Eyestylist

  | Eyestylist 2nd April 2026

l.a. eyeworks reveal cases + cloths in latest collab with Huntley Muir

l.a. eyeworks showed the newly commissioned designs at LOFT in New York. The release includes four protective hard cases and four microfibre cleaning cloths which complement their eyewear collection for 2026.

The cases and cloths have been created by the British-based collaborative duo Huntley Muir (Su Huntley and Donna Muir), comprising a new chapter in a creative partnership with l.a.eyeworks which spans decades. The artists started working with Gai Gherardi in 1980, during the eyewear company’s first year of business. l.a. eyeworks was a trailblazer at the time for the introduction of art into eyewear accessory design and brand imagery.

One of the cloths from a previous collaboration edition featured on Eyestylist.com in August 2017 as part of a feature about the design of eyewear accessories at the time (https://www.eyestylist.com/2017/08/eyewear-accessories-fashion-function/).

“What we have created for l.a. eyeworks is a deliberate conversation with Gai and a tribute to her while also answering the brief to bridge into the future…” Su Huntley on the new designs

One of the cloths has been named “Insect Paths”. The theme of the natural world and insect movement is explored “with expressive, human mark-making”. Another cloth and case is inspired by “Rhythm” – ongoing work by the artists made while listening to music. A “Minnie Mouse” character appears again in the new Edition, a motif that has been a recurring symbol for more than 10 years. Other striking motifs include a bold stiletto shoe and a frog, a creature that Gai was particularly fond of.

A previous  highlight of the close collaboration, Su Huntley and Donna Muir also created a video called “Walk with l.a. eyeworks” for l.a. eyeworks’ 2007 Fashion L.A. Awards nomination in marketing excellence – see the video at https://www.laeyeworks.com/artist-projects-huntley-muir.

Find our more about the new collection at www.laeyeworks.com. Read more about the artists at https://www.huntleymuir.co.uk

  | Eyestylist 30th March 2026

Award-winning optical retail: The Eye Piece, Sydney

With a new store at 200 George Street, opened in August/September 2025, and established stores in Hunter Street (Sydney), Wahroonga, and Balmain, The Eye Piece is one of Australia’s most highly regarded independent eyewear stores and advanced eye care destinations. The Eye Piece is a Finalist in the 2026 Australian Small Business Champion Awards. Eyestylist talked to Paul Lee, Founder of The Eye Piece.

Congratulations on your Small Business Award 2026. What does this mean for The Eye Piece? Thank you. This award means a great deal to us because it recognises something we have always believed in: an independent, family-owned business can stand alongside the biggest players in the industry through dedication, innovation, and genuine care for customers.

For our team, it is also a recognition of the people behind the brand. With many of our staff having been with us for more than a decade, it brings a deep sense of pride and ownership to what they do every day. We often say that people make the brand, and this award reflects the collective effort and commitment of our entire team. From the beginning, our philosophy has been to think global and act local. We look to the world for inspiration in craftsmanship, technology  and design, but we deliver it in a way that feels personal and meaningful to the customers we serve. The optical industry has changed significantly over the years, with many independents being absorbed by large corporations. To be recognised while remaining proudly independent reminds us that there is still strong value in craftsmanship, relationships and personalised care. At the same time, we are very excited about the future of our industry. We are witnessing the emergence of smart glasses and new optical technologies that will change how people interact with eyewear. This recognition also gives us a wonderful platform to share our vision for what’s next and to continue contributing to the evolution of our industry. Above: The Eye Piece, 200 George Street, Sydney – a new “eyewear” destination in Australia – also featuring an Essilor Vision Centre

The Eye Piece, Sydney

Since opening in 2007, can you explain how the business has developed and grown. How many stores do you now have in total? How are they all different? When we opened our first practice in 2007, our ambition was very clear: we wanted to become Australia’s finest optometrist, combining exceptional clinical care with thoughtfully curated eyewear. In those early years, we realised quickly that customers were looking for something more than just a pair of glasses. They wanted expertise, individuality, and a team they could trust. Since then, the business has grown steadily and organically. Today, we operate four locations across Sydney: Wahroonga, Balmain, and two practices in the CBD. Our newest location is our 200 George Street flagship, which represents the next chapter of our journey and reflects how far the business has come. What makes our practices unique is that each one is shaped by the community and market around it. Each team runs its store with a strong sense of ownership and curates the services and brands specifically for its clientele. Because of this, we intentionally hold different eyewear collections across our stores, ensuring each location reflects the style and needs of the local market.

