CHANEL mod 40793 S2278 fw09 cruise © sunglassespreservation

CHANEL model A40793 is a CHANEL boutique exclusive design tribute to Edward Melcarth’s infamous bat shaped shades. Originally designed by Melcarth for Vampira in the late fourties, these sunglasses were redesigned by Edward as butterfly shades for Peggy Guggenheim. Karl Lagerfeld presented the CHANEL fall/winter 2009 cruise collection at the Lido in Venice, Italy. The collection was inspired by Venitian baroque and, being himself an avid art lover, Lagerfeld had to add the Guggenheim tribute by creating a revisited model of both Peggy’s butterfly and bat sunglasses.

You can see model Lara Stone wearing the original Melcarth bat shades in a wig used for the CHANEL catwalk show at the bottom of this post.

The model we see here is a “CHANEL-lized” version of Melcarth’s bat shades. The modern sunglasses have been toned down and flatened. The central body of the bat has been taken away and the wings have been stylized to reminiscently resemble those of bats. The four spiked wings of Melcarth’s bat shades have been maintaned in CHANEL’s model A40793. What is very interesting to see is that the Melcarth bat shades were hand carved out of wod and covered with gold-leaf. Lagerfeld left a remiscent touch of hand craftsmanship when designing the CHANEL version of the bat shades by adding frame and temple slits in the A40793 model and telling the LUXOTTICA eyewear makers to apply thick golden paint into the slits by hand. Very classy!

The original Melcarth butterfly shades had three spikes per wing while the CHANEL versions maintain four spikes for both “bat” and “butterfly”. In fact, both models (A40792 and A40793) resemble more a bat than a butterfly. The four spikes might have been done on purpose to avoid Luxottica any copyright legal complications due to the fact that Safilo holds the rights to reproduce the Peggy Guggenheim three spiked Butterfly sunglasses which can be purchased in all Guggenheim shops.

Lagerfeld also designed a wider pair of Peggy Guggenheim ispired butterfly shades for the same CHANEL 2009 cruise collection. The “butterfly” model, also included in sunglassespreservation archives, is model A40792. It is bigger than the “bat” model (A40793) and came in four different colors.

Model A40793 is made of black acetate. Very thick and sturdy. The frame, as well as both temples, bare carvings on their edges. The carvings have been handfilled with gold paint. This is a very difficult and long process which leads to minor imperfections in the paint application. The temples both bare double “C” logos on their outer ends. The double “C” logos are also carved inside the acetate and have also been hand painted in gold. The lenses are graduated from dark grey to light blue.

The CHANEL models A40792 and A40793 were both boutique exclusives and were not available for purchase outside the CHANEL boutiques worldwide.

A third CHANEL boutique exclusive pair of sunglasses was also produced for the CHANEL fw09 cruise collection. The third model (A40803) is a CHANEL take on Venitian masquerade ball masks.

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CHANEL mod 40987 A “coco silhouette” S0133 ss13 © sunglassespreservation

Sunglassespreservation is very proud to add the most important pair of fashion sunglass eyewear for the spring summer 2013 season to our archives! The exclusive pair of CHANEL: “COCO CHANEL silhouette” shades, model number: 40987 A, color: S0133, was produced for CHANEL boutiques by LUXOTTICA, in Italy.

The typical CHANEL minimalist elegance is masterfully united to the, very easily interpreted as tacky, COCO CHANEL top frame silhouette. These shades remind us of CHANEL’s golden sunglass era from the early to the mid nineties. In those years almost each CHANEL pret-a-porter collection delivered incredibly beautiful experimental pieces which have become extremely sought after collector items today! One of these jewels is model 0027 from CAHNEL’s fall/winter 1992 collection, (also included in sunglassespreservation archives).

Model 40987 A is indeed a return to CHANEL’s golden era of experimentalism but with a sober twist. In fact, Lagerfeld allows himself very seldom to push the boundries of good taste. He used to do it a lot in the nineties, by adding dashes of pop color to CHANEL’s creations. So we have decided to rejoice in each bit of exuberant brilliance he throws our way (granted it has CHANEL’s logo on it!)!

Model 40987 A is made of a very thick black acetate. Both frames and temples are the same color. The frame, carrying COCO CHANEL’s silhouette on top, is made of one unique piece of acetate. The silhouette represents mademoiselle Chanel with her signature hat and four rows of pearls as well as a pearl earring. The silhouette could have easily been inspired by a photo of Coco Chanel from the sixties. The pearl adornments are made of white acetate bits within the bigger silhouette. Each one of the two temples carries a double “C” silver metal logo on it’s outer side .

The lenses are faded from dark grey to grey and carry CHANEL’s lasered logo on each one. The right lens also bares the authenticity identification number that can be used to prove where the shades were produced, when and in which CHANEL boutique they have been purchased.

We are not really sure why this model has the letter “A” placed after the five digit model number. CHANEL boutique exclusive models usually bare the “A” in front of the five digit model numbers and in some cases the “A” is not printed at all on the inner part of the tamples. In fact, some of the 40987 models do not bare the “A” at all in the temple print.

The right lense bares the authenticity identification number lasered in it.

Model 40987 A does not come with a hardcover clasp case to protect it. CHANEL and LUXOTTICA opted to save money by not producing a special extra size hard clasp case for these shades. Instead they made a thick pouch where the sunglasses can fit into. This pouch will not in any way protect the shades if one would for any reason decide to carry them in their bag or purse. A luxury product like this one needed to have its own custom made hard cover clasp case.

Model 40987 A S0133 is a CHANEL boutique exclusive!

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CHANEL mod A40962 S1401 fw12 © sunglassespreservation

CHANEL model A 40962 is an interesting experimental pair of shades. They were made for the crystal mountain futuristic fairy burgundy inspired CHANEL fall/winter 2012 pret-a-porter collection. In fact, the color of this particular model is very unusual for CHANEL’s usual color palettes. It is interesting that these boutique exclusive shades were produced in only two colors (the burgundy/black version we are writing about here and the fully black version, also included in the sunglassespreservation archives). Boutique exclusives are usually made in only one or three to four colors.

Model A 40962′s color code: S1401 was added to the CHANEL fw12 eyewear collection because of the overal appeal almost all big fashion houses went for for their fall/winter 2012 collections. That appeal is the color burgundy!

Burgundy was the most used color in winter 2012. It covered skirts, jackets, pants, accessories of all kinds. Among these accessories is this futuristic looking, five lenses baring, pair of CHANEL shades.

