BLACK OPTICAL
Black Optical
5820 N. Classen BLVD #2
Oklahoma City
USA
Owner Gary Black
Hi Gary, it’s really a pleasure to interview you, you seem like a very determined person and, in fact, you have made Black Optical a very important reality in the USA. Our first curiosity concerns your path in this sector. How did the Black Optical adventure begin, can you tell us something?
My journey to Black Optical began with an inspiring conversation with a local developer who envisioned creating a utopian lifestyle center – a destination where people could experience modern furniture, covetable art, impeccable fashion, experiential dining, and wellness spaces all in one place. The missing piece was eyewear, something both curated and refined.
I’ve always been drawn to design, and my passion for eyewear started early, at 17. By the time I was 28, I felt a deep pull toward building something of my own, something that could elevate the everyday into an art form. That vision came to life with Black Optical, which first opened its doors in Tulsa, OK. It wasn’t just about creating a store; it was about crafting an experience where people could connect with eyewear as an extension of their individuality.
What is the philosophy you pursue in your way of working?
Our philosophy centers on delivering a five-star experience to every guest, inspired more by the warmth of hospitality than the structure of traditional retail. We source only the most impeccably designed frames and lenses, collaborating with designers in partnerships that go beyond the conventional vendor relationship. Most importantly, we treat everyone who walks through our doors as a guest in our home, creating an environment of genuine connection and thoughtful care.
It seems that your choices in your collections are directed towards unique and high-quality projects. Where does your passion for research and luxury glasses come from?
My passion stems from the relationships and the unwavering pursuit of design and service. As a naturally curious and visually-driven person, I’m drawn to projects – whether in eyewear, accessories, interiors, or experiences – that evoke a deep emotional connection. I believe great design never goes out of style; it’s not just about aesthetics but about solving problems and enhancing lives. My eye gravitates toward pieces that embody this philosophy, and my heart feels a responsibility to share these discoveries with the people I’m fortunate to call clients and friends.
Looking at your stores, you can see that the rigor and precision are peculiar. Tell us about the concept behind their creation and the reasons for the choices you made from a stylistic point of view.
The design of our first showroom was shaped by both budget constraints and inspiration drawn from galleries and museums – spaces where art is thoughtfully displayed and celebrated. Eyewear, to me, is art for the face, framing the eyes, so it felt natural to create a space that honored this perspective on design.
I’ve always been drawn to vibrant neighborhoods over traditional retail shopping centers. I wanted our stores to feel like destinations, places where our community would genuinely enjoy spending time. As Black Optical grew, so did our design vision. Incorporating a blend of vintage and modern furniture and lighting became essential in reflecting the craftsmanship and sophistication of the eyewear we curate.
Beyond covetable eyewear, our stores are designed to be spaces where clients can discover exceptional design across other disciplines, offering a holistic and inspiring experience.
You have 6 stores in different states and a large team, how do you manage all this and to keep the people who work with you always cohesive with your work choices?
Our team is smaller than it may seem, but I take it as a compliment that we appear larger than we are. Managing six stores across three states is a balancing act – a full-contact sport, if you will – and it demands 100% dedication from our small but incredibly committed team. As a leader, I’m far from perfect, but I prioritize open and ongoing dialogue about our core values, vision, and brand standards. These conversations ensure alignment while fostering a shared sense of purpose. Most importantly, our team operates with complete trust and autonomy, which empowers them to make decisions that reflect the essence of Black Optical. It’s this combination of collaboration, communication, and independence that keeps us cohesive and learning together.
On what basis do you choose the collections to include in your stores, what characteristics must they have?
We choose collections based on their intentional design, a strong and dedicated point of view, and a balance between artistry and wearability – never crossing into costume territory. We have a zero-tolerance policy for faux details like rivets, beauty marks, or conspicuous logos, as authenticity is non-negotiable.
Equally important is alignment with the design team, founders, and sales representatives. I firmly believe that people work with people, not just brands. Respect, partnership, and chemistry are essential components of these relationships, ensuring that we’re all positioned to succeed together.
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OONCONVENTIONAL
OONCONVENTIONAL
Corso Matteotti 1/a
20121 Milano
ITALY
Owner Marco Annibali
Hi Marco, it’s always special to interview a long-time friend, it’s like having a professional conversation with a family member. You just opened you store Oonconventional and it was a race against time, how do you feel?
First of all, I’m very pleased to give you my first interview, as you know, up until now I have always refused any proposal in this regard. Opening the store in such a short time was a great challenge, both stylistically and logistically. The race against time was won thanks to a huge amount of work, a clear idea of what I wanted to be achieved, the support of the people who were close to me but also thanks to the intervention of VCS-Vittorio Carena Studio, a point of reference in the luxury retail sector in the heart of Milan’s fashion district. I certainly feel very tired but I’m proud of the result achieved. From now on there are other steps and other goals to attain but I’m ready.
Why the name Oonconventional?
