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Accompanied by our expert guide Simone Longo, who is the Prototyping Manager for Marcolin Group worldwide, we discover that in the creation of a pair of glasses with a unique design and a perfect fit, there is an intermediate part of the process which, like a bridge between two worlds, verifies the feasibility of an idea and can prevent any errors in the subsequent production phase. Prototyping is very close to the concept of virtuosity and does what is expected of someone who is used to experimenting: combining a high degree of technical skill and experience with a virtue linked to a dimension of the soul, empathy. “For us, everything starts with the idea, established through an aesthetic drawing or a draft, from the designer or brand,” explains Longo. For an idea to be transformed into a product, it is vital to be able to capture its essence, that unique matrix to which a body can then be given. It is the understanding of the message to be communicated that allows the prototype maker to proceed to the next stage of the prototype production process.

“Starting with the sketch of the idea, we produce an initial 2D drawing that leads to a preliminary discussion with the designer. The critical aspects of a project are already emerging at this stage. Only afterwards is the 3D model made, with which the technical correctness and compliance with the aesthetic requirement is checked in detail,” Longo continues, moving inside that special world.
It is divided into two areas: the first is the design part, in which experienced technicians develop the design using the latest technologies such as 3D printers, and they also mill the materials. The second, on the other hand, is characterised by the craftsmanship of the artisans, operators who, with the help of numerous small machines, assemble the glasses and give that final touch of sensitivity that contributes to making the end result special. The prototype department must be able to develop any type of machining required, with the ability to have control over quality and meet deadlines.

This is how Longo imagines it. “In one lane we have maintained and enhanced craftsmanship, whose approach leaves more room for the sensitivity of the prototype maker. The other lanes, on the other hand, are reserved for the development of paths leading towards virtual reality and new technologies. It is often the brands themselves that prompt us, by means of projects which we know from the outset will not go into production, but which will give us the opportunity to test out new production methods.” The use of 3D printing has proved successful in two ways. Firstly, because a preview of a prototype provides an opportunity for dialogue with the designer, reducing reworking, wasted material and time. Secondly because it has made it possible to simulate stages of production that it would not be possible to use for reasons of cost and time in a very short time frame. Research and the desire to experiment are ongoing goals, pushing us towards ever greater targets: to have all stages of development taking place in-house, with the best possible output in order to ensure high quality and on-time delivery. Working on strategic areas has always been one of Marcolin Group’s key strengths.

Moved by different stimuli, it translates desires and needs into style. The approach to creation, according to the Marcolin Group’s Style and Development Department, is two-pronged. The first is emotional, about how what we see of a pair of glasses tells its story through style codes, logos, details, structures and shapes. These are the cornerstones of a collection which, if maintained over time, build up a brand’s recognisability. The creation of these codes defines the action of a creative team focused on micro-areas. The hidden face of eyewear creation, on the other hand, refers to the second approach and measures itself against an idea of community immersed in the historical moment it inhabits. It is this world, encompassing thoughts, needs, desires and, at times, even fears, that is defined as a trend and, in turn, translated into style. The Marcolin Group’s Style Department has identified three trendsetting tendencies i.e. the trends of tomorrow. After the Bauhaus inspiration, defined previously, we discover the other two macro-areas that recur evolving over the years.

In a post-pandemic world that has seen a change in the relationship with technologies in individuals’ daily lives and the need for wellbeing, the concept of purely digital engagement defines the needs of a multitude of voices belonging mostly to the younger generations. To which earthly universe can this trend be traced? To the Metaverse, of course, which has become a place of refuge for many where fantasy reigns supreme. It is from this dimension that the tendency inherits its name, the Digital Urban Movement Metaverse to be exact. The needs of this trend group can be expressed in percentages and speak volumes: 70% of their needs travel online and speak the language of technology. From this trend, for example, digital fashion shows, the creation of prototypes or very special collector’s models (such as the Frida model) and even the reproduction of eyewear in digital form have been fully developed. The wellbeing of this type of trend, which accounts for 30% of those needs, translates into a commitment to protect the environment, which in recent years has come back to the attention of the planet’s leaders as a result of high-impact events. The anxieties of the new generations have also been translated into the return of certain creepy design details: the use of materials with a dark, shiny surface, or the metallic finish of certain collections, for example, hark back to the tradition linked to the world of the fantastic, from Gothic to fantasy.

This tendency includes the style codes that rely on an established history and strong brand recognition. The aesthetic and mental references of this trend can be found in the 1970s. In terms of shapes, the most recurring are large, enveloping ones, while the colours are in the pastel range. The brands that are part of this trend embody a very natural form of luxury, underpinned by what the Marcolin Group’s creative team has circumscribed into a precise ‘Green Attitude’: the all-round need, starting with the use of recycled materials, to create with zero impact, to move towards a non-invasive but natural aesthetic. It is no coincidence that the requirements of this tendency, in terms of needs, turn previous trends on their heads: 70% of the needs of this trend are concerned with wellbeing, only 30% with technology. And framing this desire is a further luxury that translates style into harmony, conjuring up the idea of a Paradise Lost where nature reigns unchallenged.

If the map of the Universe of these peoples is still today structured with elements that contribute to the essential changes in life and in nature, where every colour has its own meaning and speaks of the Great Spirit that regulates the world, at the Marcolin colour wheel there is a great team of creatives and colour and material specialists. Silvia De Col is in charge of this curious and inspirational chapter in the story of how the eyewear colour palette changes from winter to summer. Since the very beginning, it appears clear that colours speak their own language and that it takes skill to channel them towards effective interplays of light and shadow.

