Every frame begins with a search for balance between proportion, construction and function. We believe in things made well — shaped with precision and patience, built to live alongside the everyday and to move through time rather than seasons.
From the Paris atelier where each model is developed, adjusted and inspected one by one, to the craftspeople who have worked with us for years, every decision comes down to a single thing: getting the object right.Details visible to those who look. Invisible to those who don't.
In the heart of the 8th arrondissement, the atelier brings design, prototyping and quality control together under one roof. Every frame is developed here, adjusted, then inspected one by one before reaching our partner opticians. Working this close to each stage lets us revisit a model as many times as it needs, and keep an eye on quality day to day. That vertical control matters to us.
Our collection draws its reasoning from the experience of the optician's trade. We reinterpret the classics we hold dear, with the intention of creating frames that outlast the seasons.
Every frame goes through many prototypes, the time it takes to refine its proportions. First ideas are cut from offcuts — a way of testing them against reality before deciding how far to take them.
The components that structure our models are designed to be shared across several frames. That discipline lets us concentrate our resources where they count: quality of execution, at a fair price.
The acetate in our collections is kiln-dried, then compressed, to make it as stable and durable as possible. A frame is not a simple molding. It comes from a long succession of cuts, assemblies and polishing stages — work closer to marquetry, or to watchmaking.
Japanese titanium
The entire titanium line is produced in Japan, shaped by hand using traditional methods — a craft that most often remains the preserve of Japanese brands. We are one of the few houses outside Japan producing on site, working within the design codes particular to that tradition.
Some parts are die-stamped under pressures reaching several hundred tons, then assembled by argon or laser welding. The result is a frame that is light, robust, and colored in tones inherited from that culture: the meeting of technical heritage and contemporary precision.
Mazzucchelli acetate
Established in Italy since 1849, Mazzucchelli supplies the most demanding workshops in eyewear. Its acetate is known for its density, the richness of its colors and the way it holds up over time. We use it in two thicknesses, 6 and 8 millimeters — a difference you feel in the hand first, before it shows on the face.
Takiron Japanese acetate
For the most complex tortoiseshell patterns — Bekkō, Kuro Bekkō, Sumoki — we work with Japanese Takiron acetate. The depth of its colors and the singularity of its patterns exist in no standard acetate. A rare material, worked by only a handful of houses.
Color
We compose our own colors through bonding and lamination, rather than limiting ourselves to manufacturers' color charts. One frame shape set inside another, layers stacked until contrast and depth emerge.
Before polishing, each frame is tumbled in bamboo chips, which gradually soften every edge without altering the material. The sculpted bevels then reveal the full richness of the acetate.
German hinges
The hinge is the most heavily worked component of a frame. It's what makes it last. Ours, built with five barrels, are made by OBE in Germany and rank among the benchmarks of the market. Each one is fitted to the frame individually.
The signatures
Engraved temple tips, a half-cross rivet on the front, a raised metal logo inside the temples. Nothing ostentatious — a Peter and May frame is recognized by its lines, not its label.