Industrial Poetry // Sun Of KOBERG

KOBERG stands for clarity. For reduction. For a design language that never needs to be loud to command presence.

With SUN OF KOBERG, the Westphalian brand now deliberately shifts the tone. The new models are crafted from solid block titanium – boldly milled, sculptural, almost architectural. Precise milling gives the fronts a technical depth and reveals a subtle reference to the steampunk aesthetic of the 1980s: retro-futuristic, powerful, self-assured. High-quality Divel lenses from Italy do more than filter the light – they choreograph it.

Despite this new expressiveness, the collection remains unmistakably KOBERG. Slim, lightweight temples, refined acetate tips, and the characteristic colored accent at the hinge create the familiar balance between technical precision and design restraint.

Photographer Oliver Spies translates this industrial aesthetic for SPECTR into a clear visual language. His imagery is defined by light, material, and structure – reduced, focused, intense. We speak with Frank Tente about the courage to embrace edges — and why expressiveness is sometimes the most honest form of design.

Frank Tente on having the courage to be bold and why expressiveness is sometimes the most honest form of design.

»6072.1901«

»6072.1036«

An exclusive, masculine men’s design with artfully defined, strikingly elegant lines.

»6069.1036«

»6069.1930«

These sunglasses, with their elegant double bridge, are more than just an accessory. Their striking shape frames the face with gentle strength and gives smaller face shapes a beautiful presence.

»6073.1039«

»6073.1930«

A bold, unisex aviator style whose classic design exudes an authentically cool 90s vibe.

Frank, KOBERG prescription frames tend to be rather purist. Why did you deliberately want to become more expressive with the SUN OF KOBERG collection?

We didn’t simply want to place tinted lenses into existing models. For many wearers, sunglasses are more of a statement than prescription frames. Someone who prefers restraint in their corrective eyewear often dares to go a little further with sunglasses.

The distinctive milling subtly recalls a steampunk aesthetic of the 1980s. Was this reference part of your idea from the beginning?

Subtle is the right word! It’s meant to be a small reminiscence of a cool aesthetic that is both retro and futuristic. We deliberately wanted to take a new stylistic direction and become a little louder and more technical. It’s not meant to be a DIY aesthetic – we’re simply playing a bit with design elements.

How do you manage to preserve the clear KOBERG DNA despite these different design elements?

We felt that our lighter, more delicate temples would harmonize well with the more expressive center parts. Wide, heavy temples wouldn’t be KOBERG.

What role do architecture or industrial design play in your creative process?

They actually play a major role. What interests me most are clear technical solutions. I like it when design follows function – and when that relationship remains visible.

You chose block titanium. Why?

Titanium is an excellent material for eyewear. It’s light, well tolerated, and visually striking and clear. Our production partners also have strong expertise in working with block titanium. And we wanted to show what kind of milling is possible. With our prescription frames, we usually remove material only very subtly in certain areas.

What are the biggest technical challenges when working with solid milled titanium?

Besides the hardness of the material, mainly the color coating. The three dimensional milling creates far more edges – and color doesn’t particularly like edges.

The front appears powerful, while the temples are deliberately slim. How do you develop this balance?

In fact, the temple is still wider than the rim of the frame. And the ratio of five to three millimeters is often perceived as especially harmonious.

The colored accent at the hinge is a typical KOBERG detail. What does this small element mean to you?

The colored accent has been the distinctive design element of KOBERG frames from the very beginning. Initially, the cylindrical, screwless hinge itself was color-accented. Later, with the titanium frames, we reduced this to a small plate at the transition between the center part and the temple. We don’t want to place a logo on the frames, so the colored accent has become a subtle signature element.

You rely on high-quality Divel lenses from Italy. What criteria do you use when selecting your partners?

First and foremost, our partners must meet our quality standards. But it is just as important for us to find partners on equal footing – partners you can rely on. Partners with whom you are happy to embark on a longer journey together.

Mirrored or gradient — which tells the more interesting story for you?

We deliberately use mirrored lenses less often. They tend to appear more distant. Gradient lenses, on the other hand, feel more open and interesting.

How important is the interplay between frame color and lens aesthetics to you?

Of course, I want the frame and lens to harmonize perfectly. Only then does the sunglass achieve its refined appearance. That said, our KOBERG sunglasses – like any prescription frame – can easily be fitted with lenses. This means that not only corrective lenses but also entirely different colors or finishes can be used.

What does “Made in Germany” mean to you today — quality, attitude, or both?

You can actually achieve good quality almost anywhere – if you are willing to pay for it. But the highest quality is not achieved by performing a final inspection at some point. We want to be involved in the production process itself – and that is simply easier with partners nearby. At the same time, Made in Germany is not a dogma for us. We look for the best possible quality and are happy when it comes from Germany.

How much craftsmanship actually goes into one of these sunglasses?

After the milling of the fronts and temples, a great deal of manual work is required. Even the temple bend of the solid material with its delicate edges requires a lot of sensitivity. Laser-welding the hinges and the decorative plate on the temple, as well as the freehand lacquer finishes, also demand a great deal of skill and experience. The complete final assembly takes place in our eyewear workshop in Münster.

Who did you design this collection for — what do typical KOBERG customers look like?

The typical wearer is someone who has found their own style and does not need validation through a brand logo. They are looking for outstanding quality and longevity in both design and material. The same applies to the female wearer.

Is this more expressive line an experiment or the beginning of a new design phase?

How can you already know that? Anja Hungerkamp, who works with us as a freelance designer, has in fact developed new models that are a little more expressive than the previous KOBERG style.

If you had to describe the collection in three words — what would they be?

Clear, sustainable, high-quality.

On a personal note: which model do you yourself prefer to wear — and why?

From the SUN OF KOBERG collection, I prefer the large aviator shape. I like the style of the 1990s. As a prescription frame, I have now chosen a classic acetate panto – something that fits well with Münster. But the new KOBERG acetate models tell quite a different story.

Thank you.

photography: OLIVER SPIES [Munich]
make-up: LISET GARCIA
hair: DIRK WALTHER BARNET CONCEPT
styling: CHRISTINE BAUMANN
models: ELISABETH, KATHA, VINCENT, ANAIS, FINN, BENJAMIN, JULIEN, KRIS at TIGERS MGMT