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WWDMilestones

Crafting eyewear for a half-century.

PHOTO BY DAVIDE MAESTRI

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4 MARKING TIMEA half-century in the eyewear business.

6 GOLD RUSHAn eyewear giant is founded on a single idea.PLUS: The in-house Web brand launches a special edition marking the 50th anniversary.

8 STRENGTH IN NUMBERSCeo Massimo Saracchi keeps a close eye on the bottom line.PLUS: Diego Della Valle weighs in.

10 LICENSE DRIVERMaurizio Marcolin discusses key elements for successful brand extension.

12 THE FAMILY OF BRANDSMarcolin has built its business on a slew of luxury, contemporary and casual labels.

20 THE GREATER GOODCirillo Marcolin wears multiple hats as an executive of the family’s company and as president of numerous industry organizations.

22 GET THE MESSAGEThe company has strived to convey its technical expertise alongside the images of its licensed brands.

27 JUST THE FACTSA few of the numbers that add up to big bucks for Marcolin.

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The Milan showroom.

Belluno, Italy

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1961: Giovanni Marcolin Coffen re-calls how, “In the Sixties, what really mattered were ideas.” He establish-es Fabbrica Artigiana in Cadore, the eyewear production district in Italy’s Veneto region. The company makes its splash with the production of gold laminated arms, which, until then, were only available in plastic.

1964: The firm becomes Marcolin Occhiali Doublé, named after the ma-terial used to produce the arms.

1967: The company inaugurates the factory in Vallesella di Cadore and presents its first line of products.

1968: Marcolin lands in the U.S. and signs eight distributors to sell its products.

1976: It opens its first branch of-fice in France, followed by one in Switzerland and one in Germany.

1983: Marcolin forms a venture with Marchon Inc., also the licensor of the Calvin Klein and CK eyewear brands.

1984: Because of the new partnership,

in just one year Marcolin grows from 80 to 200 employees, reaching annual production of one million frames.Maurizio Marcolin joins the company. 1985: The factory moves to Longarone, Italy, and Cirillo Marcolin joins the business.

1989: Marcolin enters the licensing market, buying Finacom SpA, owner of Emmepivi, the licensor of Mila Schön and Lancetti.

1994: The house buys Orama, later re-named Marcolin & Co., the licensing company for Fendissime, Henry Cotton’s, Gianmarco Venturi and Gerald Genta.

1995: Dolce & Gabbana is licensed.

1997: Replay becomes a part of its portfolio.

1998: The company inks a licensing deal with Chloé.

1999: The firm goes public on the Italian stock market and buys Cébé, a producer of sports eyewear and ski masks.

The company adds Roberto Cavalli to its licensing stable.

2000: Marcolin licenses Miss Sixty.

2001: The company’s licensing portfolio grows with Costume National, The North Face and Montblanc. In partnership with Procter & Gamble Co., it signs Cover Girl.

It also acquires Creative Optics Inc. and doubles its U.S. market shares.

Marcolin opens a new branch, Marcolin Do Brasil.

2002: Marcolin signs a distribution contract for Japan.

2003: The company agrees to a li-cense to produce and distribute the Kenneth Cole lines in the U.S. and, later that year, signs Timberland.

2004: Brothers Andrea and Diego Della Valle take a 40.6 percent stake in the company and join the board.

2005: Marcolin inks license agreements with Ferrari and Tom Ford International.Just Cavalli is added to the lineup.

2006: The shareholders underwrite a 30 million euro ($43 million) capi-tal increase. High-profile Italian entrepreneur Luigi Abete invests in the company.

Marcolin forms a joint venture with Optec, a Japanese company that pro-duces and distributes high-end glass-es, founding Marcolin Japan.

The company inks a license agree-ment with the brand Web.

2007: Massimo Saracchi is appointed chief executive officer and managing director.

2008: Dsquared2, John Galliano, Tod’s and Hogan join the licensing stable.

2009: Marcolin sells the brand Cébé and signs a new license agreement with Swarovski.

2010: Diesel and Marcolin strike a li-censing agreement.

2011: The company launches a spe-cial collection of its Web brand as it marks a half-century in business.

A half century in the eyewear business.

2005: Ferrari license is signed.

2008: John Galliano is licensed.

2004: Diego and Andrea Della Valle buy 40.6 percent of the company.

1999: An IPO on the Italian stock exchange.

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Diesel is licensed, 2010.

Maurizio, Giovanni and Cirillo Marcolin.

2001: Montblanc license is signed.

2005: Just Cavalli is added to the stable.

▼ An ad from a 1968 magazine.

2003: Timberland is licensed.

Marking Time

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LONGARONE, Italy — Gold.You wouldn’t necessarily

associate this precious metal with sunglasses, but that’s ex-actly what helped Marcolin break through.

When founder Giovanni Marcolin Coffen followed his instinct and decided to experiment with product di-versification and a brand new concept — gold laminated arms — the move helped jump-start the business he set up in 1961.

