the Force from GRIND vol.109
EYEVAN 7285
Design beyond words
EYEVAN has been proposing eyewear for the fashion scene for over 50 years since 1972, based on the concept of Eyewear for dressing as a fashion item. Now, including its derivative lines such as 10 eyevan, which focuses on the parts, and E5 eyevan, which focuses on functionality, the brand has a wide range of products that defy the restrictions of eyewear. Among these brands, 〈EYEVAN 7285〉 stands out for its designs that pursue freedom. The numbers engraved in the brand name refer to the year of its founding, 1972, and 1985, the year that EYEVAN first made its mark on the world. What is the “freedom” that the brand continues to express with its origins and breakthroughs in mind.
Photo Ibuki Yamaguchi
Edit & Text Shuhei Kawada
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Behind the design of 〈EYEVAN 7285〉, there is a mixture of all kinds of elements. Sometimes the inspiration for a specific object in the design comes from an antique telescope or the details of an iPhone, while other times it comes from analyzing and rearranging the structure of eyewear in a 40s catalog.
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There are also items based on the unique ideas of great people like James Dean, Patti Smith, and Andy Warhol, who thought it would be interesting to wear eyewear like this. The case that comes with each 〈EYEVAN 7285〉 item is said to have been inspired by the small accessory cases of the 1920s. The texture of the aluminum and the scratches that appear over time gradually add to the item's charm. Even the accessories are carefully considered, showing the attention to detail that goes into each item.
When “freedom” becomes persuasive
The design of 〈EYEVAN 7285〉 can be seen as a complex and labyrinthine system that is difficult to understand when you look into it in depth. That's only natural, because the inspiration, background and techniques woven into each individual item are different, and trying to guess something from the overall lineup makes it even harder to see the big picture. “We don't really set a theme for the 〈EYEVAN 7285〉 designs. By putting it into words, you end up creating a category for yourself, so it might be more accurate to say that we don't consciously prepare such words.” Through this interview with the 〈EYEVAN 7285〉 design team, we can see the comfort of making things that are difficult to understand but stimulate the senses, which is the opposite of the excessive explanations and ease of understanding that are demanded in recent creative and manufacturing. “Generally speaking, I think that when it comes to brands that belong to companies, the process of creating a product involves a lot of presentations and repeated explanations. Of course, being so explanatory makes the commercial element bigger and it's easier to succeed commercially, but I don't find that very interesting. Also, when we are consumers, I think it's okay if the details aren't verbalized. Of course, I think words are very important, but sometimes I feel that they get in the way of design and manufacturing. At 〈EYEVAN 7285〉, the design team carries out the process of requesting prototypes in a straight line, so there are almost no opportunities to explain the design until the product is made. “The reason why the products end up in this kind of ambiguous place is because there are few opportunities to put things into words, or rather, almost no opportunities. But I think that is the most interesting part of the 〈EYEVAN 7285〉 manufacturing process. In short, the purity with which the feelings of the creators are reflected in the products is extremely high.”
〈EYEVAN 7285〉のデザインは、掘り下げていくと難解で複雑な、迷路のような仕組みにも感じられる。それもそのはず、ひとつひとつのアイテムに織り込まれるインスピレーションや、背景、技術は異なり全体のラインナップから何かを推察しようとすることで、余計に全体像は見えにくくなる。「〈EYEVAN 7285〉のデザインにはあまりテーマを設けていないんです。言語化することで自らカテゴリーをつくることになるので、意識的にそうした言葉を用意していないという言い方が近いかもしれません」。今回〈EYEVAN 7285〉デザインチームへの取材を通して、昨今のクリエイティブやモノづくりにおいて、過剰に求められる説明やわかりやすさの対にある、わかりにくくも感性を刺激するモノづくりの心地よさが見えてくる。「一般的には、特に企業に属しているブランドについては、モノをつくりはじめるプロセスにおいて、プレゼンテーションなどを重ねて、説明を繰り返して進めていると思うんです。もちろん説明的であることで、コマーシャルの要素も大きくなり商業的には成功しやすいんですけど、そこにあまり面白さは感じないんです。また自分たちが消費者の場合、そんなに細かいところまで言語化されていなくてもいいんじゃないかなとも思います。もちろん言葉はすごく大事だと考えていますが、時にはデザインやモノづくりの邪魔をしてしまうこともある気がしています」。〈EYEVAN 7285〉ではデザインチームが試作を依頼する過程までを一直線に進めるため、デザインにおける説明をする機会が製品になるまでほとんどない。「製品がこうしたよくわからない落とし所になっているのは、言語化をするタイミングがそもそも少ないという、というよりほとんどないからなんです。でもそれこそが〈EYEVAN 7285〉のモノづくりのプロセスの中で1番面白い部分だと思います。要するにつくり手の気持ちが、プロダクトに反映される純度がものすごく高いんです」。
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Military hinges reflect the design of the zips on military jackets, and the hidden parts are packed with fun, adding to the depth of the craftsmanship.