These sunglasses have an interesting mix of burgundy and black blending into one another quite drammatically. A very daring, bordering to kitsch, blend of colors for a fashion house that has made elegance its first word in the vocabulary.

Model A 40962 is sister to just one more CHANEL boutique exclusive model made available in fw12: A 40958, aka “the crystal painter”, also available in sunglassespreservation archives. Both models’ temples were made in the shape of crystals, slightly assymetric and thicker at the junction with the frames. Both models have an experimental way of resolving the attachment of the temples to the frame by cutting the acetate frames in at the sides, allowing the temples to fit in the slits within the frames. Only when the sunglasses are open and the temples are folded out are the frames full and the slits on the sides are closed.

There was one more CHANEL boutique exclusive model made for winter 2012 but as it was a ski mask it did not mirroir any part of the crystal inspired shapes Lagerfeld chose to play with for that specific collection.

Sunglassespreservation baptized CHANEL model A 40962 as “N°5 lenses”. We did this because the most special aspect of these shades are it’s five lenses. In fact, these sunglasses have two central lenses where the wearer actually looks through. Then there are two smaller lower lenses underneath the main central ones (attached separately and not part of the main central lenses) and one upper lens, not spilt into two but held as one piece connecting the right and left side of the sunglasses. This fifth lens is also part of the bridge of these amazing shades and is also an extra piece, not attached to the central lenses.

Both temples bare a small double silver metal “C” logo on the outer side and the CHANEL insignia on the inside right temple as well as the land of production (Italy), model and color codes on the inside left temple.

Model A 40962 was made in Italy by Luxottica and were CHANEL boutique exclusives. It bares the authenticity identification number lasered into the back of the right central lense. CHANEL inscriptions are lasered on the outer side of each one of the two central lenses.

The fact that these shades are mostly made up of lenses and very little acetate frame, makes them much lighter than other CHANEL sunglasses.

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CHANEL mod 40962 S0136 – “N°5 lenses” – fw12 © sunglassespreservation

CHANEL model A 40962 is an interesting experimental pair of shades. They were made for the crystal mountain futuristic fairy inspired CHANEL fall/winter 2012 pret-a-porter collection. It is interesting that these boutique exclusive shades were produced in only two colors (the full black version we are writing about here and the burgundy/black version also included in sunglassespreservation archives). CHANEL boutique exclusives are usually made in only one or three to four colors.

These sunglasses are, as opposed to their twin’s almost kitsch combination of burgundy/black acetate, very elegant, wth a futuristic twist obtained by the addition of three lenses to the commonly  two usually used.

Model A 40962 is sister to just one more CHANEL boutique exclusive model made available in fw12: A 40958, aka “the crystal painter”, also available in sunglassespreservation archives. Both models’ temples were made in the shape of crystals, slightly assymetric and thicker at the junction with the frames. Both models have an experimental way of resolving the attachment of the temples to the frame by cutting the acetate frames in at the sides, allowing the temples to fit in the slits within the frames. Only when the sunglasses are open and the temples are folded out are the frames full and the slits on the sides are closed.

There was one more CHANEL boutique exclusive model made for winter 2012 but as it was a ski mask it did not mirroir any part of the crystal inspired shapes Lagerfeld chose to play with for this specific collection.

Sunglassespreservation baptized CHANEL model A 40962 as: “N°5 lenses”. We did this because the most special aspect of these shades are it’s five lenses. In fact, these sunglasses have two central lenses where the wearer actually looks through. Then there are two smaller lower lenses underneath the main central ones (attached separately and not part of the main central lenses) and one upper lens, not spilt into two but held as one piece connecting the right and left side of the sunglasses. This fifth lens is also part of the bridge of these amazing shades and is also an extra piece, not attached to the central lenses.

Both temples bare a small double silver metal “C” logo on the outer side and the CHANEL insignia on the inside right temple as well as the land of production (Italy), model and color codes on the inside left temple.

Model A 40962 was made in Italy by Luxottica and were CHANEL boutique exclusives. It bares the authenticity identification number lasered into the back of the right central lense. CHANEL inscriptions are lasered on the outer side of each one of the two central lenses.

The fact that these shades are mostly made up of lenses and very little acetate frame, makes them much lighter than other CHANEL sunglasses.

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CHANEL mod 5135 c.1034/13 fw08 © sunglassespreservation

CHANEL model 5135 was produced in Italy by Luxottica, for regular authorized CHANEL eyewear retailers worldwide. This model was available in four principal colors: black (c.50187), blue (c.50311), red (c.1034/13) and tortoise (c.50213).

Red has become one of CHANEL’s rarer colors as the use of red in CHANEL eyewear decreased from intense saturated red acetates in the nineties to a sobered down, darker version of red, in the late 00′s.

In fact, the red color we have added to the sunglassespreservation archives is a bit darker and less saturated than the usual pure reds we are used to see from vintage CHANEL shades. Nevertheless, it is a beautiful example of craftsmanship as the entire frame as well as most part of the temples are covered with metal tiny silver colored circular metal studs of two different sizes.

This model was also available as a boutique exclusive the same year, with the only and major difference being the material used to replace the metal studs. The boutique exclusive was, indeed, covered in strass crystals, following more or less the same patterns used to apply the metal studs to frame and temples, as seen on the model in our archives.

The cut of these shades is very simple and elegant as the bridge blends in with the length of the entire frames in one straight line. No curves were used to bend or add additional ornaments to the overall design of the model. This straight line over the bridge makes these aviator cut shades a very unisex model, where only the colors of the acetate make a difference as to how much these shades end up catching people’s eyes.

The red color is the most representative of the experimentalism CHANEL designers use to create new models for CHANEL boutiques as well as authorized dealers.

The temples bare each a double “C” silver metal logo on them, as well as a large quantity of silver metal studs. The inner end of each temple bares an additional golden metal double “C” logo within the acetate, visible through a light transparency. This detail has been photographed for you to see in our archive image library at the bottom of this model’s presentation.

The fact that model 5135 was not a CHANEL boutique exclusive does not take away any of it’s quality. In fact, the identity authenticity number too is lasered onto the left lens. The lenses are graduated from a darker brown to a lighter brow/red tone and have the CHANEL logos printed on both left and ight sides.

The metal studs poking out of the acetate, when seen from certain angles, remind us of anfibious skin or luxurious postules protruding from a very elegantly deformed acetate skin. Sometimes the aesthetic of deformation can be very attractive as is the case with these simple, yet sophisticated sunglasses.

