Eyewear Is the New Streetwear — And Joel Brück Saw It First

For years, the eyewear industry has quietly circled a question once reserved for sneakers and streetwear: can optical evolve into a true cultural force? Today, the signs are impossible to ignore. Global players are aligning themselves with influential artists like Travis Scott and A$AP Rocky, embedding eyewear deeper into the language of contemporary culture. But long before boardrooms identified the opportunity, a more organic movement was already taking shape one built not on strategy decks, but on instinct, proximity, and authenticity.

At the center of that shift is Joel Brück, a figure who has been quietly redefining what eyewear represents within the urban ecosystem. Through his work at City Optikhaus, he moved beyond the conventions of traditional optical retail, transforming it into a curated cultural space where fashion, music, and identity intersect. His influence didn’t come through campaigns or calculated collaborations, but through real relationships placing distinctive, often one-of-one frames on artists like Central Cee and Drake at a time when eyewear was still largely viewed as functional.

What sets this story apart is not just timing, but intention. While much of the industry is only now embracing customization, exclusivity, and storytelling, these principles have been embedded in Joel Brück’s approach for over a decade. From pioneering bespoke Cartier pieces to shaping a clientele that includes global icons such as Bruno Mars, his work reflects a deeper understanding: culture cannot be manufactured it must be lived. In this unfiltered conversation, he outlines the philosophy, discipline, and vision behind a movement that may well define the next era of eyewear.

You’ve brought a distinct energy to the optical industry, blending eyewear with elements of urban culture. How did your journey into this space begin?

I grew up around eyewear it has always been part of my environment. My father was an optician, so I was exposed to the industry from an early age.

Still, it was never my plan to become a traditional optician. From the beginning, I was more drawn to fashion, music, and culture.

At that time, eyewear was still perceived purely as a functional product. To me, that felt like a clear limitation.

When eyewear started evolving into a true fashion statement, I realized there was a gap and more importantly, an opportunity.

I didn’t want to simply follow the industry, I wanted to change how people perceive eyewear. That mindset still drives everything I do today.

City Optikhaus has become one of the most recognized optical destinations in Europe. How did the concept originate, and what were the key moments that shaped its growth?

City Optikhaus has become what it is today because we never positioned ourselves as a traditional optical store.

From the beginning, we consciously moved away from classic optical concepts and focused instead on curation, exclusivity, and a clear aesthetic vision.

An important step was that around ten years ago, we were among the first optical stores in Germany to introduce custom eyewear particularly with individualized Cartier pieces.

At the time, we were pioneers in many areas, whether it was unique lens colors and shapes or refinements such as diamond detailing. What is now considered a clear trend is something we established early on.

Our connections with artists such as Luciano, Reezy, or Rampa, and internationally with clients like Central Cee, Drake, or Bruno Mars, were never something we actively pursued they developed naturally because the right people recognized what we were building.

Opening our Berlin flagship store was the next major step in bringing this vision to an international level.

At this point, we are no longer just a store we are a reference in this space.

Given your strong curatorial vision, have you considered launching your own eyewear label?

We are exactly at that point now.

After more than 15 years in the industry and three years of intensive development, we will launch our own brand, Joël Laville, this summer.

For me, it was never about simply creating another brand. I deliberately took the time to develop something that truly reflects my own standards in every aspect from design and materials to the smallest details.

It is the result of experience, ambition, and a very clear vision of what modern eyewear should be today.

How do you assess the current state of the eyewear market, both from a retail and cultural perspective?

The market is currently very dynamic, but you also hear a lot of negative sentiment, especially when it comes to sales and performance.

However, I believe this is less about the market itself and more about the fact that many stores don’t truly know what they stand for.

Today, it is no longer enough to simply sell products. You need a clear concept, a strong identity and you have to fully stand behind it.

Customers have become much more aware and selective. They don’t just buy a product anymore, they choose brands that represent something.

I believe the brands that will succeed are those with a clear vision and the consistency to execute it.

You are often seen working closely with high-profile figures, providing them with premium eyewear. How important is credibility and trust when operating at that level of the industry?

Trust is absolutely essential in this space.

People like Drake or Central Cee don’t come to you just for a product they come because they trust your eye, your taste, and your understanding of their identity.

It’s about precision, discretion, and consistency.

For me, it is crucial to meet everyone on the same level regardless of how big their name is.

That is something people truly appreciate, because it doesn’t feel like a traditional sales situation, but more like a consultation between equals.

Over time, this has led to many close, and in some cases even personal, relationships.

Looking ahead, how do you see the optical industry evolving over the next few years?

I believe the industry will continue to move strongly towards individuality and experience in the coming years.

There will always be standard products, but the focus is clearly shifting towards limited collections, customization, and personal consultation.

At the same time, services such as private appointments and international VIP experiences will become increasingly important this is already part of how we operate today.

To what extent do you believe social media is reshaping the eyewear landscape, both in terms of branding and consumer behavior?

Social media has completely transformed the industry.

It has allowed us to build a global presence without relying on traditional structures.

At the same time, it has made everything more transparent you can no longer fake identity.

Either you have a clear vision and a strong visual language, or you get lost in the noise.

For us, it was never just about showing products, but about creating a world that people want to be part of.

Conclusion

If the past decade belonged to sneakers and streetwear, the next may well belong to eyewear and the foundations are already in place. What was once a purely functional category is rapidly becoming a vehicle for identity, status, and cultural expression. The shift we are witnessing today mirrors the early days of a movement that would later redefine global fashion.

Figures like Joel Brück, are not simply participating in this evolution they are shaping it. Without corporate backing or inflated budgets, but through vision, consistency, and credibility, they have laid the groundwork for what is now emerging as a global phenomenon.

As the industry accelerates toward a future defined by individuality, curation, and experience, one thing becomes clear: true cultural movements don’t start at the top they rise from within. And by the time the world catches up, the pioneers have already moved ahead.