“At the time, to grow you had to differentiate yourself,” said the 80-year-old Marcolin Coffen, in his office overlook-ing the Dolomites at the com-pany’s headquarters — where he still clocks in and out on a daily basis. “The arms were not particular or unique, they were all in plastic, and the changes were made only on the frontal.”

Marcolin Coffen was only 16 in 1947, when he started working as a technician in an eyewear production laborato-ry. After 14 years, he decided to strike out on his own, with his idea as his only asset.

“My wife told me I was reckless,” chuckled Marcolin Coffen, adding fondly, “but she was my partner and has always stood by me.”

After a first six “tough” months, orders started com-ing in and Marcolin Coffen gradually ventured from the production of compo-nents to sunglasses.

“In the early Sixties, eyewear was mainly about ophthalmic glasses,” he said. He moved from work-ing in the basement of his home to the first part of the manufacturing plant in nearby Vallesella di Cadore in 1967.

In 1968, Marcolin started selling in the U.S.“Fashion came from Italy, at the time,” he said,

recalling the “explosion of colors in the Seventies

— white and yellow,” the geometric frames (“the hot octagonal ones”) or revolutionary round shapes, fol-lowed in the Eighties by gem-cut and rimless models.

The company also expanded in Europe in the Seventies, with a branch in France in 1976, fol-lowed by sites in Switzerland and Germany. A joint venture in 1984 with Marchon Inc., a Calvin Klein licensee, allowed Marcolin to take a further leap forward, growing from 80 to 200 employees and reaching production of 1 million frames annually.

The following year, the manufacturing plant moved to nearby Longarone, initi-ating the production of ac-etate frames.

In the Eighties, Marcolin Coffen’s sons Cirillo and Maurizio started working for the company, based in France and the U.S., respectively.

“Even in the early days, when he allowed other tech-nicians to take over his re-sponsibilities while he went out in the world to sell our products, our father was always aware of the impor-tance of delegating, and he did so with his sons, too,” said Maurizio Marcolin, style and licensing director of the group.

Looking back, Marcolin Coffen recalls the roller coaster years behind him, the difficulties after World War II, the booming Sixties, and the small produc-tion units that turned into competitive, international groups — from Safilo to Luxottica, among the more prominent — in addition to his own firm.

“In the Eighties, glasses from China came cheap, but were not high quality, and the weak lira currency helped lift our exports,” said Marcolin Coffen. “In the early Aughts, things changed dramatically with

the advent of the euro, which put a lid on the expan-sion of the sector here.”

He also pointed to increased competition from China, where technology advanced significantly, as impacting growth in Italian eyewear manufacturing.

However, don’t expect any negativity from Marcolin Coffen. “This is a tight-knit family,” he said, “it continues to grow the company with the help of good management, and we have a great sta-ble of brands.”

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MARCOLIN IS LAUNCHING a 200-piece limited edition collection of glasses for its in-house brand, Web, to mark the company’s 50th anniversary.

“We decided to dedicate our research and development to the creation of a model that would summarize the DNA of the brand and of Marcolin itself: tradition, modernity, artisan crafts-manship, manual skills, exclusiv-ity and excellence,” said Maurizio Marcolin, style and licensing of-ficer. “All in consistency with the value of the Made in Italy label.”

The model rejuvenates the classic avia-tor style, combining a classic material like metal with a new and natural element — wood — including maple, rosewood, teak and palisander. The sophisticated yet informal designs are available in a pal-ette ranging from ocher to different hues of brown and black. These lightweight and precious woods are hand-crafted by Italian artisans. The price was still to be detrmined at press time.

Marcolin revisited Web’s distinctive and recognizable elements, such as the double bridge and flexible temples, while the logo is discreetly positioned on the left arm of the frames.

Tod’s SpA chairman Diego Della Valle and Ferrari SpA presi-dent Luca Cordero di Montezemolo bought the Web brand in 1994

(well before the World Wide Web was in the public consciousness). After a re-launch in 2006, Web was licensed to Marcolin in 2007. Marcolin bought

it the following year.The glasses will be launched during an event celebrating

the company’s 50th anniversary on Monday in Milan. The group will also unveil a contemporary art exhibi-

tion, “La Visione oltre lo Sguardo” (“The vision beyond the glance”), at Marcolin’s Milan showroom, curated

by Tar magazine. The multimedia and mul-tisensory experience comprises art works

from the Giò Marconi collection by inter-national artists such as Grazia Toderi, Elisa Sighicelli, Markus Schinwald, Kerstin Brätsch, Matthew Brannon, Tobias Rehberger, Sharon Lockhart and

Atelier Van Lieshout.According to the company,

“The works by these artists are symbolic representations

of the importance of the concept of going beyond a simple gaze, offering spec-tators a more thorough vision of the reality sur-

rounding us.” — L.Z.

Gold RushAn eyewear giant is founded on a single idea. By Luisa Zargani

At the time [the Sixties], to grow you had to differentiate yourself.

— GIOVANNI MARCOLIN COFFEN

Limited Run to Celebrate the Half-Century Mark

Looks from Marcolin’s Web collection.

