1990s: Grunge, Glam, and Ray-Ban Game

From Britpop to Beverly Hills, Ray-Ban kept its edge while everything else went baggy.

A Decade of Cultural Comebacks

The 1990s began with Ray-Ban riding high from the previous decade’s success, but the brand soon encountered headwinds. Fashion in the early ’90s took a turn away from the flashy excess of the ’80s. The grunge movement, for example, favored a dressed-down, anti-fashion look – flannel shirts, unkempt hair, and if any eyewear, maybe cheap thrift-store shades or John Lennon-style round glasses, not necessarily premium Ray-Bans. Additionally, wraparound sport sunglasses became all the rage in the ’90s, popularized by brands like Oakley, Arnette, and others. These had futuristic looks and could be perched on one’s forehead (a style many adopted) – something not as feasible with Ray-Ban’s more traditional frame shapes. As a result, Ray-Ban’s classic styles started to seem old-fashioned to younger consumers. By the mid-90s, if you wore Aviators or Wayfarers, you were either embracing a retro look or you were an older holdover; the cutting-edge crowd had moved to sleeker, more aggressively modern designs. Notable is that even though Ray-Ban had multiple iconic models, none were truly new in the ’90s. The Clubmaster had some vogue in the early ’90s, partly thanks to its appearance on Denzel Washington (as Malcolm X) in the 1992 film *Malcolm X* – those browline glasses fit the period setting and sparked a short-lived mini-revival of that style. And 1992’s cult hit *Reservoir Dogs* famously had its ensemble cast don sleek black suits and black Ray-Ban Wayfarer sunglasses, evoking the Blues Brothers and keeping Wayfarers in the cinematic conversation. But these moments were exceptions. Overall, Ray-Ban’s once-ubiquitous presence in media diminished as film and TV costumers sought more contemporary eyewear for characters. For example, the hit series *The X-Files* (debut 1993) put Agent Mulder in unbranded wireframe shades when he wore any; *Seinfeld* played a joke by having George Costanza pick out ridiculous lens-less eyeglass frames. The vibe had shifted. That’s not to say Ray-Ban disappeared – far from it. The *Men in Black* phenomenon in 1997 was a last hurrah of sorts: Will Smith and Tommy Lee Jones wore the Ray-Ban Predator (a newer Ray-Ban model with a wraparound shape) as part of their uniform, which caused a spike in sales for that model – reportedly increasing Ray-Ban’s Predator sales by 300% in the year after *Men in Black*. It showed that with the right push, Ray-Ban could still catch the zeitgeist. The Predators were sportier and more in line with ’90s tastes, indicating Ray-Ban was trying to adapt with at least some new designs. But one style success couldn’t counteract broader trends. By the late ’90s, Ray-Ban faced another issue: the brand had become overexposed and undervalued. Bausch & Lomb, in an effort to cash in on Ray-Ban’s fame, had allowed the sunglasses to be sold in all manner of outlets during the decade – from high-end department stores down to gas stations and convenience shops. Ray-Bans could even be found spinning on cheap sunglass racks for $20-$30 a pair by the mid-90s. This mass-market approach backfired; the once-premium image eroded as Ray-Ban became ubiquitous and, worse, associated with low quality due to some shoddy mass-produced batches. As one analysis put it, “these flimsy frames and cheap lenses” flooded the market and hurt Ray-Ban’s reputation. In trying to be everywhere, Ray-Ban was at risk of becoming just another pair of sunglasses.
Ray-Ban tapped into the decade's streetwear, grunge, and Britpop trends.
A Decade of Cultural Comebacks
A Brand at a Crossroads

A Brand at a Crossroads

Unsurprisingly, Ray-Ban’s business took a hit. Sales volumes may have been decent due to the mass distribution, but profit margins and brand cachet were shrinking. By the mid-90s, competition was fiercer than ever: Oakley was exploding in popularity (especially with their high-performance, high-priced shades favored by athletes and celebrities), and European luxury houses began licensing sunglasses that carried designer labels, stealing fashion-conscious customers. Ray-Ban found itself somewhat stuck – its core styles were considered “classic” (read: a bit stale to the trend-driven), and its attempts at sporty designs were overshadowed by specialized sport brands.