I looked for a name that described our vision of a project, synonymous with creative freedom and new perspectives. The double ‘OO’ obviously has a strong allusion to the world of glasses but also symbolizes a careful look at what surrounds us.
Tell us a little about the stylistic choices, the peculiarities of the space and the sources of inspiration.
I tried to create something that resembled me and that represented years of work. Oonconventional was designed to be more than just a store, we wanted to create an environment that was an experience, not only linked to the world of eyewear but also a meeting point for deep thinkers, a laboratory of ideas and dialogue. All the stylistic and conceptual choices of the OON project are the result of in-depth work shared with the design studio VCS-Vittorio Carena Studio. The idea behind the project was to create a space that combined industrial aesthetics with the essentiality of Japanese minimalism. A distinctive element is represented by the displays, made in the shape of triangular prisms, a reference to the art of Greek periaktoi that gives the context a sober elegance but rich in historical and cultural references.
You are at the height of your professional maturity; how did you reach this goal?
After 35 years of work in this field I found it right to materialize everything I have learned and dreamed. It has been a journey of study, experiences and continuous evolution. The ability to listen and observe has been fundamental, as well as having been fortunate enough to collaborate with extraordinary professionals, from whom I have learned a lot. At the base of everything there has always been a deep passion for my work, but the journey will still be long.
How did your passion for glasses with a well-defined design come about?
The passion for glasses comes from a love for design combined with aesthetics and technology, elements that make sense when they are part of a well-thought-out design. Our research and our choices go in this direction, and this is what we like to offer our customers.
We know that you love making custom glasses, why and what pushed you to develop this project?
This project was born from the desire to create something truly unique for each person who interprets glasses as an extension of their personality. The materials used are Indian water buffalo horn and acetate. Each person can choose the shape and thickness they prefer and can personalize them by inserting other materials such as silver and mother-of-pearl. We try to make a dream come true, both aesthetically and functionally. After all, eyewear is an important form of non-verbal communication.
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L'INGéNIEUR CHEVALLIER
L’Ingénieur Chevallier
17 rue des Pyramides
75001 PARIS
FRANCE
Owner Franck Bonnet
L’Ingénieur Chevallier has a very important history and is even the oldest spectacle shop in Paris. The business has existed since 1740, but in 2021 you acquired the property from Pierre Golendorf, what fascinated you about this reality, what is the story of this ‘love’?
When I was a kid, I used to go to rue des Pyramides with my father to deliver the tortoise shell glasses he crafted for L’Ingénieur’s clients and it was so magical to me, all these little objects, all these traces of the History of France. L’Ingénieur Chevallier is the most beautiful optical brand in the world. It was the optician of the kings and emperors of France, of other sovereigns of the different European courts, it is a real piece of History. It is absolutely extraordinary to work on something greater than oneself, we only pass by, perpetuate the heritage and the soul of what Engineer Chevallier founded in 1740.
The historic boutique in rue des Pyramides has been completely redesigned and now has a modern concept and design. Who conceived the interior, what materials were used and what effect did you want to recreate?
We redesigned the boutique with Pierre Bonnefille, a French artist, painter, designer and master of art with a unique and poetic approach. We created bespoke furniture inspired by the L’Ingénieur Chevallier icon representing a theatre binoculars case (invented by L’Ingénieur in 1878), all covered in a special tulle imprint which is one of Pierre’s signatures. We wanted to be true to L’Ingénieur’s modern spirit, he was an inventor. Either we are in technology, or we are in tassels chandeliers.
Can I ask you something about your background and the path that led you to the world of glasses, what is your story?
In my family we have been bespoke eyewear makers from father to son since 1930. I’m part of the 4th generation of the Bonnet family. My grandfather founded Maison Bonnet in 1950, since then we have been the spectacle makers of the presidents, movie stars, and other greats of this world, I am one of the heirs to a tradition that is no longer taught anywhere else.
Very often there is great confusion about the role that an optician should have, that is often reduced to being a mere trader, what do you think about this?
This saddens me. The whole idea of custom-made ready-to-wear at L’Ingénieur Chevallier is precisely to remedy this. We are committed to rematerializing the craft of eyewear, the service, to restoring its letters of nobility to the profession of optician, to putting savoir faire back at the heart of the equation. Luxury glasses without craftsmanship are nothing more than a logo…
What is your work philosophy, what are the fundamentals that for you are essential to conduct your business?
Loyalty, excellence, tradition, innovation, passion and creation. To preserve the heritage while being in tune with the times.
Tradition and innovation: how do they combine in your life and work?
Tradition represents know-how, manufacturing, service. Innovation concerns creation and the entire optical part. Today, lens technologies are increasingly advanced, but the adjustment gestures have disappeared. Optimizing vision in these technological treasures requires correctly chosen glasses that are perfectly adjusted to the morphology of the person wearing them… therefore, no optimization of innovation without real knowledge of traditional know-how.
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