The Plaza draws from the Italy that emerged after WWII with its appetite for invention newly sharpened. Furniture, interiors, and industrial objects—from Olivetti typewriters, Campari graphics, and Pirelli commissions—entered the world with the conviction that modern life could be practical, seductive, and exacting all at once.

The spectacle carries that spirit through a rectangular silhouette and daringly straight brow, its near-square lenses recessed deep within thick acetate. Sharp bevels break the surface with cinematic depth, its proportions clean but never plain, substantial but never heavy, with every edge working to heighten the tension between utility and refinement.

The Rover color story takes on the richness of lacquered green resin, dense at first glance and unexpectedly translucent in motion. One of Jacques Marie Mage’s most assertive silhouettes, these are spectacles shaped by the polished discipline and restless invention of postwar Italian design.