Collection: Christian Lacroix

The Christian Lacroix style is characterized by a dense, often ornamental visual vocabulary inherited from the history of art and costume. In eyewear, this identity is expressed through intricate shapes, sculpted details, and a decidedly decorative approach. The brand explores materials and textural effects that go beyond simple optical function to inscribe the frame within its own stylistic language.

Christian Lacroix was founded in Paris in 1987 by the eponymous designer, who trained in art history and worked at Hermès and Jean Patou. From its earliest collections, the brand distinguished itself with a pronounced taste for historical references and an intensive use of color and patterns. Starting in the 1990s, eyewear collections were launched under license, primarily produced in Germany, notably in Optyl, a material that allows for complex work on volumes and surfaces. These frames translate the brand's own visual codes into optical objects.

Among the identifiable references on the secondary market are the 7318 model, made in Germany, recognizable by its worked Optyl material and its finely decorated temples. The 7326 model adopts a marked oval shape, sometimes with inserts with a granite texture. The 7340 series combines colored acetate and integrated metal elements. These frames are at the crossroads of eyewear and decorative object, without compromising on solidity or comfort. Production is generally European, with constant attention to formal detail.

Optyl material, often used for Lacroix frames in the 1990s, is a thermoformable polymer that is lighter than acetate. It allows for great freedom in the construction of volumes, while maintaining dimensional stability. It was developed by the German company Optyl International, which has collaborated with several fashion houses, including Christian Lacroix.

Christian Lacroix eyewear from the 1980s to the 2000s offers several advantages for the enthusiast or collector. Their production is generally well dated and identifiable, which facilitates traceability. The work on the material, particularly the use of Optyl, allows for shapes and textures that are uncommon in eyewear. The frames reflect the aesthetics of a specific period of European design, in a dialogue between ornament, structure, and function. Finally, they are objects that bear witness to a French fashion house that has marked the history of ready-to-wear and accessories.