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CHANEL mod A 40941 S1315 ss12 © sunglassespreservation

CHANEL model A 40941 was part of the boutique exclusive range, made for the spring/summer 2012 pret-a-porter collection. It was made for CHANEL, in Italy, by Luxottica and was available in three colors: S1315 (taupe beige, which you see in our collection here), S1314 (light beige) and S0133 (black with black crystals).

This specific model is the sister of the more famous CHANEL model  A 40942 S1314 – “the oyster jellyfish”, also included in our sunglassespreservation archives. Both underwater themed sunglasses were paired as the two exclusive CHANEL models in summer 2012.

Model A 40941 has a total of eighty-eight swarowski crystals implemented within it’s top frame section as well as front to middle top of both left and right temples. This is why we have decided to baptize this model: “crystal oyster”. The crystals are of a clear silver color and do not overpower the design as their position is strategically planned to only slightly reflect light, adding a touch of ocean surface sun shimmer effect.

Both models A 40942 and A 40941 deal with subtle understated elegance as both of them tend to hide their jewels rather than blatantly show them off.

The limited and rare colors used for CHANEL’s SS’12 acetates were light beige and taupe beige. These acetates are transluscent with a matte surface finish, giving one the impression of being jellyfish or squid like organic matter taken out of the sea. These color patterns are extremly seldomly used by CHANEL designers, which makes the entire SS’12 CHANEL boutique exclusive sunglass range a very rare and saught after set to collect.

CHANEL model A 40942 has been reproduced for regular eyewear retail in black and new colors. Colorways “light beige”, “taupe beige” and “light pink” were kept as bouitique exclusives while model A 40941 (crystal oyster) was kept a limited boutique exclusive in all three colorways. This makes model A 40941 (crystal oyster) the rarer of the two “underwater sisters”. In addition to that, model A 40941 has a futuristic frame-cut, between oval and circular, oversize, making it more fish-like than it’s sister model: A 40942.

The temples bare a double “C” logo, one on each side and the frame shows slightly lifted antropomorph fin-like protuberances above the upper right and left end corners.

This model is definitely one of CHANEL’s bigger attempts to subtly experiment in the field of shapes and archetypes.

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CHANEL mod A 27451 S6111 cruise 05 © sunglassespreservation

CHANEL fish sunglasses from the fall/winter 2005 cruise collection. (Best thanks to Sabrina from CHANEL for giving us exact date and collection this beautiful model was presented in). These shades were CHANEL boutique exclusives and were available in two colors. One is the amazing mud grey fish color you can see here, in our archives and the second model, the model we showcase in this post, is made in transluscent pink acetate.

The pink shades are very “Barbie-like”, which does not help the sunglasses look very realistic as a fish. The “mud grey fish”, on the other hand, is an incredible color and very close to the feel of what real fish skin looks like. Not wanting to be too pretty, these sunglasses hit the spot and definitely deserve to be inserted in the sunglassespreservation archives. The pink model, on the other hand, inspires us a flair of old Hollywood glamour and incredible cinematic allure.

The frame is made of two acetate fish that meet right above the wearer’s nose to kiss each other. Their eyes are made of two transparent Swarowski crystals.

The temples have a unique shape. They resemble fish fins, so, in a way, we could say these sunglasses are made of four different fish: two on the frame and one piece of fish on each side, as temple.

Both lenses carry the CHANEL logo engraved in them. The right lens, furthermore, has the authenticity identification number lasered into it. This number is unique to only this pair of model A 27451 sunglasses. To protect it’s identity and to avoid copying, we have blurred the number out. These shades were made in Italy, somewhere between 2004 and 2005, for CHANEL’s 2005 cruise collection, by LUXOTTICA.

Each temple carries a metal double “C” logo on it’s outer far front while the left inner side of the temple carries the model and color number as the right inner temple carries the CHANEL stamp.

The past of eyewear design history has seen animals mark the shape of many sunglasses way before CHANEL did. These CHANEL shades are nothing new really, but they are daring nevertheless, considering their color and above all the mostly conservative look CHANEL gives to almost all of it’s products. This model is provocative if seen through CHANEL standards. Topping your look with these sunglasses does alter quite a bit the overall average CHANEL conservative chic, marking it with a fresh twist.

On their own, without having to wear a CHANEL costume to pair them with, they are provocative because they are CHANEL and not some other brand. The logo does make a difference in this case, as superficial as it may seem, when you pair fish with CHANEL, the clash becomes fabulous!

Lets not forget that what CHANEL is today as a brand is only in part still faithfull to mademoiselle’s vision filled with sense of humor. By this we would like to remind you of CHANEL’s little frog brooches, forrest nuts on colliers and pins, “Picadilly” brooches (to name a few accessories made during mademoiselle’s life).

Today’s luxury brands dare very little when it comes to “out of the box designs”. They want secure sales, which limit their creative verve, as most big spenders have no real taste and would purchase only that what is securely said to be “fashion”. Hence the loss of “style” and a brand like CHANEL ends up seldomly allowing itself to have fun with design and style… but when it does allow itself a fashion/style divertissement they never fail to leave us in awe!

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CHANEL mod 0000 1988 © sunglassespreservation

CHANEL model 0000, from 1988, is the first of a three part mini-series sunglassespreservation will be showcasing on this website. The mini-series is dedicated to the evolution of CHANEL quilted leather in combination with acetate, metal, glass and nylon sunglasses. We will be showcasing three different CHANEL sunglasses from different time periods to show how far this brand has come in terms of implementing new technologies and aesthetics into their designs.

CHANEL model 0000 is the first pair of sunglasses CHANEL produced for retail, which, back in the day, was limited to CHANEL boutiques only. These beautiful shades were produced in France and were not just the first CHANEL model made for retail but were also the first pair made using very soft lambskin leather attachments to both sides of the temples.

This model was portrayed in several CHANEL ads and commercials in the late eighties. In fact, they have been seen gracing the face of model Inès de la Fressange in CHANEL make-up and pret-a-porter ads. The only difference between the retail model and the prototype from all the commercials is the lack of metal studs used to attach the leather pads to the acetate temples on the second.

The leather pads have a unique shape and have been attached to the temples via a complex technique. In fact, the leather pads are double on each side of the temples. When you turn the sunglasses inwards, you can notice that the acetate temples have big geometric holes in them. The holes themselves have long slots on the inner borders so that the smaller leather pads can click into them. The smaller leather pads are sewn and glued to the bigger pads and so the entire temples stay together very tightly. In addition, the retail version was given the “stud” treatment and three studs were used to attach each temple to it’s respective leather pad.

