A pioneer in luxury eyewear design
How Christian Roth and Optical Affairs reshaped the world of fashion eyewear
Christian Roth Glasses
The Visionary Icons
of Eyewear History
In the spirited swirl of 1980s fashion, when creative risk and bold expression reigned supreme, Christian Roth emerged as one of the first eyewear designers to be embraced by the high fashion establishment.
Born in Germany, Roth teamed up with French-born Eric Domege to form a partnership that would redefine the role of eyewear in the fashion landscape. Together, they launched their eponymous brand, Optical Affairs, in 1983 - an audacious step that placed artistic eyewear firmly in the cultural zeitgeist.
In 1986, at the request of our Japanese licensee MURAI, Masaru Murai himself, the name Christian Roth was formally attached to the brand. Optical Affairs by Christian Roth set a new standard for how independent eyewear houses could operate and thrive.
Christian Roth eyewear quickly gained notoriety for its sculptural forms, unexpected color ways, and futuristic elegance.
The designs were more than accessories – they were statements, integral to a look rather than mere punctuation.
Optical Affairs by Christian Roth frames became fixtures in the pages of Vogue, Elle, Marie Claire and Harpers Bazaar, and found a natural home on the faces of fashion icons, artists, and the avant-garde elite. Editors, stylists, and photographers championed the brand, helping to establish Optical Affairs by Christian Roth as a staple in fashion editorials and campaigns – well into the 2020s.
In 1990, Christian Roth achieved a landmark distinction: he became the first eyewear designer to be inducted into the Council of Fashion Designers of America (CFDA). This recognition cemented his role not just as a craftsman of accessories, but as a designer whose influence resonated across the broader fashion industry.
Optical Affairs by Christian Roth continued to lead the business with a unique combination of vision and precision, pushing the brand into new markets and creative collaborations. At a time when eyewear was often treated as an afterthought, Roth and Domege demonstrated that frames could - and should - occupy center stage. Their influence can be seen today in the work of contemporary designers who approach eyewear as fashion, rather than function alone.
Think Big, See Bigger
Designer Eyewear
That Set the Trends
While other designers embraced small eyeglasses, Christian Roth and Eric Domege preferred them big.
Not just because they believed in glamour and sophistication - they wanted people to look famous without being famous. And what many didn’t realize back then: bigger frames have a slimming effect, adding that extra touch of confidence and allure.
Christian Roth Karl Lagerfeld 1987
In 2000, the brand evolved, moving forward under the name "Christian Roth".
In an age of rising individualism, the name Optical Affairs felt out of step.
Christian and Eric remain the owners of the Optical Affairs worldwide trademarks, while DITA Eyewear acquired the Christian Roth brand in 2015.
Christian Roth and Optical Affairs helped establish the modern notion of designer eyewear. With their fearless creativity, pioneering use of materials, and unwavering commitment to craftsmanship, they turned a niche into a movement – one that continues to inspire (until today) collectors, connoisseurs, and creators around the world.
The journey of Optical Affairs from avant-garde eyewear concept to iconic fashion fixture was sparked by a series of landmark moments that not only defined the brand’s trajectory but helped shape the evolution of eyewear as a fashion statement.
Christian Roth Runway
On the Radar
Christian Roth in
ELLE & VOGUE
The first spark came in 1983, when Optical Affairs captured the attention of the fashion world with editorial features in Vogue US and Women’s Wear Daily. The brand’s bold, unconventional designs quickly found their way into the pages of French ELLE and Marie Claire and American VOGUE, where their futuristic silhouettes and artful construction earned accolades from fashion editors and stylists alike.
THE editors Carlyne Cerf de Dudzeele (ELLE France and later ELLE US) & Candy Pratts Price (VOGUE US), then the two reigning queens of accessories - one in Europe, one in the U.S. - who solidified the brand’s cult status, showcasing the now-legendary Series A sunglasses on the era’s most influential models and celebrities throughout the 1980s and 1990s.
Andy Warhol’s Glasses
How One Icon
Inspired the Next
A key cultural moment arrived when visual artist Christopher Makos introduced the designers to Andy Warhol.
The pop icon and tastemaker soon adopted Optical Affairs eyewear as part of one of his signature look, esp. for black tie events, further cementing the brand’s place in the pantheon of modern cool.
Andy Warhol’s distinctive vision required strong prescription lenses - a real challenge for the original screw-mount Series A frames. Despite being crafted with care, even the high-end lenses supplied by Ruth Domber’s renowned 10/10 Optics in NYC occasionally cracked, setting things back. It inspired forward thinking: the birth of the Series ANU, crafted with a nylon string to avoid lenses to be drilled, eliminating the issue of cracked lenses once and for all.