The result was a decline in Ray-Ban’s perceived value and, likely, its financial performance. Bausch & Lomb’s eyewear division was struggling; aside from Ray-Ban, B&L made lenses and other optical equipment, and they were refocusing on those core medical businesses. By 1998, rumors swirled that Bausch & Lomb might offload Ray-Ban. That came to pass in 1999 when B&L agreed to sell the Ray-Ban brand to Luxottica Group – an Italian eyewear giant – for a reported $640 million. This marked the end of six decades of B&L stewardship and the beginning of a new era.

Why did B&L sell? In short, Ray-Ban had lost its luster under their management by the late ’90s. The brand had “fallen behind Oakley in the 1990s” and was no longer the runaway market leader. B&L likely saw the writing on the wall that Ray-Ban needed a major revamp and global distribution muscle – something Luxottica, which by then had built a vast eyewear empire (LensCrafters retail stores, many licensed brands, etc.), could provide. Indeed, Luxottica sensed Ray-Ban’s potential despite its current woes, believing they could turn it around with the right strategy.

In summary, the 1990s were a humbling decade for Ray-Ban. After the stratospheric highs of the ’80s, the brand got caught in a downtrend of shifting tastes and strategic missteps (over-saturating the market with low-end product). By decade’s close, Ray-Ban went from being a crown jewel of Bausch & Lomb to a tarnished asset that a new owner would have to rescue. It set the stage for one of the most dramatic brand revivals in fashion history – but that revival would be executed under Luxottica’s guidance in the 2000s.

Luxottica’s acquisition marked the start of Ray-Ban’s turnaround.

Takeover

When Luxottica took over Ray-Ban in 1999, they clearly had a plan. The Italian company – led by founder Leonardo Del Vecchio – was known for acquiring struggling eyewear brands and restoring them. For Ray-Ban, Luxottica’s immediate strategy in 1999-2000 was to pull the brand out of the bargain bin. They famously slashed the number of points of sale, “dumping 13,000 stores” that were diluting the brand’s prestige. Gas stations and convenience store racks lost access to Ray-Ban overnight. Concurrently, Luxottica discontinued many of the cheaply made versions. They moved all Ray-Ban production to Luxottica’s own high-tech factories in Italy, closing B&L’s outdated manufacturing lines that had been turning out subpar product. Essentially, they hit reset on quality and distribution.

The late ’90s transition also saw Luxottica refocus Ray-Ban’s image. Advertising in 1999 (and into the early 2000s) shifted back to highlighting Ray-Ban’s heritage and timeless appeal. One could sense the brand pulling back from chasing trends and instead preparing to reassert itself as an authority. Luxottica knew that to rebuild Ray-Ban, they had to reestablish it as cool and premium. This meant short-term sacrifice of volume for long-term brand equity. Indeed, Ray-Ban’s availability dipped in 1999-2000 as Luxottica recalibrated – a strategy that paid off not immediately, but a few years later when the brand’s rebirth kicked in fully.

In the context of the 1990s, it’s interesting: the decade ended with Ray-Ban at its nadir yet on the cusp of a revival. Many consumers might not have realized the ownership change, but they soon noticed that Ray-Bans were no longer dirt-cheap and everywhere. Instead, they were once again something you’d find at a proper eyewear boutique or a Sunglass Hut (which, conveniently, Luxottica also owned). This cleansing of the palate, so to speak, would allow Ray-Ban to enter the 2000s with a clean slate.

Financially, the sale to Luxottica for $640 million was sizeable but, as it turned out, a bargain for Luxottica given Ray-Ban’s future performance. For Bausch & Lomb, it was a bittersweet end – they relinquished an iconic brand due to short-term difficulties. For Luxottica, it was an opportunity to apply their marketing prowess to a sleeping giant. The stage was now set for Ray-Ban’s dramatic comeback in the new millennium, once the brand could shake off the dust of the ’90s and reconnect with consumers on fresh terms.