As far as collectibility of these wonderful gems goes, they are fairly easy to come by and usually do not sell for very high prices. This is due to the fact that this model never got the attention it deserved from press and stars in the past years. Nevertheless, do not be fooled by limited choices many untalented stylists make because these shades are very important to the entire CHANEL sunglass family as they are the ones that started it all! The first model ever produced for retail and the model that gave way to experimentation with leather and dark black acetate frame shapes which would make of CHANEL shades the highly collectible and covetable objects we know and treasure today!

The frames used are typical for the 80′s era, implementing very sturdy shapes and materials. The acetate used to make these sunglasses was old-school, kept to dry for several years and then put into shape. They are extremly sturdy and durable. The lenses are typical for 80′s and 90′s CHANEL: very dark and cool on the eyes.

The inner part of both the left and right temples bare inscriptions in white. The model we have in our sunglassespreservation archives has most of the inscriptions almost completely erased but we were able to recompose all the inscriptions as we have viewed several other identical models. The left inner temple carries the inscription: “CHANEL”, the copyright logos and the “made in France” inscription, while the right inner temple carries the the year these sunglasses were produced in: 1988.

The leather pad attachments on the temples bare the same hight as the frames do, making it seem as though they extend beyond the frames on the side, where they connect to each other.

You will see in our next two desciptions coming up in the next posts how complex and technologically advanced the newer CHANEL quilted leather sunglasses have just become. In comparison, the first model, mod. 0000 will appear almost unfinished as it shows the simplest structure and construction. It also reveals how much the brand, the designers’ visions as well as technical capabilities have grown throughout the decades!

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CHANEL mod 5202 Q c 501 3F fw10 © sunglassespreservation

CHANEL model 5202 Q is featured as second part of sunglassespreservation’s three part mini-series dedicated to the evolution of CHANEL quilted leather in combination with acetate, metal, glass and nylon sunglasses.

We have travelled through time since the first pair of sunglasses were produced for CHANEL retail in 1988 and have landed in fall-winter 2010, in Rue Cambon 31, Paris, where CHANEL launches their “prestige” sunglasses collection. This time the shades are not boutique exclusives but their high quality and craftsmanship make them just as worthy!

Model 5202 Q was available in many colors varying from black (included in sunglassespreservation archives) to burgundy, off-white, red, brown and tortoise. The craftsmanship and execution of these shades is impeccable. The temples are a further development of model 0000 from 1988 as we note an obvious increase in complexity. The quilted lambskin leather covers the temples on the outside while the matelasse effect and quilting stops to leave place to pure lean lambskin surface on the inner side of the temples.

The frame and tips of both temples are made in acetate. The gradient lenses on our model fade from dark grey to mid-tone grey.

These sunglasses hold a secret within them. The temples on both right and left sides open up when pressure is put on them to reveal double mirroirs. The top mirrors carry the CHANEL logo lasered into them. The mirroirs are kept closed via small magnets hidden underneath the lambskin leather. The obsessive attention to detail took the designers as far as to add an additional CHANEL logos to the top of the two silver metal mirror hinges. You can see the details on the photos provided at the bottom of this model description.

The model number, color code and size are printed onto the inner left leather covered temple while the CHANEL logo, as well as place of production, is printed on the inner right leather covered temple.

The use of these shades is various. The mirrors are a luxurious addition making this model fabulous without it having to be in any way practical. Some have said that the mirrors could be used to fix up your lipstick or check your hair quickly while on the run. However, it may result very difficult to take off your shades, keep them in one hand while getting your lipstick from your bag with the other hand and then ultimately retouching your rouge. Other speculate more frivolous and less “acceptable” uses of the mirroirs while at parties and clubs. This theory too does not stand as the shades cannot be put and kept on a flat surface while the mirroirs are open as this may compromise their balance and would lead to scratches to lenses and/or frame.

In fact, all the speculation and all the stories about the real reason the secret mirrors are a part of these sunglasses are irrelevant. What matters is that these shades, with their difficult and intricate system of secret construction and hidden mirrors, make us dream a little. They make us imagine of being in a special place. CHANEL eyewear designers managed to give us the illusion we can own a part of the dream by wearing a pair of incredibly designed shades!

The lenses have a CHANEL logo engraved into them and the right lens has an additional authentification identity code lasered into it. This code is unique to only one pair of each sunglasses produced by LUXOTTICA for CHANEL, in Italy.

CHANEL model 5202 Q showcases the progression of the use of quilted leather in CHANEL eyewear history as it represents a huge leap from model 0000′s more simple approach to material use and combination. Technology has moved forward a lot from the late eighties to the 00′s. The leather used for model 5202 Q not only covers the acetate but also envelopes the metal frames used to border the glass mirrors. The entire leather coverage was hand made, hand sewn (quilting) and hand glued to the metal and acetate!

We have kept the security plastic strips on the mirrors as the model included in our sunglassespreservation archives is new, including the round CHANEL logo sticker on the left lens.

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CHANEL mod 71014 02128 S0133 fw13 © sunglassespreservation

CHANEL model A 71014 is featured as third and last part of sunglassespreservation’s mini-series, dedicated to the evolution of CHANEL quilted leather in combination with acetate, metal, glass and nylon sunglasses.

As you can immediately see from the first picture above, what we have here is a very special and complex pair of CHANEL shades. They are incredibly detailed, on highest levels of modern day eyewear technology and standards. This model is a hybrid between a mask and sunglasses. In fact, they look like the designers merged two models into one. The back frame, made in nylon and covered with matelasse lambskin leather, functions as the mask, surrounding the actual silver metal titanium frame, protruding out of it, creating an exceptional three dimensional visual effect.

Model A 71014 looks like it came straight from a movie based in a futuristic re-enactment of the twenties. It could also be defined as a hyper luxurious steampunk design or a prototype for a futuristic pilot.

One mustn’t forget that these shades come from CHANEL’s fall-winter 2013 pret-a-porter collection, which was inspired by “world-travelling”, flying and a twist on CHANEL’s “conquering” the world by showcasing an enormous giant earth globe in the middle of the fashion show’s venue, with hundreds of tiny lights and flags pinned onto the cities and countries all over the world, where CHANEL has already opened a boutique. In a way, these sunglasses represent the CHANEL explorer, ready to travel all over the world, to find a new place to build a new boutique. One may take this as one will… it could be seen as a negative in this day and age, but all things considered, CHANEL does still make a big effort to produce their goods in Europe, providing fair labor and keeping some of handcraft’s tradition alive by subsidising small companies specialized in different style, design and meterial techniques.

