Given his remarkable journey — from starting his career at Robert Marc NYC in 1996, leading design at Morgenthal Frederics in 2006, to launching his own namesake brand PRESS Eyewear in spring 2024 — Jeff Press has become one of the most respected voices in the world of independent luxury eyewear.
What began as an unexpected role in New York transformed into a lifelong passion, shaping not only his career but also the way eyewear is perceived as both art and function. With decades of experience spanning craftsmanship, materials innovation, and brand building, Jeff’s vision continues to inspire opticians, designers, and fashion enthusiasts alike.
In this conversation, he reflects on his path, his philosophy of design, the challenges of entrepreneurship, and the future of eyewear.
1. Reflecting on your career path, what were the most pivotal moments from your early days at Robert Marc NYC to founding PRESS Eyewear?
When I began at Robert Marc in 1996, I had no idea that eyewear would become my passion. I moved to NYC to be a musician and I interviewed at Robert Marc because I needed a job. I interviewed at Yohji Yamamoto the same day, and really loved the idea of that job but Robert Marc called first, and so there it was.
I was fortunate to learn my craft on the job, in my early days, downstairs from Robert Marc’s office, and seeing his focus and attention to detail, and eventually down in SOHO when I opened Morgenthal Frederics’ store there. Mr. Morgenthal and Gil Ross afforded me the opportunity to learn about product at the highest level, become a licensed optician and eventually the buyer. After a few years, I had design ideas and Mr. Morgenthal allowed me to meet with the factories in Japan, and I was hooked.
Perhaps the most pivotal moments was when I began to learn about buffalo horn, and began to delve into the possibilities with this amazing material, and the day LOH bought Morgenthal in 2006 and I was named chief designer. I have always prided myself on learning all aspects of the business and was able to lead LOH not only on design, but merchandising, marketing and labs, this wide ranging knowledge base has been a major asset for me.
2. Eyewear design has transformed significantly over the past two decades. How have you witnessed and contributed to this evolution from design philosophy to material choice?
For me, construction and materials are where everything begins. I consider myself a textile creator for eyewear, whether horn, acetate or titanium creating unique materials gives you a unique position in the design rhelme. I think technology like 3D printing all elements to ensure fit and comfort is a priority has been a major advancement in recent years. I truly believe there has never been more great eyewear or eyewear brands that right now, so I want to be sure the opticians who work with my product love and appreciate it as much as the client. I pay close attention to the details, and try and consider fit and feel as much as the aesthetics of each piece. I also believe building the brand simultaneously is crucial, so many brands in the independent space focus on the product as the primary star, but the brand is the equal partner, they need to synergistically lift one another to higher highs.
3. Buffalo horn became a signature material in your design work. Could you walk us through the creative and technical process of elevating this natural material in modern eyewear design?
I embraced horn because I truly believe the finest eyewear in the world is created from horn. There is simply nothing as comfortable, beautiful and one of a kind as a horn piece. I worked hard to take horn from being a niche product to being a material that could be a luxury centerpiece, working with natural vegetable dyes and flower petals to develop a robust palate of colors.
I really consider the horn creating process as my ultimate happy place, I get to make materials that no one else is using, and then with my experience with the material can create pieces with unique layering and treatments. I produce all of my horn with the finest horn factory in the world, Hoffmann, and am proud to say the material and creation process is as sustainable as any in the world.
4. I noticed that you own several Chrome Hearts accessories. In what ways has their design influenced you, and what significance do they hold for you personally?
Chrome Hearts is my favorite brand in the world, what Richard and Laurie Stark have built is astounding and pure, it is100% authentic, I love that they never compromise with their beliefs, and you feel cooler every time you put a Chrome piece on your body. I think what I try to take from them is a purity of focus, I hope people feel when they experience PRESS eyewear, that each detail was considered to ensure we deliver on our promise without compromise.
5. In 2024 you launched PRESS Eyewear. What inspired you to start your own brand, and how does it reflect your personal vision?
I have been blessed to inherit amazing brands, Morgenthal Frederics and Robert Marc NYC, with talented and iconic mentors, but I felt it was my time to begin something of my own. It was the hardest decision of my life to leave my work family and the amazing organization at New Look, but if I never began PRESS, then my eyewear journey would not have been complete. I believe eyewear is the perfect convergence of form and function, truly jewelry for the face, I wanted to create sculptural dimensional eyewear that allowed the materials to shine, and wanted to ensure we presented each piece in its highest form.
6. What choices are you making in terms of supply chain and distribution materials to balance quality, sustainability, and scalability as you grow?