The Luxottica era dawns: more focus, more fashion, more future.
Takeover

Marketing & Advertising

1990–1995: The early ’90s were challenging for Ray-Ban. The ’80s “retro” revival that buoyed Wayfarers lost momentum, and wraparound sport sunglasses (Oakley, etc.) took center stage. Ray-Ban’s marketing strategy during this slump focused on heritage and quality. Ads featured the tagline “The world’s finest sunglasses” (used in a 1992 Australian TV spot) and showed technicians crafting lenses, to underscore B&L’s optics expertise. Campaigns like “Ray-Ban. For Life” attempted to position the glasses as a lifelong investment in style and eye protection. Media channels included print ads in travel and lifestyle magazines, and a modest TV presence. Ray-Ban also tried youth outreach via music: in 1994, Ray-Ban sponsored the Warped Tour (an alternative music festival), giving out branded merch and creating a “Ray-Ban Rock” ad series featuring emerging rock bands wearing Ray-Bans. Despite these efforts, by the mid-’90s Ray-Ban was perceived as less trendy. B&L’s marketing remained regionally managed – e.g., Arnell Group handled U.S. creative until the late ’90s – which led to inconsistent messaging globally. Sales lagged, so B&L prepared a major overhaul for the brand’s image in the latter half of the decade.

1996–1998: In a bid to revitalize Ray-Ban, Bausch & Lomb consolidated its advertising worldwide and pursued a unified campaign for the first time. After a short engagement with BBH London, the account went to Bozell Worldwide in 1997. Bozell developed Ray-Ban’s first global ad campaign, introducing the tagline “Definitely Ray-Ban.” Launched in early 1998, this campaign’s creative direction married Ray-Ban’s fashion heritage with a new emphasis on product performance. The flagship 30-second TV spot – often called the “vampire ad” – depicted a group of hip young vampires at a beach sunrise. All are wearing Ray-Bans and survive the sun, except one who forgot his pair and is dramatically incinerated, to the laughter of his Ray-Ban-clad friends. The dark humor delivered the message: Ray-Ban offers serious sun protection (even for vampires) while staying cool and fashionable. This TV ad aired globally (Bozell handled worldwide media buying) in spring 1998, accompanied by five print ads that echoed the “glare protection” theme or highlighted other product attributes like durability. One print execution showed vampires in a nightclub with the headline “Glare Protection,” directly tying the undead theme to the lens benefit. The campaign co-opted late-’90s pop culture trends (vampires were in vogue from films like Interview with the Vampire and Buffy the Vampire Slayer) to engage audiences. Advertising agencies: Bozell led creative; the tagline and concept went through extensive testing to ensure global resonance. Geographic focus: truly global – Bozell’s CCO Jay Schulberg noted the ads would be as effective “in Melbourne as in Minneapolis.” Outcomes: The “Definitely Ray-Ban” campaign successfully reframed Ray-Ban as a modern, innovative brand. Critics praised the edgy vampire ad for its wit, and Ray-Ban saw improved sales traction among younger consumers in 1998–99, setting the stage for the brand’s sale to Luxottica.

1999: A turning point year – Italian eyewear giant Luxottica acquired Ray-Ban from B&L in 1999. In marketing terms, this led to a strategic shift. Luxottica initially pulled back on large campaigns to reorganize distribution (removing Ray-Bans from low-end outlets to preserve premium status) and to develop a cohesive brand strategy. For consumers, 1999’s marketing was relatively quiet: Ray-Ban ran some transitional ads reinforcing “Real Ray-Ban – Genuine since 1937,” reassuring customers that quality would remain high under new ownership. Luxottica did invest in product placement continuity (ensuring Ray-Bans still appeared in films/TV into the 2000s). By the end of ’99, Ray-Ban’s branding took on a slightly more luxurious tone, hinting at the shift to come. Internally, Luxottica set the stage for a major rebrand and campaign in the 2000s, hiring new marketing leadership and engaging agencies like Armando Testa (Italy) and later TBWA for fresh creative input.

Join The Ray-Ban Roundup

Stay in the loop with iconic styles, rare finds, and behind-the-scenes stories from Ray-Ban’s legendary past. Sign up now – because history looks better through classic lenses.