The sunglasses you see here are CHANEL’s most complex and detailed model ever made. Where to begin with? The temples, for example, are the first temples that, when folded together, have a built in block in the hinges to prevent them from rubbing against each other, keeping the delicate leather on top of the temples unharmed. The nylon frame and temples have elevated edges to allow the leather to snuggly fit within its borders, preventing it to protrude, hence avoiding damage to the material.

The second, titanium frame, is brushed and protected by a light glossy coat of another material to prevent it from being scratched easily. The metal double “C” logos on both temples are perfectly placed above the quilted leather base, without any show of stress in the leather underneath.

The faded lenses fit perfectly into the metal titanium frames, without any screws or additional fixtures needed. The metal frames fit perfectly into the nylon frames without any visible sign of how the designers solved the issue of combining two materials together. The way the two frames are kept together is partially a secret. What we see is just one black screw, on the back of the nylon bridge. This screw keeps the front metal bridge together with the back nylon frame. As for how the frames are kept together around the lens area is still a mistery.

The interesting choice of using matelasse leather without it being stitched is probably due to two factors: first, on such a small size of leather used, the stitching would have been unpractical and second, eventual stitching would have compromised the overal elegance of the shades as it would have plumped the sunglasses quite a bit, making them lose their overall futuristic appeal.

The leather, however, is extremly soft and fine textured and it extends to the end of the temples, in the ear area. It is glued onto the nylon backgorund. We do not know how good or bad this leather and glue will withstand the test of time. Hopefully the glue will not dry out and there will be no pealing.

A lot of love and thought went into the process of making these sunglasses. Extremely low quantities have been produced. Most CHANEL boutiques did not even have this model for sale as it is clearly a museum item rather than a piece one would wear each day around the city. There is something extremely sculptural about these sunglasses and it transcends mere wearability. They might, at certain angles, even appear to be hyper modern toys because the back side of the frames looks more simple then the complex front. In fact, thats another reason why we also say they look like a movie prop. Extremly high-end and complex on the outer surface and yet extremly simple and comfortable on the inside.

This model is a boutique exclusive and was made in Italy, by LUXOTTICA. LUXOTTICA has begun using nylon for many of their higher end products. This is an interesting fact. In this case we are not sure if nylon is better or worse than acetate. We are also not sure if nylon would have been the only way to make these amazing sunglasses/mask. Perhaps the molding of nylon could be done through 3D printing or is sturdier than acetate. We are not sure what the reasons were but nylon does offer a significantly different surface structure than acetate does. Acetate is very glossy and even on the surface, while nylon, even though glossier, appears to be lightly bumpy and uneven. This is due to the texture of the material. In this case, we appreciate it as it adds a futuristic final touch to the overall appeal of the shades. We are also sure that CHANEL and LUXOTTICA did not spare any means as to how to produce this luxury item so there is no reason to believe nylon was chosen as a cheaper material for this particular model.

Each one of the faded lenses bares the CHANEL logo on them. The right frame also has the personal authentication identity number to prove its origin and authenticity.

These sunglasses have received almost no press and promotion. They have been put into CHANEL’s sunglasses website section: “runway models” but were taken down less than a week later and are no longer to be seen there. We applaud the designer team at LUXOTTICA for pulling this model together! They never get the merit they deserve and never get mentioned! We believe that Lagerfeld probably did not have the idea to make these babies himself! The many talented designers shoud get aknowledged!

Model A 71014 also has a smaller sister or brother, also named A 71014 and in the same shape but made without titanium and leather. The smaller model is made of opaque black nylon (temples and back frame) and glossy black nylon (front frame and front bridge). There are also no edges elevated on the borders of the frame and temples as there are no fillings used.

This concludes our three part mini series on CHANEL’s use of quilted leather in combination with acetate, metal, glass and nylon sunglasses. We have shown you the evolution of a brand and hope there will be many more surprises left in stock for us from designer’s future creations!

Jump to episode one here

Jump to episode two here

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CHANEL mod 40861 L9532 fw10 cruise © sunglassespreservation

After Lagerfeld’s ascent to CHANEL, the brand became famous, among other things, for their endless renditions of chains on all sorts of clothes and accessories. Sunglasses are no exception to this tradition! The high-end prime sunglass model from CHANEL’s 2010/11 cruise collection showcases a very filigrane light gold chain adorning the entire front part of a pilot cut frame and bridge. Placing metal chains on sunglasses is no new technique or aesthetic. Many other designers have done it in the past, from CHANEL’s own models from their fw 1992 pret a proter collection to MOSCHINO’s RATTI made pop-art shades.

What surprises us about this particular model (40861 L9532) is the extent of experimentalism the designers went through to render the effect of a golden chain covering the front of the frame. When you look at it closely the chain doesn’t seem to have a very clean polished finish. This effect, however, was desired as it clearly contrasts the perfect finish of the overall  product. The chain was supposed to reflect the inner structure of CHANEL jackets. The jackets all bare a metal chain at the bottom so that the jackets fall as straight as possible while the wearer moves, sits, turns and twists. This is a structural element requiring no need for extreme polished surface. This means that conceptually, the designers inverted the inside to the outside of a product. A hidden bottom back cut chain slips all the way up to the front.

We are not sure if the golden chain was molded into or if it was braised on to the metal frame. We would need to see several copies of the same model in order to determine if the metal chains bare different structures or if the same exact pattern repeates on each model. What we can clearly see, however, is that there is air and light filtering through the chain structure which means that there are holes between every chain link. This makes us lean more towards the theory that the chains were indeed braised on to the frame and bridge.

The temples both have the CHANEL logo engraved into the outer front parts. The inner front parts of the temples bare another CHANEL logo, country of production, model and color numbers respectively. The ear tips of both temples are made of acetate and have both a tiny golden double “C” logo at the inner extreme tips. These sunglasses were produced by LUXOTTICA, in Italy and were only available for purchase in CHANEL boutiques worldwide.

The catwalk version of this model appears to be very different from it’s retail sister. The model from the cruise collection catwalk has a clearly thicker chain and smaller distance between the two lenses. We do not know the reasons why in the end the design team opted for a thinner chain. It might look more elegant and be easier to sell but we hope that the sale factor did not influence the choice as on such a high luxury level as CHANEL is, they should not allow themselves the question wether or not a limited edition model is more or less sellable. The only question they would be allowed to ask themselves is wether or not the model is outstanding in it’s appearance and if it is in any way groundbraking from both a design and structural point of view.