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The three pins that hold the hinges and temples in place are usually the same size, but one of them is deliberately made smaller. This makes it possible to add a little design to the hinges. It doesn't add much to the functionality, but this kind of pursuit of detail makes it possible to have freedom in design.
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The “800” model incorporates both vintage foldable eyewear and details that allow the length of the temples to be adjusted to focus on reading glasses. The movable parts of the eyeglass temples are covered in tiny dots, which give them a unique feel when moved, and the feel of using them is so addictive that you can't help but get hooked.
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The “800” model incorporates both vintage foldable eyewear and details that allow the length of the temples to be adjusted to focus on reading glasses. The movable parts of the eyeglass temples are covered in tiny dots, which give them a unique feel when moved, and the feel of using them is so addictive that you can't help but get hooked.
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The “739” model allows you to change the lens and rim by turning the crown at the back of the bridge. It is not only innovative, but also expresses the fun of changing the appearance of an item by moving your hand like a clock.
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The patterns on the temple are expressed using hand-carved molds. There will be some slight individual differences, but this also adds character to the item.
The individuality and strength of products born from a clear concept, such as 10 eyevan and E5 eyevan. On the other hand, the beauty of the margins and intuition that arise from the fact that 〈EYEVAN 7285〉 does not have a clear solution. It is not a question of which is better, but if there is a situation where you can enjoy both logic and intuition, I think that the fashion and culture scene will become richer.
Even though the sensory aspect is the most important, it can be said that 〈EYEVAN 7285〉 suggests the importance of the background that makes it possible. Whether you are conscious of it or not, it is on the basis of the experience and skills you have accumulated that freedom becomes possible. “It's not a clear-cut rule, but I think we're doing things within the scope of a kind of traditional extension. Of course we want to make new things, but within the scope of an extension of history. I think there is a kind of tacit understanding, even though we are free to do what we want.” The limited shapes, roles and parts involved in making eyewear The scope of what can be done in terms of design is naturally limited. The freedom of 〈EYEVAN 7285〉 is not about doing something outlandish or just proposing something new, but rather about having a respect for traditional, basic things, while also allowing for some play in the details of the design and the inspiration behind it. For those who like eyewear, the changes in the details may be attractive, but for those who don't, they still have a compelling quality that makes them feel that something is different. Freedom is not a disorderly attitude that allows anything to be done in all areas. It is something that comes after accumulating solid experience, theory and achievements, and it is only when you face the sense of responsibility that comes with gaining freedom that you can stimulate the sensibilities of those who pick up your products, even if you don't explain it.
10 eyevan、E5 eyevanといった確たるコンセプトのもと生まれるプロダクトの個性や強さ。反面〈EYEVAN 7285〉がもつ、明確な解をもたないことによって生じる、余白や直感の美しさ。どちらが優れているということではなく、論理と直感の両面を楽しめる状況があれば、ファッションやカルチャーのシーンも豊かになっていくのではないだろうか。
また感覚的な部分が先行しているとはいえ、それを成立させている背景の重要性を〈EYEVAN 7285〉は示唆しているとも言える。意識的であるかはさておき、積み上げてきた経験や培ってきた技術の上にこそ自由が可能になるのではないだろうか。「明確にルールとしてではないのですが、ある種伝統的なモノの延長線上にある範囲ではやっているのだと思います。もちろん新しいモノをつくりたいのですが、歴史の延長線上にある範囲の中でというか。自由ではあるけれども、そういった暗黙の了解みたいなものはある気がしています」。アイウエアという限られた形状、役割、そしてつくる上でのパーツなど。デザインにおいて、手の加えられる範囲は自ずと限られる。〈EYEVAN 7285〉における自由とは突拍子のないことをするのでも、ただ斬新なことを提案するのでもなく、トラディショナルでベーシックなモノに対するリスペクトをもちつつ、デザインの細部やその背景にあるインスピレーションに遊びをもたせる。アイウエアを好きな人にとっては、その細部の変化が魅力的に映ることもあれば、そうでない人にとっても、何かが違うことを感じさせる説得力を宿している。自由というのは当然すべてにおいてなんでもいいという無秩序な姿勢ではない。確固たる経験や理論、実績を積み上げた先にあるものだからこそ、そして自由を得ると同時に生まれる責任感と向き合ってこそ、説明的でなくても手に取った人々の感性を刺激していく。
