This SoCal Specialty Business Has Been Fitting VIPs With the Right Frames for Over Three Decades

WE’RE SURE YOU’VE had that moment — sitting in a darkened movie theater, watching a scene unfold, only to find yourself fixated on a character’s glasses. Are they vintage or custom-made? Do they fit the character’s personality? Are those planos? For Wendy Cohen, owner of Image Optics in Burbank, CA, such questions are the foundation of her business.

For over three decades, Image Optics has provided glasses for Hollywood films, TV and commercials. Working from inside a prop house, Cohen and her team carefully select or create frames that bring characters to life on screen. And while their focus is on storytelling through eyewear, they also provide optical services to actors who need real Rx glasses.

THE IDEA

Cohen’s move into styling for Hollywood was inspired by an eye doctor she had worked for when she first moved to California who later began providing special effects contact lenses. Fascinated by his new line of work, she told him she wanted to start a business providing glasses for movies and TV, much as he had done with contacts. His response, recalls Cohen, was “‘Let’s do it!’ Image Optics was born 32 years ago. My first project was Cops and Robbersons with Chevy Chase, which feels like a lifetime ago, but it was an exciting start.”

THE EXECUTION

Ensuring that actors wear the perfect eyewear on screen requires a mix of research, creativity, and speed. Image Optics collaborates closely with actors, directors, producers, and costume designers to select frames that complement both the character and the period setting. “It’s not just about finding a pair of glasses that look good — it’s about fitting both the face and the role,” says Cohen, adding that this is not product placement, which can result in eyewear that doesn’t fit the character or period. This attention to detail was essential in their work on Oppenheimer, in which Robert Downey Jr.’s frames were meticulously matched to those worn by his real-life counterpart, Lewis Strauss. Other memorable jobs include eyewear for iconic characters like Poison Ivy from Batman and for Ford vs. Ferrari with Matt Damon and Christian Bale.

Deadlines can be tight. “We often get very little time with actors — sometimes just a day or two before shooting — so we need strong relationships with frame companies and labs that can deliver quickly,” Cohen explains. In-house lens cutting allows her team of licensed opticians to handle last-minute changes, while an extensive inventory of over 20,000 SKUs provides a deep well of options. Their collection includes eyewear from the 1800s through to contemporary and futuristic designs. If necessary, they modify existing frames or even create new ones from scratch.

Their reputation for precision has made Image Optics a go-to resource in the industry. “Most of our work comes through word of mouth, and we’re at a point where we can choose our projects,” says Cohen.

THE REWARDS

“There is nothing like seeing your work on the big screen,” Cohen says. “Watching Oppenheimer … and knowing my work contributed to the film is… indescribable. Knowing that a director attributes the eyewear to completing his character is the ultimate compliment.” Image Optics’ choices have even started trends; the large black frame with blue vanity tint style worn by Dustin Hoffman in Wag the Dog wasn’t popular at the time but became mainstream after their screen appearance. “Working with incredible people and having a hand in such iconic moments is immensely rewarding,” she says. “While I might have made more money with a traditional retail store, I doubt it would have been as fulfilling.”