Konstantin Grcic’s design concept is inspired by “all-round”, which focuses on the circular round shape of the frames. He created a diverse collection that expresses diversity and individuality for those who wear these glasses.
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- This design is inspired by the traditional techniques and craftsmanship entailed in the making of glasses. The Inlay is inspired by the appreciation of quality and craftsmanship of eyewear.
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- This design is inspired by the idea of making glasses from a soft and stretchy material that has been rolled into a single continuous frame. Just like how it is making a pretzel from one long piece of dough. The nose bridge is also part of the pretzel shape, and is a distinct feature of the frame.
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- The bridge of the glasses is inspired by the swift lines of a cartoon drawn with a thick felt tip pen. The lines of the bridge and the front two circles in also portray a cartoon drawing.
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- Inspired by traditional glasses made from an assembly line of multiple parts, the curves of the temples have been made for ultimate comfort and fit.
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- Inspired by bikes, with a seamless tubular frame and a crossbar connecting two circular rims. The hinges extend inwards from the front to create an overall seamless finish.
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- The design reflects a sporty and casual style associated with its name: Safari. The unique colors are also inspired by a Safari.
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- The design has thin metal parts which link the two plastic rims. Grcic’s unique interpretation resulted in this archetype of round-shaped glasses.
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- The glasses are defined by the finest and thinnest possible outline, with the frame having no mechanical hinges, along with temples as thin as needles. Grcic’s great attention to detail can also be seen in the shape of the temples and nose pads.
The invitation from JINS offered an interesting excursion into a new field of work. Even though I am wearing glasses myself, I have never really thought about designing them. It was a beautiful challenge working on a product, which is both function and fashion. The most extreme aspect of designing glasses is that people of very different physiognomy are wearing them on their face. Glasses become part of their identity, of who they are.
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Konstantin was born in 1965, and was trained as a cabinet maker at The John Makepeace School in Dorset, England before studying Design at the Royal College of Art in London. He established his own office, Konstantin Grcic Industrial Design (KGID), in Munich in 1991. Since then he has designed and developed furniture, accessories, and lighting for leading companies in the design field like Cassina, Flos, Magis, Muji, Plank, and Vitra. He continues to work on a number of significant design exhibitions and exhibition displays for renowned museums and galleries.
The product design behind the temples,
nose pads and frame enhance the quality of the eyewear.
The product design behind the temples,
nose pads and frame enhance the
quality of the eyewear.
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The product design of the temples, such as the front view and weight balance, is inspired by curves of the wearer’s face, appearance and comfort. With that in mind, we created more space inside the frame to provide the ultimate support and comfort.
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In the Konstantin Collection, the eight unique frames feature both functionality and beauty. The bridges and nose pads were designed with style and comfort in mind. The bridge shapes and nose pads both are round in shape, harmoniously inspired by the “all round” inspiration from Konstantin.
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The BRACE is a transparent thick frame, with a matte coating. This coating covers the inside of the frame to prevent any light to reflect into the wearer’s eyes.
Konstantin Grcic introduces the background and design process of "all round"
For the second installment of the project, JINS collaborates with German industrial designer Konstantin Grcic, recognized for his prestigious career working with the world’s leading companies in the design field. Konstantin Grcic carefully responds to the requirements of his briefs, creating products that are defined by his meticulous attention to detail and his passion for technology and materials. The project served as window into Grcic’s practice as a designer who engages in confronting and studying the essence of things, and also an opportunity to reconsider the relationship between people and glasses.
