Nina Mûr makes its own birch-plywood frames from scratch in Madrid.

Nina Mûr is a lesson in own-workshop sculpture as the identity. A Madrid studio, it makes architectural, colour-forward frames from wood — birch plywood it laminates itself — from scratch.

Its identity is the sculptural frame. Nina Mûr’s made-to-order birch-plywood frames — architectural, colourful, sculptural — are the work it is known for. Eyewear as sculpture. Wood, worked by hand.

(Honest notes: Nina Mûr is a Spanish eyewear studio in Madrid. First, a correction people often miss: “Nina Mûr” is a brand name, not a real person — it is a tribute to Nina Simone and to Camille Claudel’s sculpture L’âge mûr. It was founded around 2018 (one source says 2014, so we hedge) by the design duo Lorena Serrano, from an optician family, and Davide Fichera, a Florence-trained architect who handles production. Its signature is sculptural wood — its material is laminated Finnish birch plywood, FSC-certified, which it makes in-house, not acetate, in architectural, colour-forward shapes, made to order over some forty hours and eighty-plus steps, using proprietary CNC and software, with only minor Italian acetate temple tips. On production, it genuinely makes in its own Madrid workshop, from scratch, in Spain — not outsourced to Italy or China. It is independent, sold only through boutique opticians. Its model names and its Okuda collaboration artwork are IP we describe but don’t reproduce, and we don’t call it “handmade acetate,” because it is birch wood. There’s no official brand hex — these tones are an unofficial interpretation. This is design commentary and does not promote any product.)

Nina Mûr lives in a magenta-and-birch palette. Click a swatch to copy the hex.

Nina Mûr’s identity is sculptural, colourful and warm — a magenta, an ink, a birch, a graphite, and a blush. The palette leans magenta and birch — the register of colour-forward design and natural laminated wood. It signals art and craft rather than restraint. The honest caveat: with no published brand hex, these tones are an original, unofficial interpretation, not first-party values.

The lesson is a magenta-and-birch palette signals sculptural wood. Nina Mûr’s world is a sculptural, colourful, handmade object. For designers, it is a reminder that a material and a point of view — birch plywood, worked as sculpture — can be the whole identity, and that a colour-plus-wood palette signals that artfulness. Because a bright magenta can fail as small text, keep type dark and let the colour live in the accents, palette and band. The takeaways: choose the material; work it as sculpture; own the workshop; and treat any single hex as unofficial.

The register is an architectural sans — precise, sculptural, modern.

Nina Mûr’s identity carries a precise, sculptural, modern spirit — an architectural, colourful object. A geometric, architectural sans captures the mood: it is exact and considered, the register of design as sculpture. Set in a magenta-and-birch palette, the architectural sans feels precise and sculptural — exactly the personality Nina Mûr carries. It is structural rather than decorative, mirroring a sculpted wood frame. (Nina Mûr’s real frames and wordmark are works we describe but do not reproduce, and the exact typeface is not ours to use.) Because it is not ours to use, the honest description is “an architectural sans spirit,” shown here in a stand-in. The type behaves like the brand: precise, sculptural and modern.

Nina Mûr stands for the sculptural frame.

Nina Mûr is a lesson in making a material and a point of view the identity. A magenta-and-birch palette, an architectural sans and an own-made frame make sculptural wood the whole brand — sculptural, colourful, handmade. The material is the differentiator. The differentiator is birch plywood the studio laminates itself, worked as sculpture and made to order in its own Madrid workshop.

Put to work, the identity is material and craft as design. A designer building in this spirit would choose an unusual material, master making it in-house, and treat each frame as a small sculpture rather than a product, so the object reads as art you can wear. The lesson Nina Mûr teaches is that an own workshop and a clear point of view can build a brand: a self-made material, made-to-order craft, and an architectural, colour-forward design language give it a distinct identity a mass-market label can’t fake. Two people, one workshop, wood turned into sculpture — that is the whole idea.

For designers and brand-builders, Nina Mûr offers a clear takeaway: let a self-made material and a point of view carry the object. The lessons: choose the material; make it yourself; work it as sculpture; and be honest about the story. It is also a reminder to stay accurate: “Nina Mûr” is a brand name, not a person; the material is birch wood, not acetate; and the founding is best dated to around 2018 — the palette here is an unofficial interpretation. And it is a reminder that made-where honesty can be a genuine boast: Nina Mûr makes in its own Madrid workshop, from scratch, in Spain, and that is worth stating plainly. Nina Mûr made the sculptural frame the brand — proof that a self-made material and a point of view can be the difference.

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