Christian Roth recalls
All these memories came rushing back as we binge-watched the 2022 Netflix documentary "The Andy Warhol Diaries", which features several scenes of Andy wearing our Series A frames. Seeing him on screen brought it all flooding back – the history, the moments, the connection, the dinners we had together at NYC’s Odeon restaurant.
Runway Visions
Collaborations with Fashion’s Greatest Designers
Simultaneously, Optical Affairs began making its mark on the runways through collaborations with the era’s most innovative designers. From the sharp minimalism of Helmut Lang to the structured glamour of Karl Lagerfeld and the American chic of Michael Kors & Isaac Mizrahi, these runway partnerships elevated the brand’s profile within the high fashion ecosystem.
Christian Roth adds
"The agreement was simple: we designed and produced the eyewear for the show, and in return, we’d get a credit in the program. And an invitation to the show. Many models just kept the frames after walking the runway (which was great for us), and we took the rest back – and kept them."
"Back then, it was a different world. Fashion shows were something truly special – attended only by buyers, journalists, and carefully selected personalities who added a certain aura to the brand. Often, it was the designers’ muses who carried that magic. Artistic intent mattered more than profit or spectacle."
The intensity of this creative process left a strong impression on Michael Kors and Karl Lagerfeld.
Years later, when Michael launched his official eyewear license with Charmant in 2000, he personally insisted that Christian Roth / Eric Domege be involved and oversee the eyewear designs. The same happened with Karl Lagerfeld - when he signed his eyewear license with Marchon in 2007, it was important to him that they help guide Marchon in interpreting his vision.
Being trusted by such iconic designers to help shape their official eyewear collections was both an honor and a testament to the mark they had made. And each collaboration lasted for about 5 years. Although Karl Lagerfeld was famously selective when it came to his own personal eyewear - regardless of whether the brand bore his legendary name - from 2007 to 2012, he proudly embraced the Christian Roth aviator design, crafted by Marchon, a licensed product.
Collaborating with Gaultier
Back to the
late 80s
Not merely content with crafting statements for others, the brand made history by collaborating on the design and exclusive North American distribution of Jean Paul Gaultier’s first eyewear collection – introducing the legendary couturier’s provocative aesthetic to a new audience through a new medium.
The brand’s presence took a physical form in 1988 with the opening of its first showroom on Union Square, New York. Designed by renowned interior architect Denis Colomb, the space became a magnet for fashion insiders: stylists, editors, supermodels, and even royalty visited what quickly became the industry's first true fashion eyewear destination.
The new millennium brought yet another form of recognition. In 2000, the Triennale di Milano invited Optical Affairs to exhibit in their museum as part of a landmark showcase celebrating eyewear trends of the 1980s and 1990s – affirming the brand’s lasting impact on the global design landscape.
Each of these defining moments – from editorial exposure and celebrity endorsements to groundbreaking collaborations and institutional recognition – contributed to the rise of Optical Affairs as not just a brand, but a movement in fashion eyewear.
Christian Roth Reflects
"Today, as a historical note, we acknowledge that many celebrities have worn our glasses. But back then, we considered this a private matter. Most had purchased their frames at full retail price - no gifting, no endorsements. Perhaps they sought to look even more fabulous, or perhaps to stay incognito. Either way, we respected their privacy and never exposed these details."
And here, things get very personal. We asked Optical Affairs about their key models – and the stories behind them.
The answers were truly fascinating.
SERIES A
"It all began with the Series A—a foundational & functional design that set the tone for everything to come. With its bold, minimalist rimless silhouette, Series A quickly became a signature statement, establishing a new visual language in eyewear: confident, clean, and uncompromising.“
Incredibly photogenic, Series A (or ANU) graced countless editorial pages across the globe for a decade.
Series 5000
Then came the Series 5000/5010, forever tied to a royal moment.
„Princess Diana was instinctively drawn to this particular style, she purchased them at E.B. Meyrowitz in London, plucking it from the shelf with quiet certainty. Learning it was crafted in the UK, her choice was sealed - a graceful nod to elegance and national pride. Lost in her extensive wardrobe, during one of her visits to NYC, she visited a famous milliner Marina Killery - our direct neighbor at 5 Union Square West. They were friends. Princess Di must have realized: here is the brand behind one of her favorite pairs of sunglasses she bought in London. Her security team phoned ahead, inquiring discreetly if she might preview our collection - and whether we could provide additional pieces in that particular style - once she concluded her private appointment with the milliner.
What an extraordinary honor. The entire scene unfolded like a moment out of a cinematic tableau: security personnel coordinating with precision, her elegantly orchestrated entourage sweeping through, and paparazzi trailing determinedly as she entered the building.
It was not just a visit; it was a moment suspended between glamour and chaos, where the ordinary rhythm of the day was interrupted by the unmistakable energy that only a figure of her stature brings. To have our collection caught in the orbit of such a presence was nothing short of unforgettable - a rare intersection of craft, celebrity, and spectacle."
