A collection of sunglasses and eyeglasses presented at MIDO 2022, which reinterprets the iconic 60s frames through the hallmarks of the brand.
Since the beginning of her stylistic adventure in 2018, Bayria has brought art to her collections: architectural, stylistic, pictorial, naturalistic. Every visual stimulus, perfume, particular was a source of inspiration for a series of glasses. The brand has always focused on the concept of art that leads to art. And this time, it is the art of cinema that provides the inspiration for an incredible series of eyewear inspired by Fellini's imagery and the stardom of the 60s.
Imagine Marcello Mastroianni chasing his Anita Ekberg through the alleys of Rome, until she plunges into the Trevi fountain. She is the image imprinted in the memory of all of us when we think of the worldliness, the ephemeral and the beauty of the 60s, masterfully portrayed in “la Dolce Vita”. The film, directed and co-written by Federico Fellini, embeds the close intertwining of fashion and artistic genius in the imaginary linked to cinema.
Federico Fellini, in the last 60 years, has influenced and inspired the Italian stylists. He designed the stage clothes, so that they would enter into a deep connection with the public, making them alive, capable of dialoguing with the soul of the character. The style of the “Dolce Vita” costumes, for example, was unconventional, fun and disrespectful. The real age of the wearer did not matter, but they managed to convey the luxury and brazen lifestyle of that glossy world that the director wanted to show to the public.
Likewise, for Bayria glasses are more than an object; they are a person's business card, the way he approaches the world. In the collection presented during MIDO 2022, the made in Puglia company interprets iconic frames from the fabulous 60s, reinventing them through what are now the hallmarks of the brand: overlapping, material decorations, daring combinations, three-dimensionality, grooves and millings.
A unique collection that does not go unnoticed, like the wearer: from the enveloping extra-large with a square shape, to the models with a rounded and jaunty shape, enriched by gold plates and an ashlar-effect rod that make them sensual and refined, up to a sort on the contrary, in which the rod is connected to the front at the bottom of it. The collection also features another typical feature of the Bayria collections: geometry, like the rectangular model that abandons its rigor thanks to the pointed front on the sides and the three-dimensional use of acetate.