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CHANEL mod 05255 C0713 ss95 © sunglassespreservation

CHANEL model 05255 C0713 was made as part of CHANEL’s spring-summer 1995 pret-a-porter collection and catwalk. 1995 was a rich year for CHANEL sunglasses altogether as both spring and fall seasons saw a big amount of new shade designs and styles.

Model 05255 is the most representative of it’s season. It is made of extra thick bi-layered and colored acetate. The front of both frame and temples is in a strong bubble gum pink while the entire inner side of the acetate is an intense sun yellow color.

The extra oversize frame has slightly overbent curves and borders giving these shades a melty feel. This is size-wise the biggest model produced in 1995. It covers most of the face of the wearer, so much so that Claudia Schiffer, photographed by Karl Lagerfeld, does not wear model 05255 on her face in CHANEL’s ss95 look-book, but rather bites gently onto the tip of the right temple.

The two extremely thick temples have both an enormous double “C” logo, one on each outer part. The double “C” logos are made in gold metal and are subsequently covered up by a transparent layer of acetate. This specific double “C” logo is the biggest ever used for a side temple of any CHANEL sunglasses. It dominates the shade’s silhouette with it’s imposing 5 centimeter length!

These sunglasses are an editorial piece, produced in low quantities and are to be seen as an experimental design piece of the nineties rather than an every day wear accessory. We, of course, would wear it every day but we consider this model to be too precious to “over consume”.

CHANEL mod 5009 c 531 65 00s © sunglassespreservation

CHANEL model 5009 was made in the early 00s. It represents the transition from the exclusive CHANEL boutique sunglasses to the authorized dealer sale installed by LUXOTTICA.

In fact, from the early 00s, CHANEL had moved on to sell sunglasses to a broader consumer audience by giving out licenses to eyewear dealers acorss the globe. From that moment on, there would be a distinction between CHANEL boutique exclusive sunglasses and regular retail sunglasses.

Model 5009 is a regular retail pair.

The beauty of these shades is in the sedome use of iridescent acetate. Depending on the light, these sunglasses change color from purple to aquamarine to blue. They are very thin but nevertheless very sturdy.

The frame is classic, mixed between round and rectangle cut, with the bridge slightly protruding to the front. The temples are thin, with a typical CHANEL matelassé design covering ninety percent. The ten percent left is flat, with a silver metal double “C” logo integrated within the surface. The inner right temple bares the white CHANEL logo and copyright while the inner left side bares the model and color codes.

In the early 00s all CHANEL shades had the authenticity identification number lasered in the inner right temple. This would subsequently change. In fact, today’s CHANEL eyewear distinguishes between Ophtalmic glasses (with the authenticity identification number lasered onto to the inner right temple) and sunglasses (with the authenticity identification number lasered directly into the lenses – mostly into the right upper side).

The use of iridescent acetate is very rare as there are very few examples of sunglasses made in this material.

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CHANEL mod 16285 01081 21011 ss01 © sunglassespreservation

CHANEL model 16285, material 01081, color 21011, from their ss01 pret-a-porter collection, represents a great jump into futuristic experimentation in sunglasses design. It is one of the early examples of opaque translucent acetate use within the CHANEL boutique exclusive sunglass range.

The frame is straight on top making the bridge blend in with the rest of the design. The middle front of the bridge bares CHANEL’s brand printed in white. The temples organically continue from the sides of the frame all the way to the edge of the ears. There are two big pale golden metal double “C” logos, one on each end of the temples. The double “C” logos are integrated within the acetate. They are not glued or screwed in.

The lens is made of one piece and it fits tight into the frame, with CHANEL’s brand name engraved within it’s top left and right side. The overall appeal of this particular model is very alien like. It is reminiscent of an organic visionary shades that could have been used in a sci-fi movie.

The inner left temple bares the CHANEL model and color codes as well as the country of production while the inner right temple bares the CHANEL brand name and again the country of production which is again Italy. These shades were produced by LUXOTTICA. It is rare that CHANEL sunglasses carry two “made in Italy” inscriptions but it is not out of the ordinary. These shades were produced in a period of transition when LUXOTTICA began producing CHANEL sunglasses not only for CHANEL boutiques. In fact, soon after 2001 all CHANEL sunglasses and glasses would bare an individual authenticity identification code. All models prior bare no such code.

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CHANEL mod 71046 02081 S1469 ss14 © sunglassespreservation

CHANEL model 71046, color S1469, material 02081 were the most showcased sunglasses on CHANEL’s ss14 pret-a-porter fashion show in Paris. This color combination graced the catwalk two times in the same show. There is a total of three color combinations produced: black frame and temples with white visor (in sunglassespreservation’s archives), white frame and temples with black visor and black frame and temples with black visor. All colro versions, except for the all black model were shown on the runway.

These shades are a bit controversial. We know that this is not the first time a visor model hits the runway. These type of shades was produced in the eighties by no brand labels and was sold for a dolar on street corners and at the beach by boardwalk vendors. The most typical version of this model is a plug in visor that you attach on top of the frame via two holes. The visor was commonly not bendable. In the mid 00′s Bernhard Willhelm then took the model and vamped it up with Linda Farrow to a more fashion-y item by reproducing it one to one to the way it looked in the eighties. Since then the visor shades were no longer produced till now.

CHANEL presented this model at their ss14 pret-a-porter collection inspired by pop art. The entire catwalk was made up to look like a sort of pop art museum, filled with CHANEL art-y models walking up and down the museum hallways. Each model was either dressed as an artist or as a retro vintage 80′s pop looking girl. The shades chosen to represent this look were the visor sunnies. Nothing original but at second sight, when we look into detail we notice the innovation in 2014′s rendition of this now to be cassic model.

The material used for the frame, temples and visor is not acetate. CHANEL has completely made these shades out of nylon fiber. The visor itself is not detachable from the frame. It is screwed to the frame via a hinge mechanism which is molded into the frame itself. The look of nylon fiber makes these shades appear to be less polished then what we are usually used to see from CHANEL. They are rougher around the edges as if LUXOTTICA used new 3D printers to produce them. In fact, nylon fiber can mean a series of things. There are many ways and qualities of nylon that can be used to create a pair of shades and we are not completely sure why CHANEL’s design team opted for this material over acetate. What is clear is that the visor has a light ledge coming up on the back. This was probably made to hide the attachment mechanism to the frame. Seen from the front, the visor appears to be suspended in mid air. That is a great effect that adds lightness to the overall appeal of these great shades!