Series 6000
The Series 6000 marked a pivotal moment in fashion media history.
At a time when sunglasses were rarely granted cover status, Vogue made an exception—featuring the frame on its cover, worn by supermodel Nadja Auermann. It was more than a spotlight; it was a statement. This wasn’t merely eyewear - it was fashion, front and center.
Series 2400
Pushing the boundaries of minimalism, the brand introduced the Series 2400 Minimalist Metal Series.
Drawing from industrial design, these small, clean metal frames challenged conventions and redefined restraint. In their understated sophistication, they offered a new kind of visibility. Christian Roth on the inspiration behind them:
„Partially inspired by our dear friend Helmut Lang – in our eyes, one of the most brilliant designers of all time. We had the honor of creating sunglasses for his fashion shows, and at one point, we nearly embarked on an official license together. We spent countless hours together, at his favorite eatery in Vienna or at our weekend place in Eastern Long Island, sharing ideas and perspectives. Helmut sees eyewear from such a unique, unexpected angle - and we absolutely love that about him. His vision has left a lasting imprint on us.“
The brand was a true precursor in introducing bold titanium into fashion eyewear - merging industrial materiality with sculptural aesthetics in a way the industry had never seen. These early titanium frames became synonymous with both technical innovation and unmistakable style.
Series 2700
The Series 2700, meanwhile, became inseparable from the rock ‘n’ roll edge of Lenny Kravitz. A defining look for the artist, it reflected his unapologetic glamour and timeless rebellion.
Once again, Christian Roth
„Lenny was our longtime male muse. He would visit the showroom, and we’d spend unforgettable moments together, philosophizing about eyewear - exploring not just the look, but the meaning and attitude behind every frame.“
Series 2800
Then came the Series 2800—a radical departure inspired by the speed and grit of New York City’s bike messengers. This wraparound aluminum frame, dubbed the “Urban Mask,” ignited the shield sunglasses craze before it was a trend, giving function and edge a new form.
„We’ll never forget the day we opened the pages of a major magazine and there was Mick Jagger, wearing the Series 2800 in silver.“
In parallel, the brand pushed material innovation with sculpted titanium temples—an industry first. Working with such a strong, unyielding material, the design team shaped something that felt both futuristic and organic, technical yet wearable.
Series 6558
And then, truly by accident, an icon was born.
„The Series 6558 in white became legend when Kurt Cobain, attending a fashion show in New York’s East Village, wandered backstage and was gifted by a relatively un-known fashion designer our pair straight from the runway which we had collaborated for on this particular fashion show. Was it a moment of style or a desperate attempt to cover his eyes? We’ll never know. What we do know is that on that day, we unknowingly became part of eyewear history.“
The image of Cobain in those glasses – ethereal, irreverent, unforgettable - would go on to define a cultural moment.
The Series „Capsule“
and „6560“
Gender-fluid dressing didn’t just arrive - it was a moment in the late 80s, early 90s, when old rules and rigid categories began to dissolve.
Suddenly, there was nothing strange about a guy rocking a frame in a silhouette or color which society had labeled “feminine.” Who cared? Those worn-out ideas about masculinity and femininity were cracking, and people were claiming the freedom to wear whatever made them feel sharp, bold, real. Our frames slipped right into that cultural shift - not just as accessories, but as quiet weapons of self-expression. It was a thrilling moment when fashion stopped asking for permission and started playing by its own rules.
In a bold fusion of fashion disciplines, Christian Roth ventured into a capsule collection that combined eyewear with the craftsmanship of luxury leather goods.
Frames were wrapped in exotic skins in vivid hues, merging material richness with sculptural form. One standout was named after Christian himself—his personal favorite, and a testament to the designer’s vision. Find this one-of-a-kind model here..
The Series 6560, a staple of Kate Moss and Royston Langdon, captured the apogee of the early ’90s grunge era and another example of our gender fluid eyewear. Kate bought more of these, to gift her dear friend Royston.
Genderless and raw, it reflected a time when accessories no longer followed the rules of sex or tradition, and fashion began rewriting itself in every form.
„Kate Moss was our muse for more than a decade. She first walked into our showroom alongside a Harper’s Bazaar stylist, searching for the perfect frames for a fashion shoot. At the time, she was still unknown - in fact, it was her very first shoot for a major publication, working with the talented photographer Stephanie Pfriender Stylander. Kate was just 17. We were immediately struck by her sharp, intuitive sense of style. Typically, models didn’t select their own sunglasses; they wore whatever the stylist or editor recommended. But Kate was different. She had an incredible eye and an innate understanding of what suited her – even then, she knew exactly what to wear. And on that day in New York in 1992, it was our iconic Series 4001."
Each model is more than a frame - it’s a story. A captured glance. A cultural moment. A name, a face, a flash, and a legacy that continues to shape the future of eyewear.