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Ceo Massimo Saracchi keeps a close eye on the bottom line. By Luisa Zargani

Strength in NumbersJUDGING BY HIS razor-sharp reasoning and clear-cut responses, it’s not hard to imagine Massimo Saracchi applying his rigorous logic and method to streamlining Marcolin’s operations.

The chief executive officer last year led Marcolin to a doubling of both its net profit and earnings be-fore interest, taxes, depreciation and amortization, closing 2010 as a record year.

“We want to be seen as the Atelier of Eyewear,” said the soft-spoken Saracchi, who aims to position Marcolin in the category’s highest tier.

“We must apply our best skills: excellence in de-veloping unique design products, excellence in the quality of our manufacture and excellence in inter-preting the equity of each brand in our stable,” said Saracchi, who hails from Procter & Gamble and joined Marcolin in December 2007.

In first approaching the firm, which had been slowed down by the lack of a common mission and objective, he was fully aware of its strength. He said Marcolin’s processes were too “slow and knotted-up.”

Saracchi improved efficiency, working on logistics and a new state-of-the-art, centralized manufacturing plant. He also aimed to grow profits. “There’s this myth of revenues, but it is profitability you must target.”

After three years in the red, Marcolin returned to profitability in 2009, and ended 2010 by posting the strongest set of financial results in its 50-year histo-ry. Boosted by cost-cutting and a new demand plan-ning system, net profits more than doubled to 18.6 million euros, or $24.5 million, from 2009.

Revenues, after falling 3.5 percent in 2009, expe-rienced an upturn last year, gaining 15.2 percent to 207.7 million euros, or $274.1 million.

For the 12 months through Dec. 31, EBITDA also more than doubled to 31 million euros, or $40.9 mil-

lion. By Dec. 31, the firm’s net indebtedness had fallen significantly to 8.6 million euros, or $11.3 million, compared with 23.8 million euros ($33 million) at the end of the prior year.

Dollar amounts are converted from the euro at average exchange rates for the year.

Rather than maximizing its revenues with extensive distribution, Marcolin is aiming at selective penetration.

“We choose the most appropriate point of sale for each brand,” said Saracchi. “We have our own offic-es in main markets, in particular in Europe and the U.S., while elsewhere we have distribution partners, often more than one per country, given the wide range of brands we produce.”

That said, Saracchi underscored the company’s “enormous growth potential,” as Western Europe still accounts for 50 percent of Marcolin’s sales, and less than half of that is still represented by Italy.

Saracchi’s strategy is to grow in the Far East and America, “where the economies are healthy, where the demand for luxury goods is rapidly growing and where our business is still very limited compared to its real potential.” He said the firm is growing “very well” in the Far East and the Middle East, following the reorganization and strengthening of its commer-cial network. “We are also seeing great results in the U.S. and Northern Europe.”

His other cornerstone is to further develop Marcolin’s brands, “continuing to increase the growth of those that are consolidated and developing those labels that were recently introduced on the market.”

Saracchi touted the “increased visibility and im-proved stature” granted by the bourse. Marcolin floated 20 percent of its shares on the Milan Stock Exchange in 1999. He referred to “new and important shareholders” becoming part of the company over the past few years, which helped add solidity to the company and new li-censing opportunities. Case in point: a personal invest-ment in 2004 by brothers Diego and Andrea Della Valle, Tod’s SpA chairman and vice chairman, respectively, who took a 40.6 percent stake in the eyewear maker.

“We have strengthened our communication with the financial world and made it more continuous. The excellent performance of the company was im-mediately converted in an increased value of our shares, with a capitalization that has more than tri-pled compared with a year ago,” Saracchi remarked.

The executive said he had no plans to invest in capital expenditure, but that he is looking at increas-ing the number of foreign branches from the existing 12, located in diverse countries ranging from Austria and the U.K. to the U.S. and Japan. “Emerging mar-kets are the future, so perhaps branches in Asia, the Middle East or Russia?” he speculated.

The acquisition of “complementary companies that may help further build the company technical-ly or geographically,” is also a future possibility, he said. Conversely, investing in retailing is not on the agenda. “It’s not part of our DNA,” he noted.

As with so many other industries, the economy slowed down eyewear from the end of 2008 until early 2010, he added, but business is “clearly pick-ing up,” led by brisk sales in the luxury segment and strong demand from emerging markets.

“We are very pleased with last year’s record re-sults,” he said, “but, as we believe records are made to be beaten. Our goal is to significantly improve these results.”

FLIP THROUGH any Italian daily and you’re bound to bump into reports on Diego Della Valle on a regular basis.

The chairman of Tod’s SpA is one of the country’s most high-profile entrepre-neurs. His personal investments run from fashion to media, sports to manufacturing to transportation, including Saks Inc.; a high-speed train venture with Ferrari president Luca di Montezemolo; mo-torcycle firm Piaggio; iconic coffee-ma-chine maker Bialetti; RCS MediaGroup, which owns the newspaper Corriere della Sera; furniture producer Poltrona Frau; film studio Cinecittà, and the city of Florence’s soccer team, Fiorentina.