Another interesting fact is the double “C” logo placed on the top right side of the visor. On the runway model as well as on the sample used for CHANEL’s online promotion, the metal double “C” logo is a three dimensional metal logo placed on top of the visor surface while the model that went into final retail production has a carved in double “C” place within the visor and a metal double “C” plate placed within it. This does not affect the overall look of the sunglasses. It does not make them look any less CHANEL but we wonder why the decision was made to alter the look of the double “C” logo. Was the sample and catwalk version too unstable with the possibility of it falling off easily? Perhaps, but we will not know for sure unless someone from the design team doesn’t give us official answers to our questions.

These shades bare the authenticity identification number on the temples (which hasn’t been done in over a decade as CHANEL sunglasses always have the authenticity authentification number on the lenses). In fact, the right inner temple bares the authenticity identification number and CHANEL brand logo while the left inner temple bares the country of origin/production (Italy), model number and color number.

The lenses are faded and have a CHANEL brand logo lasered into their top left and right side, respectively. The frame top has a hinge mechanism molded into it to allow the visor to be attached to it via two screws. The visor itself can only fold to a 45 degree angle and cannot close or shut completely over the lenses. The visor can also not get lifted higher than a 90 degree angle to the lenses.

The interesting fact to point out is the decline of CHANEL’s lust for logos. CHANEL was famous for their incredible sunglasses from the nineties, covered with overdimensional logos, sometimes even placed over the wearers eyes! This new model has no logo on the frame or temples. The only logo we see is a small double “C” on top of the visor and now that CHANEL placed it into the carved-in socket, it is even less visible than the smaple version. The tendency to render their sunglasses more “modest” is not necessary as we love to see CHANEL as a bubble-gum over the top fabulous sassy brand that delivers over the top, oversized and beyond all expectations sunglasses!

We do aknowledge the willpower to experiment with new materials and technologies and we do appreciate the research that goes into creating new vibes and feels to luxury sunglasses so we do applaud model 71046!

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CHANEL mod 38419 S2187 fw09 © sunglassespreservation

CHANEL model 38419 is part of the CHANEL boutique exclusive line from fall/winter 2009. This particular model was produced in dark blue acetate with Swarovski crystals (seen in this post) and in a variety of other acetate colors with metal studs replacing the Swarovski crystals, as a regular CHANEL release for authorized opticians/dealers.

The boutique exclusive model has the exact same position of the crystals as the metal studs versions do. However, due to the fragile nature of the crystals, these shades may often lose a crystal or two unless extreme care is taken while wearing and storing them.

The shape of the frame is very masculin, straight and oversized. The bridge unites the two halves in a perfect straight line. The curved lenses give these sunglasses an overall pilot frame feel.

The temples bare the double “C” logos in silver metal. The inner left temple bares the model number while the inner right one bares the CHANEL brand.

The lenses have both the CHANEL brand lasered into the upper left and right sides respectively while the right lens bares the authenticity identification number. Model 38419 was made in Italy by LUXOTTICA.

To view one of the regular CHANEL releases of this particular model with metal studs, click here.

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CHANEL mod 71047 L1013 ss14 – cinemascope – © sunglassespreservation

CHANEL model 71047 is an interesting divertissement used to pep up CHANEL’s ss14 pret-a-porter fashion show. These shades were made to give the wearer the feel of looking through a 16:9 cinemascope movie. Life becomes a film… as concept at least.

Here is what the CHANEL website wrote about these sunglasses in summer 2014: “Rectangular titanium sunglasses. Lenses with nylon fiber strips for a 16:9th vision. Metal CC signature at the end of the temples.”

First thing to point out is that CHANEL often alters retail models after their fashion show presentations. This was the case with model 71047. In fact, these sunglasses had bigger black nylon frame strips on the runway. The strips were subsequently considered too wide for retail and were then reduced by half a centimeter in width. This however does not affect the overall appeal of the shades nor does it in any way damage the cinemascope effect. It does, however, show that CHANEL’s sunglasses design team works hard even after the presentation of the show to push up the quality and wearability of the boutique exclusive models. You can see the fashion show model with slightly thicker nylon strips in the image gallery further down in this post.

The frame and temples are made of titanium with an addition of four black nylon blocks or strips, added to top and bottom of each frame/lense.

The bridge is very thin but sturdy. These shades weigh almost nothing and are extremely comfortable to wear. What is interesting is the almost complete lack of logos. On the outer part we see only tiny double “C”s at the very edge of the temples. These logos are invisible when the shades are worn as they land right behind the wearer’s ears. The lenses bare the typical CHANEL lasered brand on both sides and the right lens also has the authenticity identification number lasered in.

Each one of the two plastic nose pads has a metal double “C” logo within them.

The right inner temple bares the CHANEL brand while the left inner temple bares the model number and color codes.

These sunglasses were made in Italy by LUXOTTICA and were only made and distributed for CHANEL boutiques exclusively.

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CHANEL mod A 71085 S3692 fw14 © sunglassespreservation

CHANEL model A 71085 (color S3692 – orange) has been made in CHANEL “Lesage” tweed. The same exact tweed was also used for several garments in the main fall/winter 2014 Pret-a-porter collection, such as sneakers, jumpsuits and corsets. These shades are one of the most costly CHANEL has produced in the past decade. Francois Lesage has been producing tweeds for CHANEL pret-a-porter collections since 1998 and has, since 2008, expnded the production of tweeds to CHANEL’s haute couture collections as well. Despite the costly production, CHANEL went all out on these shades. They produced six models that hit the runway and a total of eight colorways and tweeds (between runway and retail versions).

In fact, two models from the catwalk were not available for purchase but other two models were released for retail instead. The model you see here in our sunglassespreservation archives was attributed the color code of the orange/green shades from the runway even though the tweed used for the runway was simpler in making.

Sunglassespreservation has, after careful selection, decided to add the orange tweed CHANEL sunglasses to it’s archives as orange is the predominant color of the CHANEL fall/winter 2014 collection. Furthermore the intensity of the colors inside the orange tweed are so brilliant that no other pair of tweed shades matched the attraction of these sunglasses.The orange tweed showcases brilliant shades of purple, mossy green, blue hues and black and whites.

The other colors of model A 71085 available were: 1) grey/baby blue/pink/glittery metal, 2) navy with streaks of red, 3) beige with white, 4) black with white and 5) red with hues of rose. Orange is the most rare of the sleection while the yellow version (which hit the runway) was not produced for regular retail.

