .

HAND CRAFTED IN VALDOBBIADENE

J a c q u e s M a r i e M a g e d o n a t e s a p e r c e n t a g e o f e v e r y s p e c t a c l e s o l d t o a s s o c i a t i o n s h e l p i n g t o p r o t e c t A m e r i c a ’ s N a t i o n a l P a r k s a n d i t s w i l d l i f e . O v e r - d e v e l o p m e n t , p o l l u t i o n , a n d i r r e s p o n s i b l e r e c r e a t i o n a l u s e h a v e p u t o u r p a r k s a n d t h e i r a n i m a l r e s i d e n t s i n p e r i l . W e h o p e t o c o n t r i b u t e o u r v o i c e a n d o u r r e s o u r c e s t o p r o a c t i v e l y h e a l i n g a n d p r e s e r v i n g t h o s e p l a c e s a n d s p e c i e s t h a t c a p t i v a t e o u r c u r i o s i t i e s .

ETHICAL PARTNERSHIP

B e f o r e p e o p l e f u l l y

u n d e r s t o o d t h e c o n c e p t s

o f e c o s y s t e m a n d t h e

i n t e r c o n n e c t e d n e s s o f s p e c i e s ,

w o l v e s w e r e h o r r i b l y e l i m i n a t e d

f r o m t h e i r h i s t o r i c a l h a b i t a t s

i n t h e A m e r i c a n n o r t h w e s t ,

a n d h a d a l m o s t r e a c h e d t o t a l

e x t i n c t i o n b y t h e m i d - 1 9 5 0 s .

R e s t o r a t i o n e f f o r t s , b e g i n n i n g

i n Y e l l o w s t o n e i n t h e 1 9 7 0 s ,

h a v e s i n c e r e i n t r o d u c e d w o l f

p o p u l a t i o n s , w i t h s t u d i e s

i n d i c a t i n g t h a t t h e i r r e c o v e r y

h a s l e a d t o g r e a t e r b i o d i v e r s i t y .

T h e A m e r i c a n b u f f a l o , o r

b i s o n , o n c e r o a m e d t h e

g r e a t g r a s s l a n d s o f N o r t h

A m e r i c a i n m a s s i v e h e r d s ,

u n t i l c o m m e r c i a l h u n t i n g

a n d d o m e s t i c c a t t l e d i s e a s e s

d e c i m a t e d t h e p o p u l a t i o n .

T h e l a r g e s t l a n d a n i m a l i n

t h e A m e r i c a s , b i s o n h a v e

s i n c e r e t u r n e d d u e t o t h e

p r e s e r v a t i o n e f f o r t s o f

n a t i o n a l p a r k s a n d r e s e r v e s .

A n e c o s y s t e m i s a

c o m m u n i t y o f l i v i n g

o r g a n i s m s a n d n o n l i v i n g

e n v i r o n m e n t a l c o m p o n e n t s

( l i k e a i r a n d w a t e r ) l i n k e d

t o g e t h e r t h r o u g h n u t r i e n t

c y c l e s a n d e n e r g y f l o w s ,

a c o m p l e x s y s t e m o f

i n t e r c h a n g e b e t w e e n s p e c i e s ,

g o v e r n e d b y t h e l a w s o f

n a t u r e a n d i n f l u e n c e d b y t h e

d i s t u r b a n c e o f c i v i l i z a t i o n s .

A t J . M . M . , w e u n d e r s t a n d t h e

c o n c e p t o f t h e e c o s y s t e m

a s i n t e g r a l t o u n d e r s t a n d i n g

t h e b e n e f i t s o f a b a l a n c e d

a p p r o a c h t o g l o b a l l i v i n g .

T h e w o n d r o u s g e y s e r s o f

Y e l l o w s t o n e N a t i o n a l P a r k

a r e b a s i c a l l y h o t s p r i n g s w i t h

p r o b l e m a t i c p l u m b i n g . W a t e r

p r e v e n t e d f r o m r e a c h i n g t h e

s u r f a c e t o c o o l i s p r e s s u r i z e d

b y o v e r l y i n g w a t e r a n d r o c k ,

u n t i l t h e c o n f i n e d b u b b l e s

p u s h t h r o u g h , r e s u l t i n g i n

v i o l e n t b o i l i n g e r u p t i o n s o f

s t e a m a n d s p o u t s o f l i q u i d

H 2 O t h a t b e a u t i f u l l y b u r s t i n t o

t h e s k y .

A B C D

We c o n s i d e r o u r s e l v e s f o r t u n a t e t o w o r k w i t h s o m e o f t h e g r e a t e s t a r t i s a n s a n d h e r i t a g e m a n u f a c t u r e r s i n t h e

wo r l d , a n d t a ke w i t h u t m o s t s e r i o u s n e s s t h e n e e d t o t re a t o u r c ra f t s m e n t h e s a m e wa y we t re a t o u r c o n s u m e r s—

w i t h r e s p e c t , c o m p a s s i o n , a n d t r a n s p a r e n c y. We’ r e d e d i c a t e d t o w o r k i n g c l o s e l y w i t h o u r p a r t n e r s a n d f r i e n d s

a c r o s s t h e g l o b e t o c r e a t e t h e f i n e s t d e s i g n e r e y e w e a r a n d a c c e s s o r i e s u s i n g o n l y t h e m o s t f a i r , e t h i c a l ,

a n d i n n o v a t i v e m e t h o d s . We s t a n d b e h i n d t h e w o r k m a n s h i p o f o u r w e a r s a n d o u r c o m m u n i t y o f w e a r e r s ,

a n d g u a r a n t e e w e ’ l l a d d r e s s a n y c o n c e r n s r e g a r d i n g o u r p r o d u c t s w i t h a s e n s e o f u r g e n c y a n d h o n e s t y.

ETHICAL WORKMANSHIP

OPTICAL COLLECTION

OPTICAL COLLECTION

OPTICAL COLLECTIONJ . M . M . i s p r o u d t o p r o v i d e f o u r o f o u r s i g n a t u r e f r a m e d e s i g n s f o r u s e w i t h p r e s c r i p t i o n l e n s e s .

Always a iming to prov ide the h ighest leve l of aesthet ic competence and technical excel lence, the

f rames are crafted f rom Japanese acetate , and feature our concealed h inge, engraved double-wire

core , and custom hardware r ivets . The Opt ical Col lect ion offers a var iety of lens shapes as wel l as an

ar ray of acetate co lors , inc lud ing c lass ic b lack , b lot ted tor to ise , and pale crysta l ye l low, prov id ing

a f rame for a l l occas ions and a thoughtfu l s ty le for those especia l ly tastefu l temperaments .

Life is sickDogs coughBees sailBirds hackTrees sawWoods cryMen DieTicks tryBooks LieAnts flyGoodbyeKerouac, 1960

W W W . J A C Q U E S M A R I E M A G E . C O M

E mbrace T he S p e c t ac le