In 2004, Della Valle and his brother Andrea, vice chairman of Tod’s, took a

40.6 percent stake in Marcolin through their holdings DDV Partecipazioni Srl and ADV Partecipazioni Srl, and joined the board.

“They are doing a great job. Marcolin has an excellent management structure,” said Diego Della Valle. “Their glasses are top quality and they can do anything at the highest level.”

Della Valle further committed to the company by inking licensing agree-ments in 2008 for the production and distribution of his Tod’s and Hogan eyewear collections.

“Marcolin has a solid organization and enormous specialization,” con-tinued Della Valle, whose own group shares similarities with Marcolin.

“Here is a family that is behind the firm it owns, they are solid sharehold-ers who strongly invest in it, but at the same time, it’s a public company.”

Della Valle’s family, of course, found-ed and owns the publicly listed Tod’s Group. The entrepreneur defined his investment in Marcolin as “important” and having “great growth potential.”

Marcolin chief executive officer Massimo Saracchi said Della Valle’s stake in the company has “boosted Marcolin’s visibility. He is a central fig-ure of note and stature in Italy.”

Saracchi added that Della Valle, a “solid and successful” entrepreneur who also sits on the board of LVMH Moët Hennessy Louis Vuitton, conveys confidence and contributes “important contacts.” And, the ceo concluded, he “knows about luxury.”

— L.Z.

There’s this myth of revenues, but it is profitability you must target.— MASSIMO SARACCHI

The Della Valle FactorDiego Della Valle

The showroom in Milan.

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Happ y anniversary

Maurizio Marcolin discusses key elements to successful brand extension. By Alessandra Ilari


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License DriverDURING HIS STUDIES at the Università Commerciale Luigi Bocconi, Milan’s top college for economics, Maurizio Marcolin would pour over his textbooks with a cer-tain vantage point — he had already expe-rienced “the practice,” or how to do busi-ness, since he was a little boy.

That’s because since 1961, papa Giovanni and mamma Maria ran a success-ful and avant-garde namesake company that allowed their son to build a hands-on, in-the-trenches work experience.

“When I took an exam, it was like repeat-ing the story of my life, as if I had interned for 10 years. At dinner, we would listen to our parents talk about work, the factory, the produc-tion manager, the prod-uct guy and so on,” re-called Marcolin.

“Most evenings we ate bread and eyeglass-es,” he quipped.

Figuratively, that may have been their meal, but eyewear cer-tainly has been the Marcolins’ bread and butter. As the style and licensing director of the $274 million fam-ily business, the soft-spoken Marcolin has rounded up a diverse portfolio of brands, including Tom Ford, Dsquared2, Roberto Cavalli, Diesel, Ferrari, Hogan, John Galliano, Kenneth Cole and Swarovski, their latest addition.

While Marcolin has wooed five new li-censors in less than two years, he under-scores how his mission today isn’t to add new names for the sake of the bottom line, but to complete the stable respecting his idea of an “eyewear atelier” that puts care, attention to details and manual labor into every frame.

“Obviously, Marcolin is a global company with many brands,” he noted, “but we want to give each one the right positioning and space in terms of market share, product and technology. And regardless of the eco-nomic climate, we will never, ever sacrifice the quality or image in the name of profit.”

Sporting a dapper double-breasted gray suit and windowpane checked shirt, Marcolin conducted the interview in the recently inaugurated Milan headquar-ters, housed inside a historic palazzo. Tempering the classical, stuccoed setting are modern showcases in wood and glazed glass that he designed.

In the beginning, Marcolin’s “gut in-stinct” was fundamental in scoping out new names with a solid core business and enough po-tential to succeed in the eyewear sector. A significant case in point is the Dolce & Gabbana license inked in 1995, when the fashion house didn’t have the buzz or powerhouse appeal it has today.

“It was a forerunning choice. I was in turbo drive back then, eager to sign new contracts. But today the approach is different because times have changed,” said Marcolin.

During his practice-makes-perfect learning curve, Marcolin admitted he learned to tame his instincts and zeal that characterized his early days in the company, now embracing new challenges in a more poised and reflective manner.

“I learned from my mistakes, because at times I was overcome by my enthusiasm. Now, I ponder with a different maturity,” he conceded.

Such wisdom helped the firm overcome a major setback — the loss of the Dolce & Gabbana license to Luxottica Group in 2004. To that end, spreading the wealth became essential, also in light of heady competition.

“The goal became to create a diversified portfo-lio because we didn’t want to put all our eggs in one basket anymore. To keep a balance, today no brand should surpass a 20 to 30 percent share of sales,” noted Marcolin, adding that the company today is more “stable.”

But he’s still eager to rise to a new challenge. Take Tom Ford, for example, who surprised every-one by making his solo foray in fashion with eyewear.

“Yes, we launched eyewear as the first fashion product for this designer but truth be told, Tom’s ap-peal stemmed from his reputation as one of the most

talented creative directors in the world. Together, we managed to create a collec-tion that was fresh, innovative, minimal, elegant and luxurious,” said Marcolin.

