Dual Focus
practicality and creativity dance in harmony at WINK
To challenge and change takes resilience, but more importantly, demanding to see something differently takes courage. In an act of intuition, Jo Twaddell began to explore her work as a way to inject more creativity and playfulness into her life. She launched WINK in 2006 and, in doing so, began breaking down the restrictive barriers of what the optometry industry looked like.
Stepping into the WINK world, we remember that in returning to the act of play, we relinquish our role as an adult—that stern and serious character who places completion before curiosity—pressing pause on that relentless pursuit of perfection and coming home instead to our childhood selves: innocent, experimental, and brave.
ANNIKA HEIN: William Shakespeare has long been associated with the famous quote, ‘The eyes are the windows to your soul.’ What was it about working within the space of optometry that first piqued your interest?
Jo Twaddell: When I was in the UK, I crossed paths with someone who was so inspirational and he happened to be an optometrist and I remember being quite intrigued by that. I was drawn to the way he weaved his passion of the arts into his work, and he was just having so much fun! I vividly remember thinking; I want to curate a life that is that playful. It’s fascinating how some see optometry as a linear expression. There are so many layers that one can infuse into an industry. For me, I use optometry as the vehicle for creativity and playfulness.
The non-verbal language of our eyes has fascinated me though. Experts whose jobs require them to study faces have observed that eyes are the window to the soul because they’re the sincerest part of the face. I mean, from a content point of view, there’s so much creativity that can be explored just from this alone!
Can you share a little background on WINK and the store you have in Melbourne?
Jo: I started WINK in 2006. I had my own personal experience in buying glasses and I realised there was a lack of choice away from the mass- produced eyewear norm. So I was committed to [creating] a space [that] offered options [honouring] innovation, creativity, and craftsmanship.
How does WINK differ from other optometry experiences?
Jo: WINK is an optical house, meaning it’s where creativity is explored and shared. A lot of people always comment that when walking past WINK, it looks like people are having fun. [The store is] full of activity and colour.
Lucy Rouw: The service is deeply personal. We want our clients to feel expended[2] in their glasses, the better they feel and look in them the more fulfilled we are. Unlike other stores, our eyewear is not branded labels, our style is more discreet, letting craftsmanship and the designer story be the elements that shine.
In what ways have you thought about the idea of optometry differently; are there certain ways in which you are paving a new way in the industry?
Lucy: We’ve been offering virtual styling for quite a few years. It resulted from WINK’s clients being spread across Australia and internationally. So, when the world stopped, and people couldn’t access our bricks and mortar store, we simply extended our service to a wider audience. This may not be new now, however we’re constantly thinking of how we can add to the experience.
Jo: I personally feel innovation is key in the optical industry and I keep close to emerging areas in ocular research that bring new information on promising therapeutics. Some new aspect of treatments that are being discovered hold great promise for the future and I’m always looking for creative, innovative ways to offer that to our clients.
Lucy: We recently produced WINK Curated. Thoughtful architecture is the foundation of frame design, [so] connecting with other architectural forms seemed like a natural extension to express this but also [reach] our clients in unexpected ways. We see WINK Curated all over the world, be it in hotels, galleries, and other creative spaces. Being there in short bursts, rather than [in] a permanent space, means we can be playful as we curate the space specific to the environment.
Jo: We also operate with a slow business model, nurturing every relationship and supporting micro-production of artisanal eyewear. We work on a more expended model rather than the traditional model that for us is too fast and forceful. This means we have freedom to choose what is meaningful, to discard what doesn’t align naturally, and interact with our industry and clients mindfully. One example of this is [refurbishing] old frames; something that we love to offer. [Exploring] some creative options, be it adding tinted lenses [or] turning sunglasses to specs means that old frames come to life, adding another cycle of [wear].
Lucy: WINK’s success is multi-layered however at the core is connection. Connection to the client, the designer, community. Each client is unique, and we want to create space to cater to their individuality. How we shape and offer this is a work in progress but something I’m deeply invested in.
WINK is home to a diverse and unique stable of eyewear brands, what’s important in terms of design elements and company values when selecting the brands and styles that end up in the shop?
Jo: We look for harmony in craftsmanship, respect in the process and designer. For us great eyewear must change the perception of self with no hard edges.
How do you go about sourcing and stocking your brands?
Lucy: We source designers that weave exuberance of attitude with impeccably crafted spectacles. It’s an exploration; our curiosity allows us to be led to designers that may come across as synchronistic, yet they are intentional. We also have a strong commitment to reducing waste, stepping away from the disposability that some brands offer, so we ensure the craftsmanship of the frames will stand the test of time and will be enjoyed for years to come.
What is the most important factor to consider when choosing the right frames for your face? How do you approach this process with your clients?
Lucy: We have a lot of customers that begin by announcing how much they hate eyewear shopping but at WINK they are taken through a new experience. Buying eyewear is a discovery of self. We start by finding out their practical needs and then we go deeper. Finding out who they are, their loves and passions, and then [working on] building their confidence.
What options are there to customise frames and lenses for each individual need?
Jo: For us, this is where we allow our curiosity to lead us, as we focus on emerging areas in ocular research. This means thinking outside the square as we work with all our clients to reach optimal sight comfort. [W]ith this we integrate the [outer, more playful, layer by] introducing rich materials, bold geometric shapes, coloured lenses. And once you enter into this area, they are so many options that you can introduce.
There’s a necessary sense of duality present in eyewear: opposing forces of strength and flexibility dancing in harmony with one another. What techniques, materials, and equipment facilitate this delicate balance?
Jo: I love this, yes there is, as there are opposing forces in practicality and creativity too.
Lucy: This is part of why we work so hard in finding the right designers to work with. For us, a great designer can create harmony between strength and flexibility.
Jo: And for us, a great optometrist works to find harmony between practicality and creativity.
You describe WINK as a myopia/hyperopia utopia. What is it that you hope to offer clients and your community that isn’t available elsewhere?
Jo: We find a lot of people surrender to eye discomfort and they acclimatise to a new unhealthy norm without releasing just how much it adds weight in their everyday life. For us, being able to help support their optical health is deeper than just sight.
Lucy: [W]e hope that once [our customers] enter WINK, they realise that, [eye discomfort] doesn’t limit their life. That, in fact, it creates an opportunity to add another layer of creativity to it.
Images by Bobby Clark
BY Annika Hein