Eyewear

time to say again Hello to Hello Glasses Ukraine

The Panama hat has been classic summer staple for quite some time! Produced in Ecuador as early as the 17th century, these straw hats were shipped to Panama before being distributed around the world. The popularity of this brimmed hat took off after President Teddy Roosevelt was spotted wearing one during a visit to the [...]

Walked into @weltenbuerger yesterday and walked out with the most amazing one-of-a-kind boots by #SydneyBrown for #HenrikVibskov runway and these pants that turn into a jacket!! Sunglasses by #theoeyewear x #timvansteenbergen #gogosha #gogoshaoptique #shoplocal #ootd #dropcrotch #platformboots #goldboots #iwearewhatiwant (at Gogosha Optique)

Eye Wear Glasses is embarking on a new mission. We are looking for the coolest opticians, sunglass shops, vintage eyewear stalls ... anywhere outlet where the more discerning glasses wearer can find top-quality, beautifully-made spectacles (such as these above by Ralph Vaessen). So please take a few minutes to nominate an opticians where you bought your amazing specs and, in return, we'll

An ode to the round form and a favourite of many, our model “JANIS” has been revamped for the current spring/summer season and  it’s now available in six new head-turning color combinations: Gold, Silver, Black, Lime Green and Pigeon Blue, fitted with mirrored lenses in the same tones, plus a golden one with Azure Blue mirrored lenses. MYKITA & Bernhard Willhelm “JANIS” in Pigeon Blue “JANIS” is still one of the most sought after models of the MYKITA & Bernhard Willhelm collection and with it’s larger-than-life, perfectly round form, has become a staple among the style-conscious crowd, celebrities and the like. “JANIS” in Gold with Azure Blue lenses It’s oversized design was inspired by the idea of 70′s style floor length dresses and it’s meant to be worn slightly low on the nose, as Miss Joplin herself used to do it. For more information about “JANIS” and the MYKITA & Bernhard Willhelm collection, please visit MYKITA.COM. The MYKITA & Bernhard Willhelm collection is available for purchase in all MYKITA Shops, selected opticians and fashion outlets worldwide.

The growing realisation that the key figures of our Online-Digital Age - Google, Amazon, and Apple - have made hundreds of billions of dollars in profit from us little people - and not bothered to pay more than a tiny fraction of that back in taxes to help our societies reminds all of us, I think, of the unsustainable nature of commercial greed, when unfettered. Beyond all the talk of ethics, and regulation, lies the humanity of the issue - are we or are we not all in the same boat? Apparently, according to top bankers and CEOs, not. I do not know where these people live - in havens? - but if they enjoy the safety of the public roads, the security of the armed forces - then they should pay their income tax like everyone else. As a small businessman trying to make ends meet, I am not in favour of very high taxation for companies at a time of a sagging economy - 20% or so seems about right to me - but surely, .05% or .005%, is criminally absurd. In the meantime, what do we do about these tax avoiders and evaders? How does one boycott Google, and keep informed? Like the craftiest of drug dealers, the worst offenders are those that peddle to us the most addictive brands.