But, the pressure was on because if the collection flopped, it could have dampened the brand’s budding reputation. Instead, both the Whitney and Jennifer styles con-tinue to be timeless bestsellers, exceed-ing sales forecasts and selling hundreds of thousands of pairs.

Thanks to a well-run organization and trendspotters who travel around the world to tap the market’s pulse, Marcolin is able to turn designer whims into reality.

“We’re chameleons and we adapt to our licensors. Some give us detailed brief-ings, others just a few notions that we complement, but we always interpret each brand to include iconic elements and new ideas,” said Marcolin.

In 1984, Marcolin crossed the ocean to spend three years at Marcolin U.S. His multiple experiences spanned packing boxes, strengthening the communica-tions department and managing distri-bution. He also traveled to dip into the market to study its needs — and check out the competition.

“It became clear that there were differ-ent products, tastes and trends that were starting to differentiate the eyewear seg-ment,” he said. “I started to understand that besides the product, you have to look at the market, you need to [have the com-pany make sense] for the consumer and for the market, obviously within a com-pany strategy.”

Two years later, he returned to Italy and set up a marketing department be-cause in his view, the company was too pigeonholed in the production end. He segmented the collections by gender — men, women and children — and by look — romantic, urban chic, sporty and so on.

When he thought growth needed a stronger push, he embraced the licens-ing model, signing up Mila Schön and Lancetti in 1989.

Although glasses today are perceived sometimes more as an accessory than a medical device, Marcolin stressed that the brand extension isn’t always an automatic evolution and that there are examples of “successful brands that don’t perform as well with eyewear.”

Since Marcolin invests in technology and manufacturing techniques, especially for its tri-dimensional styles, the licen-sor’s business can’t be too small.

“We’re not here to do small pieces of art, but business, so in two years’ maxi-mum, a line must swing to profitability,” said Marcolin.

When their father, Giovanni, was plotting the company’s future and asked Maurizio and his twin brother, Cirillo, whether they wanted to carry on the family tradition, the answer was yes.

Moreover, Marcolin had a very clear picture of what side of the business he wanted to be on.

“I’ve always been very marketing-oriented. I love the product, design and aesthetic,” he contended. “Marketing is a very abused word but what it really means is to follow the market to create business, ex-pectations and needs.”

Fueled by the twins’ acumen, Marcolin picked up steam and succeeded in synchronizing the various departments — marketing, production, communica-tions and advertising.

“It’s a dynamic process that needs constant fine-tuning,” Marcolin said, “but there’s still lots to do.”

We always interpret each brand to include iconic

elements and new ideas.— MAURIZIO MARCOLIN

MAURIZIO MARCOLIN’S FOUR KEY POINTS FOR A SUCCESSFUL EYEWEAR LICENSE:

A precise strategic vision.

A clear positioning for the consumer.

Potential global growth.

Licenses in other categories with coherent partners.

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CONGRATULATIONS TO MARCOLIN ON 50 VISIONARY YEARS.

IMAGINE HAVING “YOUR DAY IN THE SUN’’ LAST FOR 50 YEARS.

Hogan Eyewear Caption

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COVER GIRLLaunched: 2001The look: Emulating the cosmetic gi-ant’s “easy, breezy, beautiful” image with stylish colors, rimless styles, dou-ble and triple handmade laminates and spring hinges at moderate prices.Demographic: Cover Girl resonates strongly with teens and women from age 10 to 54 across all ethnic lines and this brand loyalty has helped drive the label as a top performer in Marcolin’s portfolio.

DIESEL SHADESLaunched: 2011The look: Edgy and ironic for the uncon-ventional, rule-breaking under-40 crowd. Key moment: Marcolin Group and Diesel inked an exclusive, five- year licensing agreement in fall 2010 and their first line will bow this coming fall.

DSQUARED2 EYEWEAR

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Launched: 2009The look: Cutting-edge and sexy de-signs for anticonformists.Novelty: The spring 2009 collection was memorable for a provocative ad shot by Steven Meisel in which sunglass-clad supermodels Naomi Campbell and Linda Evangelista were in a catfight.Famous fans: Katy Perry, Demi Moore, Jessica Alba and Jennifer Lopez.

FERRARILaunched: 2005The look: Sleek and fast, evocative of one of the most famous names in racing.Fun fact: Ferrari president Luca di Montezemolo is in a high-speed train venture with Diego Della Valle, who holds a 40.6 percent stake in Marcolin with his brother, Andrea.

Marcolin has built its business around a slew of luxury, contemporary and casual labels.

Dsquared2 Eyewear, fall 2011

Famous FacesCelebrities and sunglasses are a natural pairing. Whether the stars use their shades as a fashion accessory or to help hide from the paparazzi, the glasses are always a key part of their well-styled look. Here, the bold-faced names get framed.

Katy Perry in Dsquared2.

