Most of vintage Alain Mikli frames made in 1980s are deformed in varying degrees, which is more than other vintage frames. Of course I have only dead stocks, not used pieces. So I have to fix the shape and replace the lenses. Below are the photos of before and after my restoring. Starting with the ones before restoring.




And below are after restoring.


SOLAKZADE (japanese)

SOLAKZADE (english)

Have you seen the writing of “CB” on Tart Optical’s paper sleeve as their color? For example, “BLACKWOOD CB”.

The CB means “Clear Bridge”. Bridge means the center part of the front frame. You can see the Clear Bridge colors of Tart Optical below. I think it is the most iconic and unique color of 1950s American Vintage. There was no CB color in Europe those days.

タートオプティカルのカラーでCBと付くものがあります。例えば「BLACKWOOD CB」。


SOLAKZADE (japanese)

SOLAKZADE (english)

I appreciate you so much for your concern about Japan. I would like you all over the world to read this essay written recently by Ryu Murakami.



Published: March 16, 2011

in Yokohama, Japan

I SET out from my home in the port city of Yokohama early in the afternoon last Friday, and shortly before 3 p.m. I checked into my hotel in the Shinjuku neighborhood of Tokyo. I usually spend three or four days a week there to write, gather material and take care of other business.

The earthquake hit just as I entered my room. Thinking I might end up trapped beneath rubble, I grabbed a container of water, a carton of cookies and a bottle of brandy and dived beneath the sturdily built writing desk. Now that I think about it, I don’t suppose there would have been time to savor a last taste of brandy if the 30-story hotel had fallen down around me. But taking even this much of a countermeasure kept sheer panic at bay.

Before long an emergency announcement came over the P.A. system: “This hotel is constructed to be absolutely earthquake-proof. There is no danger of the building collapsing. Please do not attempt to leave the hotel.” This was repeated several times. At first I wondered if it was true. Wasn’t the management merely trying to keep people calm?

And it was then that, without really thinking about it, I adopted my fundamental stance toward this disaster: For the present, at least, I would trust the words of people and organizations with better information and more knowledge of the situation than I. I decided to believe the building wouldn’t fall. And it didn’t.

The Japanese are often said to abide faithfully by the rules of the “group” and to be adept at forming cooperative systems in the face of great adversity. That would be hard to deny today. Valiant rescue and relief efforts continue nonstop, and no looting has been reported.

Away from the eyes of the group, however, we also have a tendency to behave egoistically — almost as if in rebellion. And we are experiencing that too: Necessities like rice and water and bread have disappeared from supermarkets and convenience stores. Gas stations are out of fuel. There is panic buying and hoarding. Loyalty to the group is being tested.

At present, though, our greatest concern is the crisis at the nuclear reactors in Fukushima. There is a mass of confused and conflicting information. Some say the situation is worse than Three Mile Island, but not as bad as Chernobyl; others say that winds carrying radioactive iodine are headed for Tokyo, and that everyone should remain indoors and eat lots of kelp, which contains plenty of safe iodine, which helps prevent the absorbtion of the radioactive element. An American friend advised me to flee to western Japan.

Some people are leaving Tokyo, but most remain. “I have to work,” some say. “I have my friends here, and my pets.” Others reason, “Even if it becomes a Chernobyl-class catastrophe, Fukushima is 170 miles from Tokyo.”

My parents are in western Japan, in Kyushu, but I don’t plan to flee there. I want to remain here, side by side with my family and friends and all the victims of the disaster. I want to somehow lend them courage, just as they are lending courage to me.

And, for now, I want to continue the stance I took in my hotel room: I will trust the words of better-informed people and organizations, especially scientists, doctors and engineers whom I read online. Their opinions and judgments do not receive wide news coverage. But the information is objective and accurate, and I trust it more than anything else I hear.

Ten years ago I wrote a novel in which a middle-school student, delivering a speech before Parliament, says: “This country has everything. You can find whatever you want here. The only thing you can’t find is hope.”

