Style

The Big Trend in Sunglasses This Summer? It’s Right Above Your Nose

The “top bar”—also known as a brow bar or top bridge—goes over-the-top this season.

You know a showy top bar—that thingamajig that prominently links the two eye rims at upper points of their perimeters—when you see it. And you see it all over the place right now, from the mass-marketing of Sunglass Hut to the gold-plated terrain of $2,000 Tom Ford specs, which boast a spiffy hinge on the high bridge of their clip-on lenses. The in-thing in eyewear is right above your nose.

In general, frames boasting bold brow bars are variations on (or, at least, distant relations of) the classic pilot’s sunglasses. The original aviators debuted around 1936, after the U.S. military commissioned Bausch & Lomb to improve on the bulkiness and discomfort of flight goggles. Within the decade, the company was selling them to weekend sportsmen under the Ray-Ban trademark. The frame’s rise to fame—via Douglas MacArthur in the Philippines, Brando in The Wild One, and Maverick and Goose in Top Gun—is a fascinating mash-up of military and pop-cultural history.

Clockwise from top left: VMG sunglasses from Salt, $580 at North Sails; square black aviators from Ray-Ban, 199 euros at Stylebop; gold Shtarker Sun aviators from Moscot, $300;  Erin leather-trimmed gold-tone mirrored sunglasses from Tom Ford, $525 at Mr. Porter.
Source: Vendors

The fact of its resurgence is, on one level, a proof of the cyclical nature of style. “Probably about five years ago, things slowly started evolving,” says David Rose, vice president of design and manufacturing at California-based Salt Optics. “That heavier acetate look and feel—the chunkier Elvis Costello thing—got too exaggerated, right? It evolved and contracted back the other way, to thinner-profile glasses, especially in metal.”

Zack Moscot, a fifth-generation owner of the New York eyewear institution that shares his surname, adds that the silhouette is in step with a “Me Decade” style revival. “We don’t see it dwindling anytime soon,” he says of the trend. “Many of our friends in the clothing world have been alluding to the ’70s. The aviator shape has been complementary to recent runway trends and colors.” Surely it doesn’t hurt, furthermore, that these glasses go well with all the bomber jackets, field coats, and camo pants continuing their reigns as staples of the civilian wardrobe.

Clockwise from top left: Green round-frame acetate sunglasses from Gucci, 280 euros; black 140/S steel sunglasses from Carrera, $159; tortoise Edge Round acetate-and-steel sunglasses from Vuarnet, $320; dark havana keyhole-bridge sunglasses with violet lenses from Polo Ralph Lauren, $199.​​​​​​
Source: Vendors

But the top bar of the moment tends to be an over-the-top bar and, as such, it steers the aviator’s attitude to a new altitude. Look at all these chunky fabrications and funky articulations. They’re impossible to ignore and easy to admire. Promoting the illusion of facial expression firm with cool self-assurance, they have some impassive aggression to them.

“The most famous aviator with a strong bar is the Ray-Ban Shooter,” says Luca Gnecchi Ruscone, founder of the Rome-based eyewear brand L.G.R. “On the top bridge it has a plastic thing called a sweat bar.” Many of Ruscone’s most popular sunglasses omit the traditional bridge altogether.

Clockwise from top left: Howard sunglasses from Acne Studios, $410; Conti sunglasses from Krewe, $275; Agadir sunglasses from L.G.R, 330 euros; Van Buren sunglasses from Garrett Leight, $495. ​​​​​​
Source: Vendors

An L.G.R model called the Agadir takes its inspiration from the old-fashioned pince-nez favored by the likes of Teddy Roosevelt. “It’s a normal aviator shape, but it has that soft brow bar and these acetate nose pads,” says Ruscone. These and similar models have a futuristic spirit and therefore tend to lend young women the ethereal aspect of 22nd-century hippies and old men the owlish scowl of steampunk detectives.

Meanwhile, other top-drawer top bars sharply evoke the past. They are the focal points of shades that cast a vibe of assertive decadence in a 1970s way, as if meant to be worn for a night at Studio 54 or a day inside a Tom of Finland drawing. “When you use a double bridge with a round shape, a pilot shape, or a caravan shape, you have the idea of something very vintage,” says Lionel Giraud, chief executive of the French brand Vuarnet.

Clockwise from left: Paon sunglasses by Alain Mikli for Oliver Peoples, $375; Lafayette sunglasses from Barton Perreira, $565; Jarvis sunglasses from Mykita, $519; sunglasses in black metal from Bottega Veneta, $540.
Source: Vendors

Back in the ’80s, Vuarnet sunglasses accessorized many a pair of pegged jeans. Since 2015, it’s been Giraud’s job to revitalize the company’s classic models—and for that reason he is, seemingly, the only person in the eyewear world with any major misgivings about the dominance of commanding brow bars.

“I was a bit afraid to see so many models with double bridges,” he says about the situation of the optics, explaining that he hopes to keep a certain distance from fickle fashion. “It’s not something on trend. It’s something for the future. I don’t want to switch from one model to another every six months.”

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