We focus on working with the finest materials, so the frames are as beautiful as they are comfortable. We work hard to create pieces with the finest partners, and try as best we can to be as sustainable as possible. We use Mazzuchelli bio-acetate, the finest Zeiss bio-nylon lenses, and pure titanium to create our pieces. We pride ourselves on packaging that is both intricate and expansive but try to do that in the most sustainable way possible too.We work in small batches and make many limited edition pieces, to create offerings that are exciting, ever evolving and limit waste.
7. If I may ask, what is the initial investment of time and capital required to launch a luxury eyewear brand? I believe your perspective on this would be very valuable for aspiring entrepreneurs.
We began our collection with 22 styles, I don’t know that I would recommend this, but I didn’t want to be a niche collection, I had a lot to say and wanted to be a significant part of the stores that chose to partner with the PRESS collection. I think timing and investment depends on the approach, eyewear at this level comes with a long lead time and high price of entry, I wanted full control of the direction, and wanted the caliber of the creative to match the product creation.
As for capital investment, it is unquestionably substantial so you have to have confidence in your ability to tell a story and create a product that a very crowded space needs to consider. Don’t overbuy, nothing kills a good company like dead stock, make beautiful things and don’t be afraid to let them sell out, more great ideas are coming.
8. As a CFDA member and collaborator with fashion houses such as Oscar de la Renta and Rag & Bone, how have these experiences enriched your approach to eyewear design? Is the creative process different compared to developing an independent brand?
I have always enjoyed working on collaborations, but they are a different animal for sure from working independently. You need to merge the brands seamlessly so that the creation is greater than the individual parts. Eyewear timelines tend to be longer than apparel, so that is perhaps the biggest logistical challenge, but also the technical complexity of eyewear is a reality that needs to be clear to the partners you work with. I have done lots of collaborations with partners in fashion, art and eyewear and each one is special in its own right. I like the situations when both brands are deeply engaged to create a rich product that speaks to the ethos of both. I think the more I work intimately with other creatives, the better I get at my craft.
9. Looking ahead, what are the key trends or innovations you believe will define eyewear design in the next decade?
I think material exploration is always where I begin my creative process. There has been so much beautiful eyewear through the decades, I think the brands that put their own voice to the design and branding resonate the most. For me, that isn’t so much a trend but a rule of truly exceptional design and brand building. I think it is crucial to embrace technology, even the most artisanal product benefits from well used tech.
10. Craftsmanship remains at the heart of your work. Could you describe how collaboration with artisans and optical professionals inform your design process and customer experience?
I work with factories who have supported me for decades, and this confidence and trust is so important in my process. When I chose to launch my own brand, these relationships that I had built were critical and they stepped up for me with unwavering support.
I wanted to consider every detail, to ensure the opticians working with each piece had great pride in what frames they were presenting to their clients. I tell opticians when I meet with them, that I have been in their shoes, and understand the questions that clients will ask, I try to make a product that anticipates each concern, and exceeds the expectations for the optician and the client.
11. What has been the greatest challenge you have faced, both from a business perspective as an entrepreneur and from a creative perspective as a designer?
Working for a larger organization for so much of my career I was so fortunate to be surrounded by talented people who specialized in areas that weren’t my areas. When beginning your own company, those people are not always as readily available. My advice, surround yourself with people who have complementary skill sets to yours because that way you can focus on the areas of your highest purpose. I say this a lot, know what you don’t know, but also, know what you do know. It takes great confidence to begin a brand and enter a market, so have faith in yourself and your convictions, own your missteps, and adjust as needed.
12. To conclude, I know this may be a question many designer–entrepreneurs tend to avoid, but which independent eyewear brands have caught your attention and, in your view, have the potential for a bright future—aside from your own, of course?
I love so many brands, I think as I said above that eyewear is in a golden age. I like brands who have a unique perspective and voice of their own. I think building a brand is difficult, and consistency is critical. The brands that impress me most are the ones that blaze their own trail, and tell their story not just in the product, but in the content, packaging and overall presentation, To not totally cop out, I’d probably be wearing a Matsuda, if I didn’t make eyewear, I dig that Japanese heritage.
Jeff Press’s story is a testament to following passion with courage and precision. From his early years mastering the craft to redefining buffalo horn as a luxury material, and now with PRESS, he continues to push the boundaries of what eyewear can represent.
His perspective reminds us that true innovation comes from a balance of artistry, authenticity, and respect for the craft — qualities that transform frames into more than accessories, making them essential expressions of identity.
As the industry enters an era rich with creativity and possibility, Jeff Press stands as proof that eyewear is not just about vision correction or fashion, but about storytelling, emotion, and timeless design.
