By Tim Groen.

“Look how amazing!” Selima says in her delicious French accent, as she shows me a complimentary write-up about herself in a recent Luxottica brochure. Judging by how happy she is about the kind words in a corporate booklet, you’d never guess that this is the seasoned eyewear designer who receives more editorial than anyone can keep up with, who is the owner of multiple boutiques in New York and a shop in Paris, as well as a thriving business in Japan. And with whom just about every other fashion designer wants to collaborate. From Erin Fetherston to J. Crew, from Tim Hamilton to Proenza Schoeller, from Catherine Malandrino to Jack Spade, Adam Kimmel, Duckie Brown, and Simon Spurr. The list goes on and on; at some point or other, designers make Selima Optique frames part of the presentation, if not part of their actual collection.
“People see that I have a passion,” Selima says to explain why so many fashion people—and such a variety of them—consistently and repeatedly turn to her. “They see that I believe in everything I do, and that is key.”

Showing me a fraction of her archive, Selima opens up drawer after drawer of amazing vintage frames, most of them with the little manufacturer’s sticker still on the lens. I see Diors (including the seriously giant ones my grandmother always wore, which covered about 80% of her face), Dunhills, Ray Bans, various experimental one-offs, weird Muglers, and deadstock you’d be hard pressed to find on a flea market. “One of the largest archives around,” Selima says about her rows of neat white cabinets. It’s a lot to take in, and while I’m trying to do just that, my eye is already caught by something else: insanely ruffled umbrellas in a variety of colors. “Oh, aren’t those great?” she asks, showing me the color sample booklet with what seems like 100 colorways. A cross between a Technicolor musical-slash-Crazy Horse revue prop and a gypsy-skirt, Selima’s ruffled umbrellas are pretty genius. “Out of thousands, I only have these five left,” Selima says, opening one up so I can admire its full frilliness. “And people said I was completely crazy for making umbrellas inspired by the beach scene in Juliet of the Spirits!”

Regarded as a cult designer ever since she launched her first collection in the early mid-nineties, Selima has confidently avoided taking the super-corporate route. Her shops couldn’t feel any less formulaic; the designer sees each location as an opportunity to introduce something new her—loyal—clientele. Chocolate, hats, jewelry, vintage clothing, lingerie and obviously, ruffled umbrellas…anything goes, as long as Selima is feeling it.

TG: Is mixing up your merch a retail strategy, or is there something more personal behind it?

SS: Ha! Strategically I should only be selling glasses (laughs). But I’ve always loved accessories in general, and especially when there’s utilitarian aspect to them. I love that glasses help you see or protect your eyes, umbrellas shield you from the rain, and hats protect your hair. I’ve always loved hats and worn hats, so adding them to my line is really about my personal passion for them.

TG: What are you passionate about now? Anything in particular that’s inspiring you?

SS: Everything inspires me. Walking down the street. Traveling, which I do a lot. People I meet. Books—I always read three or four books at once. I check all the magazines. But I’m actually not really inspired by current magazines; like yourself, I love old magazines. I love L’oeil! I still can’t believe you found those old issues on the street! >click here to see what Selima is talking about<. When I first discovered L’oeil I bought tons of them, and I still look at them.
Old movies inspire me, actually last night I watched 2007’s Savage Grace, in which Julienne Moore–who’s gorgeous—wears glasses all the time. It’s a very disturbing but visually beautiful movie, you should totally see it.
But my major inspriration is, not surprisingly, my own collection of vintage eyewear.

TG: So with inspiration flowing constantly, I guess you’re not once of those designers who lock themselves up for a week to tear up magazines and make moodboards?

SS: I do that too, of course. But inspiration is strange; it can come out of nothing. Like the movie I watched yesterday, made me think about colors.

TG: Over the last couple of years it seems that your name is attached to all these masculine lines, while I used to think of you as more of a women’s designer. Are you doing more men’s stuff now?

SS: Yes, in the past six years the focus has shifted to include men, who, by the way, turn out to be extremely brand-loyal once they notice the quality.
It’s funny, we’ve been designing glasses for a long time now, and we were always thinking about women, so until I had male customers, I had no idea that men give such great feedback. I feel extremely lucky to be able to listen to these guys, these men of taste, like Mario Sorrenti or Mickey Drexler. They will say, ‘you know Selima, I love this style, but can you make this part a little thinner?’ or ‘Can you do this in navy blue and chocolate?’
Their input is so valuable to my collection that they end up feeling more like mentors than like clients.

TG: It almost sounds like your relationships with your clients spark these little mini collaborations. And you seem to really enjoy working that way. On that note, tell me more about what you’ve been doing with Matt Singer.

SS: I adore Matt! We both love to read, and we have very similar tastes, so that colors what we do together. We just collaborated for The Thing Quarterly. It was limited edition pair of frames with a Jonathan Lethem quote on the arms, which launched at Printed Matter.
Those frames were sent to the subscribers of The Thing first, and now we sell them through Matt’s site and at my locations.
The next project we’re doing will benefit the Brooklyn Superhero Supply Co. It’s nothing that really makes money, but it gives us a chance to make another beautiful product; we’re making these Clark Kent frames for kids, which will retail very inexpensively. And of course it benefits a great charity! >link<

TG: Now, all of those frames you design specifically for other fashion designers—like those beautiful Adam Kimmel sunglasses you did—do they make it into your collection?
In other words, are they styling props, or can we actually get our hands on them?

SS: Absolutely you can get them! Adam’s glasses, for example, are sold through his retailers, like 10 Corso Como, Colette, Bergdorf Goodman, and seven or eight more. And in addition I sell them through my stores. So whatever I do, you will be able to actually buy.

TG: While we’re on the subject of collabs: will we see any “Selima for Uniqlo/Gap/Target” type collection in the future?

Many years ago I was approached by H&M, but I had to say no. It was just too soon, and I wasn’t ready. I only want to do something when I’m sure I’m delivering high quality.
I started producing my own line in 1996, and the small French atelier I worked with was used to making custom frames for Ari Onassis, Yves Saint Laurent, you know, the crème de la crème. And now, all these years later, I don’t want to dumb down the quality, just because it’s a big international order. Like I said, it needs to be good.

TG: But if the phone rings now, you’ll be ready?

SS: Oh, now I’m super-ready. On all levels. Business wise, sexually, you name it (laughs). Yes, I’m ready!

Links:
Selima Optique
Matt Singer