MAKRAS OPTICAL
9/19 James St
Fortitude Valley 4006
Australia
Owner: Michael Makras
Michael, we’ve known each other for some years now, and I know you’re a key figure in your market, and also among the opticians who make a difference. Can you tell us something about your background?
I graduated from QUT in 1987 and started out in small independent practices in Australia before spending most of the 1990s in the London as a locum optometrist. Working across England exposed me to everything from deeply personal independents to early corporate models. (Specsavers was still in its infancy at the time).
That experience shaped how I think about optometry. When I returned to Australia, I opened a consultation-only practice, followed by my first OPTIKO in Brisbane’s CBD — a small, high-end concept that did things a little differently.
A second location followed in the emerging James St Precinct. Both were successful before I eventually sold the business and spent time working the mandatory time within the larger group that acquired them.
How did Makras Optical come about and what vision guided this project of yours?
After selling OPTIKO, I could see how difficult it was becoming for true independents to survive without compromise. Makras Optical came from a strong desire to push back against that – to create a practice where independence, personal service, and thoughtful curation still matter.
It’s a return to doing things properly, without shortcuts.
Where does your passion for beautiful glasses that break the rules of the mass market come from?
I’ve loved glasses for as long as I can remember. Growing up in the ’70s and ’80s, eyewear felt expressive and a little rebellious – especially in the music and pop culture of my youth.
That idea has stayed with me. I’m drawn to frames that have personality, intent, and a point of view – pieces that feel designed, not mass-produced.
Can you tell us about the philosophy and concept behind your store?
The store is built around evolving curation. Nothing is static. The selection shifts constantly to reflect both my own sensibilities and the varied tastes of the clients we look after.
Every frame is chosen for a reason – design, craftsmanship, and how it makes someone feel when they put it on. People trust us.
For me it’s about the joy of discovery, not volume.
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HOET OPTIEK BRUGGE
Vlamingstraat 19
B-8000 Brugge
BELGIUM
Owners: Frederik Ghesquière & Lieselotte Hoet
We know that Hoet Optiek has a rich history behind, now in its sixth generation. Can you tell us something about this and how you managed to combine traditional elements with an innovative approach?
It is true that Hoet Optiek Brugge is now in its sixth generation, our story goes back to 1884, when we find the first records of our family’s rich history. Over the years, we have consistently embraced the latest technologies in lenses and eye measurements. The most significant evolution came when Patrick Hoet began developing and creating the Theo collection. This was followed by the launch of our 3D-printed bespoke frames under the name Hoet Couture.
What is your background and the path that led you to deal with eyewear that deviates from the rules of a commercial market?
I originally come from a different field, having trained as an orthopaedic technician – a paramedical sector that, unlike eyewear, is not influenced by fashion or trends. When we were preparing to open our Brussels location, my parents-in-law, Patrick Hoet and Ria Gykiere, asked me to join the family business.
As Hoet Optiek has been well known in Bruges and far beyond for many years, this represented a wonderful opportunity for me to help carry forward this unique company together with my wife, Lieselotte Hoet, as the sixth generation.
Who designed the interior furnishings, what are the peculiarities of the space, and what were the inputs and sources of inspiration behind its creation?
For many years, Patrick Hoet has shaped the interior of our store in collaboration with interior architect Philip Simoen. After the most recent renovations, we chose to preserve this original retail concept, updating only the counter, display tables, and lighting.
All frames are still stored in the various drawer cabinets, meaning that customers see only a limited number of frames, both in the shop window and inside the store. This approach allows us and our team to carefully select and present only those frames we truly believe are the right choice for each individual customer.
Frederik and Lieselotte, what are your respective roles within Hoet Optiek and how do you manage to work in synergy?
At store level, we both fulfil the same roles: purchasing, eye examinations, sales, and the final delivery of frames to our customers. Behind the scenes, however, our responsibilities are more clearly divided. Lieselotte, together with one of our team members, takes care of the workshop and technical work, while I focus mainly on the administrative and office side.
In this way, we have been working closely together for more than 25 years, each of us taking full responsibility within our own areas while complementing one another in daily practice.
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LOULOU
14 rue Gasparin
69002 Lyon
FRANCE
Owner: Michael Lalande
The first thing I’d like to ask you is about your background and the path that led you to become an optician who deals with glasses that deviate from the norms of the mass market.
As the son of a shopkeeper, I grew up in the world of city-centre retail. The relationship with customers and with place has always been part of my daily life. It was therefore quite natural for me to move into this profession in the early 2000s.
After several years working within major optical chains, I took a break of almost ten years to focus on training opticians. This period was formative. I travelled extensively, always keeping a close eye on retail, on spaces, and on the way a product is presented and narrated.
I was also regularly in contact with manufacturers and artisans, which allowed me to understand the time, precision and level of commitment required to create a pair of glasses.
Passionate about retail in its cultural sense, I wanted to create a store conceived as a place in its own right: a space where I would enjoy working, but also a place I would personally want to enter as a customer drawn to singular, meaningful experiences.
Tell us about the concept behind the creation of your store and your philosophy of work.
Nine years ago, I decided to open my own store. Very attached to Lyon, I never considered leaving the city, even though it represented a real challenge: niche eyewear is already very well represented there.
It therefore became essential to look elsewhere, to identify designers who were still absent from the Lyon market.
Gradually, this approach became a signature: identifying brands early, before they become established. This curiosity and taste for discovery lie at the heart of my philosophy.
In my work, I seek to offer the highest possible level of quality, without ever overdoing it. We don’t dwell excessively on the technical or optical aspects: seeing well is our responsibility, it is a given, and quality must be beyond reproach.
I prefer to devote time to the choice of the frame and to offer a quiet luxury customer experience, where people are cared for without even realising it. I am very inspired by discreet luxury hospitality, where comfort and attention are felt rather than displayed.
Who took care of the interiors, what are the peculiarities of your store and what are the sources of inspiration behind its creation?
As with the first Loulou, I worked with Lyon-based architect Johany Sapet. I place a great deal of trust in him. He understands my expectations, sometimes very intuitive, and knows how to translate them into a space that is clear, coherent and sensitive. Our collaboration is based on a shared vision: a sober, contemporary and elegant place, where the product remains central.
Where does the store name Loulou come from?
I didn’t want a conventional store name. I was looking for something memorable, elegant, almost affectionate. With Hermès Pontet, whom I am very close to, we were reflecting on a name when it appeared almost naturally.
The symmetry of the word immediately appealed to us: it offered a strong graphic logic and great freedom in building the visual identity.
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