The frame, temples, bridge and nose are completely covered in tweed. The tweed appears to be glued to the sunglasses’ surface. The surface is black, matte and might be made of nylon but it is not to be excluded that it might also be acetate. We, however, doubt it is acetate as acetate might react bad to the glue used to attach the tweed to the surface. We are not sure if the tweed will hold to the surface of the shades for many years as we fear a possibility that the glue might deteriorate. We hope that glues manufactured today are more stable then in the past but nothing can guarantee the stability of these glasses. We hope for the best.

As far as the design goes, this is as close as a CHANEL pret-a-porter design piece gets to Haute Couture. Many steps in the making process of these shades were manually executed (the tweed was hand made as well as the cutting of it and subsequent attaching to the sunglasses) and the tweed patterns guarantee that each single pair produced is unique and unlike any other. The tweed and color used for model A 71085 S3692 is also found in the most representative CHANEL fw14 orange tweed sneakers, orange jumpsuits and corsets (please see the image depicting the orange tweed in our image gallery section below).

The temples are completely covered in tweed. The outer sides of the temples bare sturdy metal double “C”s. The left inner temple bares a metal plaque, screwed onto it via four flat screws with “CHANEL made in Italy” inscripted on them. The plaque also bares the model and colour numbers printed on it’s surface. The inner right temple bares a metal plaque, also screwed via four flat screws. The inscription is this time embossed within the plaque and it states “CHANEL”.

The particular tweed of model A 71085 color S3692 has a very vibrant orange base with additional pop vibrant purple hues. In addition, the colors added are white, black, green, grey, red and navy. The more we go into detail zoom, the more colors we discover hidden inside these amazing CHANEL “Lesage” tweed shades.

Both lenses bare CHANEL logos lasered into them. The outer right lens also bares the authenticity identification code unique to only this pair of shades. CHANEL model A 71085 was made in Italy by LUXOTTICA and was a CHANEL boutique exclusive.

CHANEL model A 71085 is a perfect example of eyewear artistry pushed to the extreme where the wearability is reduced to zero as tweed on the face of the wearer would only get dirty and stained by facial oils and make-up. These shades are the perfect example of collectible design objects representing the times we live in. As paradox to the shades being almost unwearable is the fact that this is the first official attempt at placing sunglasses on pair with apparel. The same luxurious Lesage tweeds were used for sneakers, clothes and sunglasses which is a sign that eyewear is no longer seen as just a brand’s extra money making franchise but is being taken seriously as an integral part of a total look. Not just a gimmick any longer but an important integral thought-out part of an entire collection theme.

In the hope that the glues keeping the tweed to the shades do not deteriorate, we will, in ten years time, have a very important document in these shades, testifying the creative verve and wish to experiment as far as possible in new design and style territories within the limitations givien by the fact that CHANEL represents a certain kind of upper/high bourgeois lifestyle where too much experimentation is usually not very well seen or accepted. In fact, these shades, just like many contemporary CHANEL sunglasses from the 00’s to the 14’s, run a thin line between braking through to a new level of creativity and a restrain due to the strict market rules CHANEL has to adhere to in order to maintain itself on top of the high-end fashion world.

We have provided an image database in our gallery section below to see all the colors and tweeds of CHANEL model A 71085 for fw14.

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CHANEL mod 28891 S0187 @ sunglassespreservation ss05

CHANEL model A 28891, from the spring/summer pret-a-porter, 2005 collection is a statement to collective decadence of that time. The world post September 11th was still in a confused search for a certain type of stable luxury. The sunglasses industry was suffering a creative downfall from 2001 to about 2005. Many uninspiring models have been produced by all brands in this period. CHANEL was to change all that with its attempt to give back sunglasses a high standard within their couture statements. In fact, model A 28891 debuts in a special fashion show inspired by red carpets, Hollywood glitz and stardom!

Lagerfeld’s 2005 ss fashion show for CHANEL begins with a red carpet event and it ends with it as well. Top models from the glorious days of fashion hit the runway first… from Naomi to Turlington to Tennant… then come the newcomers, then again the top models and then, in the end comes Nicole Kidman. At this point the photographers, who were carefully positioned to be part of the fashion show itself, hit the runway to give the entire show a paparazzi-esque flair.

As the photographers block the runway, surrounding Lagerfeld and Kidman, all chaos brakes loose, we see Naomi rolling her eyes (probably because she was no longer the centre of attention), the models can no longer pass through the runway to the exit, the visitors are blocked in their seats and nobody knows how to unclog the passage on the “red carpet”.

At this point it is important to mention that Nicole Kidman was in the 2004/2005 period the face of CHANEL N°5 perfume and starred in a red carpet video filmed by Baz Luhrmann, which portrayed her wearing the famous CHANEL N°5 diamond necklace dangling from her back decolleté.

The end of the show is a bit in the style of a John Water’s movie ending, where everything escalates into blissful chaos.

If we, on the other hand, concentrate on the catwalk before the final chaos, we notice three important shifts in style: The first shift are the CHANEL belts worn by the models. These belts have enormous buckles and, upon closer inspection, one notices that the buckles are frames to a technological revolution of LCD screens with videos playing on them. CHANEL commercials playing on the model’s belts. That was a daring fun futuristic twist. Then we also notice Karl’s fun statement to travelling as he let some models hit the runway with typical airplane sleeping pillows wrapped around their necks. We guess that was his way of telling us it is fine to fly again.

The third shift in style is the one we are most interested in: CHANEL upped their game when it comes to producing special boutique exclusive sunglasses! The shades that hit the ss 2005 CHANEL runway were expensive, luxurious statements. The black acetate frames were adorned with metal gold plated side plaques, screwed on to the frame, but even more importantly, the temples had tiny holes at the edges to which three strains of pearls were attached. The three strains of pearls have different sizes each and are long enough to be worn dangling from the back of the wearers ears and on to the front decolleté. The necklaces looked like they were lifted up to the sky behind the wearers heads. These necklaces can also be worn dangling off the back as well as half front and half back.

We believe that the pearls used for these sunglasses are typical CHANEL glass pearls. They were produced by LUXOTTICA in Italy. They bare the authenticity identification number lasered on to the right side of the right lense while the inner left temple bares the model number and color codes. The right inner temple bares the CHANEL logo and trademarks.

We have provided an image database in our gallery section below to show you the other CHANEL ss 2005 boutique exclusive sunglasses that hit the runway.

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