HOGAN EYEWEARLaunched: 2009The look: Laid-back elegance meets urban luxury for a young cosmo-politan crowd.Famous fans: Julianne Moore, Gwyneth Paltrow, Cameron Diaz, Uma Thurman, George Clooney, Liz Hurley, Eva Longoria, Jessica Alba and Charlize Theron.

JOHN GALLIANO EYEWEAR

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Launched: 2009The look: The French fashion house’s provocative, eccentric, and creative designs combine a rock ’n’ roll aes-thetic with a unique, edgy style.Novelty: Galliano’s signature Gazette print marks the frames.* Galliano frames are still in pro-duction, despite the ongoing contro-versy surrounding the designer.

▲ ROBERTO CAVALLI EYEWEAR/JUST CAVALLI Launched: 1999The look: Seductive, sensual and glamorous, Cavalli’s nod to animal prints and motifs gives his feminine frames a shot of eccentricity.Key moment: In 2010, to celebrate Roberto Cavalli’s 40th anniversary, a special limited run of 2,000 pieces called Dea was launched in two varieties, inspired by the Italian designer’s iconic “Occhio degli Dei” (“Eye of the Gods”) model from the first Marcolin collection. In a classic aviator style, the Dea model was fitted with unconventional, sen-sual elements — snakeskin print leather and pink gold — for an artisinal feeling.Famous fans: Jennifer Lopez, Sharon Stone, Kelly Rowland Lindsay Lohan, Halle Berry and Sienna Miller. Extensions: Launched in 2005, Just Cavalli eyewear still hints at the designer’s exotic animal prints but for a younger, less traditional crowd.

Brands13WWD FRIDAY, JUNE 17, 2011

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Roberto Cavalli Eyewear/Just Cavalli

John Galliano, spring 2010

Brad Pitt in Tom Ford.

Scarlett Johansson in

Tom Ford.

Angelina Jolie in Tom Ford.

▲ KENNETH COLE NEW YORK/ KENNETH COLE REACTIONLaunched: 2005The look: Modern, cool metropolitan looks for a sophisticated city-dweller.New element: The fall line features acetone frames that reference the timeless retro styles of the Fifties.Famous fans: Fergie, Jessica Alba, Katie Holmes, Molly Sims, Sharon Stone, Katherine Heigl, Halle Berry, Naomi Watts, Blake Lively, Ashlee Simpson and Josh Duhamel.

MISS SIXTY GLASSES

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Launched: 2001The look: A mix of feminine glamour and sparkle for a liberated, rebel-lious young woman who knows ex-actly what she wants.New element: Fall 2011 collection of-fers five models, mostly in acetones and metals.

▲

MONTBLANC EYEWEAR Launched: 2003The look: A synthesis of elegance and luxury in meticulously hand-crafted designs. Key moment: In 2006, to celebrate Montblanc’s 100th anniversary, the company created Montblanc Diamond Eyewear, an exclusive frame released worldwide in a run of just 100 pieces. The design en-tailed a handcrafted frame in 18-karat solid white or yellow gold and two half-carat diamonds cut in the shape of the iconic Montblanc six-sided star.Famous fans: Ron Wood, Margareth Madè and Eva Green.


SECTION II WWD.COM

WWD MILESTONES{Continued from page 13}

Miss Sixty, spring 2009

Kenneth Cole New York, spring 2006

Montblanc Eyewear

Sean “Diddy” Combs in Dsquared2.


Famous Faces

Jennifer Lopez in Roberto Cavalli.

Adrien Brody in Tod’s.

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▲ REPLAY EYESLaunched: 1998The look: A vintage twist that combines high-end fashion with edgy-cool.New element: The fall line pulls directly from classic, vintage styles.

▲

SWAROVSKILaunched: 2011The look: Sensuality and sophistication that sparkles through distinctly pre-cise designs. Key moment: The first collection of sun-glasses was launched last January and included 12 models, available in a total of 45 variations. One of the more popular models is “Amazing,” which features an architecturally crafted

frame evocative of jewel forms.Famous fans: Christina Aguilera, Fergie, Gong Li and Milla Jovovich.

TOD’S EYEWEAR

▲

Launched: 2009The look: Understated Italian luxury and Made in Italy craftsmanship.Key moment: Tod’s arc with Marcolin runs alongside its sibling luxury brand Hogan. The two were signed to five-year licensing agreements in fall 2008, four years after Tod’s Group executives Diego and Andrea Della Valle took a 40.6 percent stake in Marcolin. Famous fans: Sienna Miller, Julia Roberts, Gwyneth Paltrow, Drew Barrymore, Uma Thurman, Scarlett Johansson and Adrien Brody.


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WWD MILESTONES


Replay Eyes

Swarovski

Tod’s, fall 2010

{Continued from page 14}

Famous Faces

Charlize Theron in

Hogan.

Nicole Kidman in Tod’s.

Daniel Craig in Tom Ford.

Queen Rania of Jordan in Tod’s.

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VISION IS THE ART OF SEEING ALL THAT IS POSSIBLE

WE SALUTE MARCOLIN ON 50 STYLISH YEARS.