Normal 0 false false false EN-GB X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Arial","sans-serif"; mso-fareast-font-family:Calibri; mso-bidi-font-family:"Times New Roman";} Andrew McMillan reviews The Yellow Table by Alicia Stubbersfield It’s a rare pleasure to settle down with a book that cuts the crap, cuts the pretention and is smart enough to wear its learning lightly. With Alicia Stubbersfield’s fourth collection you feel immediately in the presence of someone at the top of their game; someone who understands the true power of poetry lies within the confident layering of poetic image with plain, direct, arresting statement. The first poem in the collection, ‘Stone’ ends with the stanza Stone- not shell. No faraway tide sound, no ocean-memory or lost sea creature. Basalt, smooth as someone’s skin. The opening of the collection underlining that it is a collection concerned with reality rather than fantasy, the realistic rather than the overly-romantic and the human rather than the blatheringly academic. ‘Stone’ appears in the first of the book’s three sections, ‘More Musicians’; which is followed by ‘Marking’ and ‘Influenced’. Undercurrents of medicine, surgery and mortality run under a lot of the poems, in ‘Lazarus’ (“I know that place, waking/ from anaesthetic, still in a dream”) and ‘Frozen’ (“Under the ice/grief’s small creature still quivers its fins”) and one of the most interesting conversations which emerges from the book is the dialogue between such fear and the spirit of ‘freshness’ and of new starts which appears in poems like: ‘Just changing the car’ (“now I’m sitting here, doing a deal/on my own”) although the resolute independent statement is destabilized slightly by the ending: “Sat Nav/ so I know where I’m going”. Such is the strength of this collection, it isn’t a monophonic tract on death or on new starts, it embraces the human condition of having to deal with both at the same time- and everything is honest- a new direction might be embarked upon but the Sat Nav, a machine not a human, might have to be relied upon for navigation. On a personal level, I’ve always been fascinated by the parts of poems which reach beyond themselves, reach through Poetry (in the proper noun sense of the word) into an arresting plainness which seems to be as honest as it’s possible to be, the most truthful to a reader. Stubbersfield gives us such moments; in ‘My Ex-Mother-in-Law’ (“Home became the smell of old lard”), in ‘The Prescription’ (“Stanley leaps to meet me, his whole body pleased”) , in ‘March’ (“I still think about March 1998/when I lay on the sofa, waiting,/ while

Normal 0 false false false EN-GB X-NONE X-NONE MicrosoftInternetExplorer4 /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Arial","sans-serif"; mso-bidi-font-family:"Times New Roman";} Steve Van-Hagen reviews Regeneration by Meirion Jordan Meirion Jordan, shortlisted for the Forward Prize for Best First Collection for Regeneration’s preceding volume, Moonrise, is from an intellectually eclectic background – he won the Newdigate Prize while studying for his first degree in Mathematics at Somerville College, Oxford, before moving to UEA to complete a Masters, and then a PhD, in Creative Writing. It is unsurprising, therefore, that he has produced an eclectic, undeniably unusual and rewarding second collection of poetry. Regeneration (2012) is immediately striking for its material appearance and organisation. As one reviewer (Jacqui Kenton at New Welsh Review – see http://www.newwelshreview.com/article.php?id=292) has already observed, Regeneration is ‘tête-bêche, with the White Book and Red Book at each end and upside down.’ These two-collections-in-one which meet in the middle reference two medieval (fourteenth-century) manuscripts, Llyfr Coch Hergest (The Red Book of Hergest) and Llyfr Gwynn Rhydderch (The White Book of Rhydderch), important sources for the tales of the Mabinogion. As Jordan argues in suggestive prefaces to both Books, the collection aims not at retelling the tales of the fourteenth century, but at exploring how they establish a dialogue with our own culture. The collection seeks, therefore, to address the ways in which the (sometimes distant) past continues to erupt problematically and polemically into our present. As Jordan argues in the preface to The Red Book, he does not ‘seek to unravel the difficulties of [the eleven stories of the Mabinogi’s] composition, transmission and literary context’ but rather contends that: Poetry is concerned most fundamentally with meaning and interpretation, and that implies in turn that this book is in some way turned towards those present in this imprecise, difficult dialogue: you, reading, and myself, shepherding this writing to your senses as best I can … These poems are an attempt to strike up a personal conversation with those worlds, whose vitality remains tangible … just as the tales themselves were an attempt to find conversation with other people and their perplexing, marvellous lives. The Red and White Books themselves have come to rest, in archives, well guarded and away from the mainstream of culture; these poems are nonetheless a reminder that their presence is still felt, and that like all other secondhand or discarded books they were once participatory acts.’ (p.8) The prefaces are lengthy, and one wonders if they do not risk contradiction; by insisting so expl

smiling hands by Christian Metzler, with Paloma Picasso 1460 1980s vintage sunglasses Optyl made in Austria

DJ Hell wearing Porsche 5632 1980s vintage sunglasses at pollerwiesen festival, foto by Bartosz Ludwinski // photographer