This classic frame inspired by aviation in the 1930’s is making a striking comeback! We’re seeing the legendary double bar, teardrop, and even round hybrid shapes take on a whole new attitude. But the original aviator sunglass will forever be timeless. Now, the aviator is back and more popular than ever with a clear lens. Countless celebrities are making this frame look so chic—from effortless street style to high end fashion.
The aviator originated in the 1930’s to offer the utmost glare protection for pilots. The wide-angle teardrop shape kept in mind their unique visual needs while flying in the cockpit. Test pilots used to wear fur lined goggles to protect them from extreme cold temperatures prior to the aviator. If they were to take them off, their eyes could literally freeze. Bauch and Lomb produced the sleek new lightweight replacement for goggles we now know as the aviator. In World War II this frame became standard military issue and was eventually trademarked as “Rayban Aviators.”
General Douglas MacArthur helped put this signature look on the map. This once exclusive men’s frame has become a frame for all!
The clear lens aviator was a huge trend in the 70’s—especially on women who were making this once “masculine” shape more feminine. The aviator can give a laid-back menswear quality, but when paired with a feminine outfit, has no trouble pulling together a perfectly polished look.
The MYKITA “Dagur” has elements of the aviator with the double bar, but takes on an airy, more elegant feel.
Going with a smaller version of the oversized teardrop shape looks absolutely fantastic. Anne et Valentin was inspired by the aviator when creating the “M4” in their “minimalist” collection. They also used mixed elements of metal and acetate to accentuate the shape.
Classics like the aviator are never out of style, and now they are trending more than ever. Eclectic Eye has the perfect aviator look for everyone—stop in and find your style today!
Below Rebecca and Erika are wearing KREWE’s new “MSY” aviator, with Taylor in KREWE’s “Orleans II.”
Which one is your favorite?