One might say the opposite today: evacuation centers are facing serious shortages of food, water and medicine; there are shortages of goods and power in the Tokyo area as well. Our way of life is threatened, and the government and utility companies have not responded adequately.

But for all we’ve lost, hope is in fact one thing we Japanese have regained. The great earthquake and tsunami have robbed us of many lives and resources. But we who were so intoxicated with our own prosperity have once again planted the seed of hope. So I choose to believe.

Ryu Murakami is the author of “Popular Hits of the Showa Era.” This article was translated by Ralph F. McCarthy from the Japanese.



below is in Japanese.


著 者:村上龍


翻 訳:タイムアウト東京編集部















I feel men wearing “Cat-Eye” design is fresh though this design has been regarded as women’s. This fixed idea is going to be changed very soon (surely within a few years).


Above is DEE DEE of TART OPTICAL made in 1960s.

Above is LEADING LIZ of TART OPTICAL made in 1950s.

SOLAKZADE (japanese)

SOLAKZADE (english)

In 1970s, one of the most popular mens glasses designs is pilot/tear-drop design with plastic material. And since 1970s, most manufactures started to use the new plastic material named Acetate instead of the older plastic material named Celluloid. Tart Optical Enterprises Inc. released this design named “ACE HIGH” with celluloid material in the late 1960s.

1970年代はセルティアドロップ、セルパイロットと呼ばれるデザインが 非常に人気がありました。この70年代から他のメーカー同様、タートもアセテート素材を用いたフレームがリリースされました。タートから60年代後期にリリースされたACE-HIGHはこのセルティアの走りでありました。素材は60年代の証、セルロイド。

SOLAKZADE (japanese)

SOLAKZADE (english)

This was released in 1940s by American Optical. I think the most decorative plastic frame that AO has ever released. This decorative work reflects ART-DECO, which is an eclectic artistic and design style which had its origins in Paris in the first decades of the 20th century. The style originated in the 1920s and continued to be employed until after World War II.




SOLAKZADE (japanese)

SOLAKZADE (english)

In 1891, AMERICAN OPTICAL made the 1st Gold-Filled frame. In the early 1900s, Gold was cheap in the US. So frames were often made with the material of 1/10 12 Karat Gold-Filled. They are so expensive now that almost manufacturers cant use this luxurious material. (If you can find new Gold-Filled frames, they are surely more than $500!) Thanks to this good material, we can still use them without any special care. Antique frames are so difficult to find as deadstocks so we need to restore them. At SOLAKZADE, I take time to wash Gold-Filled antique frames in hot water and then they will get luster again.

アンティークの金張りフレーム。1891年にAMERICAN OPTICAL社が初の金張りフレームを製造して以来、20世紀初頭にはほとんどのフレームに”1/10 12K GF”の刻印が見られます。アンティークフレームはどうしてもデッドストックの発掘は困難なためユーズドを仕入れますので、メンテナンスを入念に施します。金張りフレームは手入れが簡単で、お湯に長時間浸け洗いをし、表面を磨いてやることで汚れや緑錆を取り除き、金の輝きを取り戻します。

SOLAKZADE (japanese)

SOLAKZADE (english)

Here are 3 kinds of Vintage B&L Ray-Ban Clip-On:

the square Clip-On for WAYFARER 5022 & 5024, WAYFARER MAX (both lens width 50mm)

the square Clip-On for WAYFARER II, WAYFARER MAX II (both lens width 54mm)

the aviator Clip-On for METAL II , OUTDOORSMAN II (both lens width 62mm)

Below is WAYFARER (5022) with the square CLIP-ON  in 50mm size

Next below is WAYFARER II with the square CLIP-ON  in 54mm size

And.. Below is WAYFARER MAX II with the same  square CLIP-ON  in 54mm size

And.. Below is OUTDOORSMAN II (LEATHERS) with the Aviator CLIP-ON  in 62mm size

“Dress-Up” B&L Ray-Ban collectible piece with vintage B&L Ray-Ban’s Clip-On is a fun!

SOLAKZADE (japanese)

SOLAKZADE (english)