Oversized leopard-print sunglasses in brown and gold

How the graded tint behaves in daylight

The brown changes strength as it travels down the glass. It sits deepest along the top rim, thins through the middle of the lens and finishes pale at the bottom, so a high midday sun meets the darkest part of the lens while a low afternoon one meets the lightest. The print answers the same test: held against the light, the honey and amber blotches turn warm and let some of it through, while the darkest ones stay flat.

Where the honey, the gold and the brown sit

Oversized sunglasses, leopard print, gold wire arms

The front is broad: square lenses with the corners taken off, and a top line that lifts a little as it runs out to the temples. Against that width, the arms read as little more than a line. The print picks up again at the very end of each one, so the brown carries back past the ear instead of stopping at the hinge. Round, oval, rectangular and butterfly shapes are listed together with every other frame shape in the range.

The studded triangle at the hinge

Where each arm meets the front there is a studded gold triangle, the dots set out in neat rows across its face. It is the part of the pair that moves in the light: turn your head and the dots catch it one after another. Nothing else on the frame is worked that way.

Wearing leopard print without doubling up

A front this wide takes over the top of the face, which is the reason to buy one. Keep the rest quiet: a plain knit, a white shirt, a coat in a single colour. If you do want a second pattern, keep it small and keep it low, a scarf in a quieter print at the neck rather than a second animal print. Gold-toned jewellery works better here than silver.