«For this colour and material analysis we used as reference some combinations featured by one of our brands for fall-winter, whose colours and material finishes evoke the winter season. Our goal was to brighten up these tones without denaturing the brand’s signature palette» says De Col. «We also wanted to maintain a common thread running through the two seasons» she continues. «So, we worked with the colour wheel and turned on the light» she adds passionately. «We managed to brighten up the colours and the typical wintery shading, while maintaining the colour combinations by adding white». But to convey those emotional vibes that turn the warm season into the season of love, the team also focused on a colour trend analysis.
Three macro-themes were created. «The first one expresses itself through natural tones, such as brown and Havana. The second one features pastel and dusty hues, which clearly recall powder tones, like make-up. The third trend instead expresses itself through pop nuances» remarks Silvia.

«We combined these three worlds together, leveraging on unique interplays of light that brighten up the hues. The colour Havana, for example, is more neutral and toned down in its winter version than in its summer one, which instead is enriched with tones of mint. This shade of green, according to our trend analyses, is perceived as more joyful and better suited for the summer season».
This method was used for all the colours and materials featured in the collections, because playing with transparency or design in general, combined with a colour palette, is not just a question of style. The secret lies in finding combinations that highlight the type of design you wish to enhance.

In Pozzolengo, just a few miles from picturesque Lake Garda, we had the opportunity to shorten and cancel out the inevitable distances of a Group that weaves and nurtures its relationships in every corner of the world. So, just like the never-tiring spider, who labours with dedication on its work of art, giving it depth, shape and an out-of-the-ordinary reach, capable of combining precision and creativity, Marcolin has welcomed what has become, to all intents and purposes, its community.

An immersive five days with the individual partners who convey the face of Marcolin to the world every day with a precise purpose: to share the values that underpin the group. We started from the ‘Made in Italy’ concept, characterised and recognised globally in terms of knowledge and identity, and went further, going towards the central role played by aesthetic research, with its shapes, colours and materials, aware that excellence comes from the unique nature of manufacturing. Finally, we arrived at the taste of discovery, revealing the skilled artisans who work behind the scenes to produce the collections, just as many as the different and varied souls embodied by the brands that put their trust in Marcolin.

With this vision and spirit, the essence of which reflects the high value Marcolin attributes to its partners, a new dedicated project has been created: Customer Experience Transformation. Marcolin travels the road of renewal by methodically and inclusively involving all the stakeholders that have been building its success for over 60 years. 
CX Transformation is the ideal dimension in which its Vision and Mission come together. Being identified as a point of reference in the global eyewear market is only possible by recognising the key role played by partners in the company’s growth.

We therefore give the utmost importance to listening and forecasting the needs of our partners, as well as to the ongoing improvement of our relationships, our creations and the services we offer. Evolution, after all, is also the result of the most careful communication strategies. And what is communication if not a noble act of sharing?

In these North European locations, the month of June perfectly embodies the metamorphosis of the calendar of the “soul”, strictly connected with the awakening of nature. In Stockholm, the dark and long winter months give way to a bright picturesque landscape, which unwaveringly sheds its light onto every corner of the city. Oblivious to the night, its gentle touch caresses a landscape that conveys femininity, starting with the element that enlivens it the most: water. In the City Hall, as a sign of rebirth, where myth blends together with folklore in the celebration and worship of the summer solstice, of trees and female deities, Max Mara presented the Resort 24 collection, whose lines and patterns clearly nod to the Scandinavian land.

The meeting with Lisa, Founder and Jewellery Designer of Nootka, takes place in her boutique, located in the vibrant Norrmalm district, among the neoclassical buildings of an area that is dotted with cafés and Swedish design and fashion corner stores. Nature, an essential element for any city resident, takes the form of the Kungsträdgården Park, with its lush trees and pathways winding through an enchanted fairytale-like landscape. As soon as you step into her atelier, the bright June sunlight becomes one with the shade of coral that dominates the walls and the overall atmosphere of the place. «I longed for the warmth of summer all year long. This color was the best choice», Lisa points out, and then starts telling us her adventure as a designer from the very beginning. «I was born in Malmö but I’ve lived in Stockholm for about nine years now».

«I love the fact that it’s a big city with a sustainable approach: you can walk or ride a bike anywhere. Then there’s the water element that makes it unique». Lisa, like any Swede, celebrates summer in the outdoors. «The long months of darkness push us to celebrate the summer season in the parks. Any time is a good time to slow down and enjoy the sunlight» she adds, «the islands are another unique element of the capital city, from which you can admire epic scenery at a short distance from the city». Living in harmony with nature is a recurring theme in Lisa’s words. This concept also takes shape in her jewelry creations, where she gives a new life to silver, the only element used by her brand. «Every piece is handcrafted and produced in Stockholm» she says. She relies on the most skilled artisans in town, who are selected for each and every collection. Hers is an identity that is just as feminine as it is rigorously Made in Sweden. It reveals itself in the classic elegance of a little museum, one of her favorite in town, where she takes us to admire its geometries and magnificent location.

«I like it because it is small and because it combines art with nature». Her enthusiasm for Swedish traditions does not only engage sight, but also taste. So, as she moves along the tree-lined boulevards downtown, the sun shedding its light onto her cat-eye sunglasses, walking towards one of her favorite cafés – Pascal Caffè, that she guarantees is the best place to enjoy the Swedish custom of Fika in Stockholm – clad in her total black silhouette, for a moment she gives the illusion of being in Paris. But that’s another story.