TIMBERLAND EYEWEAR

▲

Launched: 2004The look: Eco-friendly sunglasses that are built to last in comfortable, casual, durable designs.Key moment: In 2010, Timberland launched a men’s line of eco-conscious eyewear that featured frames made from renewable re-sources — bamboo and recycled plastic derived from plant oil — in clean, minimalist styles, reso-nant with Timberland’s global Earthkeeper Network initiative that inspires consumers to lighten their environmental footprint.Famous fans: Don Cheadle, Bruce Springsteen and Bill Clinton.

▲ TOM FORD EYEWEARLaunched: 2005The look: Sexy, chic luxury and VIP-exclusivity in sleek design.Key moment: In fall 2010, Marcolin re-newed its existing license with Tom Ford until 2022.Novelties: A distinguishable “T” on the frames, the women’s fall 2011 line is a tribute to vintage, citing the Golden Age of Hollywood in particular.Famous fans: Rihanna, Brad Pitt and Angelina Jolie.

▲ WEB EYEWEARLaunched: 2006The look: An expression of Italian style and contemporary elegance made in easy-to-wear designs.Key moments: The brand was acquired in 2004 by the president and chief ex-ecutive officer of Tod’s, Diego Della Valle, and the chairman of Ferrari, Luca Cordero di Montezemolo. It was relaunched in 2006 in Italy and bought by Marcolin in 2008. Now, Marcolin is unveiling a limited edition of the Web line made of metal and various woods in classic aviator shapes to commemo-rate its 50th anniversary.


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WWD MILESTONES


Tom Ford Eyewear

Web Eyewear

Timberland Eyewear

Christina Aguilera in Swarovski.

Andie MacDowell in Montblanc.

Margareth Madè in

Montblanc.

Famous Faces

CIRILLO MARCOLIN’S long-standing experience as head of pivotal industry associations is clearly part of his persona as he diplomatically, yet firmly, con-veys his message.

“Industry associations, including ANFAO [the Italian Optical Goods Manufacturers’ Association], generally represent companies that, while operating in the same sector, are in certain cases deeply differ-ent from one another in terms of dimensions, image, product and strategies,” said Marcolin, referring to the diverse range of firms, from small to medium to giant, that make up the eyewear industry.

Hailing from Milan’s prestigious Bocconi University, Marcolin, who is one of Giovanni Marcolin Coffen’s twin sons in the business, is a financial executive. He headed the French branch of the family-owned com-pany in 1985, then returned to the headquarters in Longarone, Italy, to work in administration and pro-duction, becoming its chief executive officer in 1989.

At the same time, Marcolin’s résumé includes roles as president of Mido, the international eye-wear show; president of ANFAO; vice president of Certottica, the Italian institution that certifies opti-cal products, and president of FIAMP, the fashion accessories federation that includes ANFAO, ANCI (the footwear association), Mifur (the international fur and leather exhibition) and Aimpes (the associa-tion of Italian leather goods producers).

One of Marcolin’s priorities over the years has been to ensure that the eyewear district around the towns of Longarone and Belluno in the Veneto re-gion would not be wiped away from increasing com-petition in low-cost countries.

“Despite the fact that many companies, even in our industry, have been forced to delocalize part of their production in Asia to cut costs, it’s important for our district to continue to exist,” said Marcolin, “given that creativity and design, a patrimony of our companies, including Marcolin, contribute to the success of Made in Italy products around the world.”

He noted how the high cost of labor and the

State’s inefficient bureaucracy slowed down the development of the district over the past decade. Despite that, however, annual production in the Italian eyewear industry last year was 2.4 billion euros, or $3.1 billion, up 33 percent since 2001.

For its part, Marcolin SpA just invested 10 million euros, or $14.3 million, in a 140,400-square-foot state-of-the art production and logistics plant in Longarone.

“The new center will allow us to create new spac-es to support the company’s growth in light of the constant increase of licensed collections and mar-kets to develop, while maximizing strategies and ef-ficiency,” said Marcolin.

The executive said the firm “favors the excellence of Made in Italy,” and is “committed” to maintaining its current levels of production in Italy, specifically in Longarone, despite the increasing competitive-ness and cost-cutting efficiency outside the country.

Other major Italian eyewear makers Safilo and Luxottica are also based in the Veneto region, where about 80 percent of all Italian eyewear is produced.

Indeed, Marcolin is a staunch promoter of the Made in Italy label, which is being discussed at the European parliamentary level. Marcolin believes that creativity and design are the relevant issues, as the success of Made in Italy products relies on these elements.

ANFAO, for example, is focusing efforts on Made in Italy around the world. It recently brought an exhibition on the history of eyewear to New York, which is traveling to Istanbul at the end of the month and will head to Berlin in September.

And to further boost visibility, Marcolin touted the strength of the Mido show, which “remains the most important eyewear fair in the world and has suc-ceeded in following the evolution of the market and responding to the changing needs of the companies — in terms of real business for some, and a window of communication for others,” he said, noting that it’s the only show that represents the entire eyewear sec-tor, from glasses and lenses to cases and machinery.


