The colorful, indeed, as well as aerial double-bridge wire supports our elementary lines. It is there to hold together the assembling of the various pieces, to strengthen the overall structure. The technical use of the wire is to bring tension, albeit in an aesthetic inspired by the 70s analogue synth, and some of Emil Schult’s works. The visual designer, poet and artist is notably known for his lengthy collaboration with German avant-garde electronica band Kraftwerk.
The threadlike wire takes flight into the tenons. And while the tight design of the frame fluidly evolves between feedback and distortion, it retains both its lightness and dynamism. The finishing of the branches ends with a colored resin piece inserted in the spatula, to match either the wire or the arcade. The brow line is not so much eye-catching as it is underlined.
The spirit of this extremely urban concept is more of the explorer than the traveler type. These are sleek frames, with a collectible flair. Sophisticated, technical, refined, they are a tribute to the engineering of excellence.
Some models of the SKYLINE concept are genderless, very much of their time. Above all, they are objects that generate curiosity and surprise. Their flat geometric composition and their 80s ambivalence (think Eighties revisited, if you will) will appeal to collectors of modern watchmaking and electronic music, as well as expressionist souls. You’ll find these models, like most razorsharp, cerebral, paradoxical, surgical, constructivist creations, where no one expects them. They are out there, though, satisfying their curiosity and cultivating their very personal sense of poetry, in-between two Berlin festivals.