The upper line is cut; the lower line returns to a curve. Between them, the acetate changes thickness and catches light along the bevels. Lesca Pica owes its recognisable character to this balance: a rounded shape given tension by its angles. Two intertwined stories explain it, that of the crown panto and that of the Lesca family.
From panto to crown panto
Panto is short for pantoscopic. In eyewear it describes a shape within the round family, often slightly oval with a flatter upper section than a perfect circle. It belongs to the classic vocabulary from which many twentieth-century frames developed.
The crown panto changes the upper profile through a near-horizontal cut and angular transitions. The lower section retains the panto curve; the top introduces the crown that gives the shape its name.
Roots in French eyewear
The crown panto belongs to the repertoire of early twentieth-century French eyewear and is documented in frames from the 1930s. In later decades, substantial fronts and compact lenses became recurring features of the style often called Frame France, referring to the proportions and workmanship of French tradition.
Lesca has been part of that culture since 1964. In the house’s account of its history, generous acetate and sculptural shapes connect with the design and architecture of the 1950s and 1960s. Pica draws on that repertoire, developing its character through the way surfaces are cut and joined.
Pica, as in Picasso
Lesca links the model’s name to Picasso and credits Joël Lesca with reinterpreting this French shape through cuts inspired by cubism. The reference becomes clear at the front: planes and angles interrupt the curve, giving the acetate an almost sculptural relief.
The lens opening and the outer contour follow different lines. Between them, thickness varies; bevels create surfaces that catch the light in turn. A three-quarter view reveals this construction and explains why the Pica’s expression changes as you look from another angle.
The keyhole bridge within the front
At the centre, the keyhole bridge creates a small opening that is wider at the top and narrows below. Look at it alongside the two rims: it interrupts the acetate and clearly separates the lenses. In such a substantial frame, this empty space contributes to the balance.
The detail has both an aesthetic and a fitting role. A keyhole outline does not guarantee a particular fit on the nose; depth, inner shape and contact position also matter. Assess Pica from the front for its character, then on the face for the position it takes.
Black and 053
Black emphasises the continuity of the front and the upper cut. Reflections reveal the facets, making Pica’s geometry particularly clear.
In 053, tortoiseshell alternates amber and darker areas. Light passes differently through the acetate, giving the outline a warmer, less uniform appearance.
The frames in this story
Is the Pica a small frame?
Its 44 lens width might suggest so, but that number describes only the width of one lens. The Black and 053 versions have a 25 mm bridge and 145 mm temples. The substantial acetate and outer ends add to the front’s size: assess the whole frame to judge its proportions.
The Pica is worth trying if you like compact lenses within a prominent shape. If you prefer a more horizontal outline or a more continuous curve, the comparison with Posh and Corbs helps identify the difference that matters to you.
| Model | Lens width | Bridge | Temple |
|---|---|---|---|
| Pica Black | 44 mm | 25 mm | 145 mm |
| Pica 053 | 44 mm | 25 mm | 145 mm |
Measurements of the linked versions, in millimetres. Photographs are not to a shared scale.