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WWD MILESTONES

Cirillo Marcolin multitasks as a company executive and as president of numerous industry organizations. By Luisa Zargani

The Greater GoodCirillo Marcolin

Belluno, Italy

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WE CONGRATULATE MARCOLIN

ON 50 YEARS OF INNOVATION IN

LUXURY EYEWEAR DESIGN.


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WWD MILESTONES

The company has strived to convey its technical expertise alongside the brand identity of its licensed labels. By Luisa Zargani

Get the MessageTHE POWER OF persuasive communica-tion and effective imagery has never been lost on Marcolin.

The company’s advertising campaigns over the years ranged from highlighting the shape of the glasses with a graphic and colorful ef-fect in 1968, to still life images in 1971 and a

pensive model gazing into a mirror in 1973. Marcolin even explored early versions

of comparative ads starting in 1977, touting how it offered “a little bit more” than other companies in terms of creativity, technology, quality-to-price ratio and service.


Dsquared2’s “Chicken Little” ad, spring 2011. An ad from 1976.

Spring 2011

A 1971 ad.

Spring 2011


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WWD MILESTONES

In 1978, rather than focusing on pretty models, the firm highlighted its technical prowess and direct rela-tionship with opticians, showing one such specialist in his white lab coat, standing next to a microscope and sur-rounded by blurbs about his require-ments, including top service — and correct and educational advertising.

In a nod to its customer, Marcolin then reformatted the ad with the image of a man and a woman and copy reflecting their needs, with a claim about knowing and understanding “the public.”

In 1979, in a more international ap-proach, the company’s messages began appearing in Italian and English. At the same time, however, Marcolin also started showing some cleavage and models with a come-hither look.

In the early Eighties it ventured

outdoors in Venice for a carnival-themed campaign and models posing languidly along the canals.

Today, Marcolin’s communication hinges on its licensees and their own messages. The brands work on images that carefully reflect their style and de-sign inspiration, as in Tom Ford’s sleek portraits and Montblanc’s sophisticat-ed settings.

“With eyewear, it’s especially impor-tant to create a mood,” said Dan Caten, who designs the Dsquared2 line with his twin brother, Dean.

“We had this idea of [Disney car-toon character] ‘Chicken Little,’ with gigantic frames, a quirky look, an an-drogynous and exotic model, with blonde hair, dressed like a man. It’s about going to extremes in terms of size, hair and pushing the contrasts, so the end result is something you would never have expected,” said Caten, who tapped Mert Alas and Marcus Piggott to photograph model Fei Fei for the brand’s spring 2011 campaign.

The eyewear category is especially relevant for the designers.

“It’s the icing on the cake, and it helps convey an attitude and emo-tion,” Caten said. “We always have our runway models wear them in our fash-ion shows, too.”

He noted that the farmer’s theme on the women’s catwalk in February will be reprised for the fall cam-paign, also shot by Alas and Piggott. Dsquared2 signed its licensing agree-ment with Marcolin in 2008.

The two famous photographers also lensed Roberto Cavalli’s spring cam-paign, featuring Laetitia Casta and Malgosia Bela.

“I chose Laetitia to front my eye-wear ad campaign, as the beauty of real women has always inspired and attracted me,” said Cavalli. “Sunglasses have become a fundamen-tal accessory in the look of a woman who wants to appear free, sensual and elegant, with a touch of mystery, in the summer as well as in the winter.”

With eyewear, it’s especially important to create a mood.

— DAN CATEN, DSQUARED2


Laetitia Casta and Malgosia Bela, spring 2011

A 1973 ad. Summer 2011

An ad from 1969.

A 1976 ad.

From 1976.

CONGRATULATES MARCOLIN ON ITS 50TH ANNIVERSARY

www.dhl.com

Happy Anniversary to Marcolin for these 50 years of innovation and excellence. We are proud to be your logistics partner

supporting your worldwide promotion of ‘Made in Italy’. We look forward to partnering your success in the years to come.

50 YEARS OF SHARING YOUR VISION

WITH THE WORLD

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The

Mai

l & L

ogist

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roup

UK

Morocco

Mexico

Malaysia

Japan

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Italy

India

Hong Kong

Th

Sweden

Singapore

South Africa Spain

Saudi Arabia

Russia

Qatar

Poland

Peru

UAE

30,000Points of sale

worldwide.

27WWD FRIDAY, JUNE 17, 2011

SECTION II WWD.COM

WWD MILESTONES

5.5 millionPairs of glasses currently produced annually.

80The steps required to make a pair of

glasses.

470Different lens

types and colors used in one year.

969Number of employees

at Marcolin SpA.

207.7 million euros ($274.1 million) Marcolin’s sales in 2010.

1,700Different types and colors

of plastics used in one year.

Just the

FactsA few of the numbers that add up

to big bucks for Marcolin.

80 Countries where

Marcolin’s glasses are sold.

1961Year Marcolin is founded.

John Galliano

Just CavalliTom Ford

Montblanc

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