Design is also an important part of how we express each practice’s identity. None of our stores are designed the same. We try to tie each location to a story connected to its surroundings. For example, our Balmain practice features extensive stone elements, inspired by the suburb’s history with stone quarries. Our Hunter Street practice draws from the heritage architecture of the building, allowing the space to honour its surroundings while housing modern eye care technology. When we first started the business, our motto was “See the Difference.” As the business has grown and our vision has expanded, that philosophy has evolved into “True Vision Starts Here.” It reflects not only the clinical care we provide, but also our belief that expertise, experience, and people all play a role in helping customers see differently. Across all our practices, the common thread remains the same: personalised service, clinical excellence, and carefully curated eyewear that reflects craftsmanship and individuality.

What are the biggest changes and challenges you have seen since opening in 2007, and what surprises you about what the modern eyewear customer now looks for both in terms of specialist care and style? One of the biggest changes has been the consolidation of the optical industry. Large corporations now dominate many markets, which has made it more challenging for independents to stand out. At the same time, it has also created an opportunity for businesses like ours to focus on what corporates often cannot offer: deep expertise, authentic relationships, and carefully curated eyewear. Another major shift has been the role of eyewear itself. Years ago, glasses were often seen as purely functional. Today, they are both a health necessity and a personal statement. Customers are far more informed and curious. They want to understand lens technology, eye health, and the craftsmanship behind the frames they wear.We are also seeing a new level of curiosity emerging with the arrival of smart glasses and new wearable technologies. As these products begin to enter the market, customers are increasingly interested in how eyewear may evolve beyond vision correction into something that interacts with everyday life. At the same time, people are looking for greater individuality. Many customers now seek limited editions, customisation, and products that feel personal to them rather than mass-produced. They appreciate knowing the story behind a brand, where a frame is made, and the expertise of the person helping them choose it.We have been fortunate that over nearly twenty years we have built strong relationships with our global suppliers. These relationships allow us to access unique collections, limited releases, and innovative products that we can bring to our clients. In many ways, those long-term partnerships have become an important part of how we continue to deliver something different and meaningful to the modern eyewear customer. Perhaps most reassuring is that in a world that is becoming increasingly digital, people still value genuine human guidance when it comes to their vision and personal style.

AHLEM Eyewear at The Eye Piece, 200 George Street

200 George Street is a superb example of fine eyewear curation in a special setting. Who is behind the design of the store, and what design features are you especially happy with? The idea for the store had been in my mind for some time. I wanted to create a space that reflected the same values we believe in as a business: precision, craftsmanship, and understated elegance. The design itself was a collaborative effort between our team and architect Ricci Bloch, who has been involved with our stores since the very beginning and understands the philosophy behind The Eye Piece. For this project, Ricci also collaborated closely with the LINDBERG architects, which made the process particularly interesting. It was quite a challenging project because it represents one of the first examples of a mono-brand Lindberg concept within an independent optical practice. The goal was to ensure that the LINDBERG identity sat naturally within The Eye Piece environment rather than feeling separate from it. What I am most pleased about is how seamlessly the two design languages came together. We managed to incorporate the LINDBERG shop-in-shop concept while still maintaining the overall identity of The Eye Piece. It feels cohesive rather than divided, which was very important to us. Another feature we are proud of is how the space balances clinical precision with a welcoming retail environment. Advanced eye care technology sits alongside carefully curated eyewear displays, allowing customers to experience both expertise and design in the same space. We also made conscious choices around materials and sustainability, including the use of recycled corn-based flooring, which gives the appearance of stone while reducing environmental impact. Ultimately, the intention was to create a space where people feel comfortable spending time, discovering eyewear, and engaging in meaningful conversations about their vision.

What collections are you most proud of and excited by for this year in this store? We are fortunate to work with some extraordinary brands, but a few collections stand out this year. Our partnership with LINDBERG is particularly meaningful, especially through the LINDBERG by The Eye Piece concept. LINDBERG represents an exceptional level of Danish engineering and minimalist design, and in many ways, it is ahead of the industry in how it approaches technology, materials, and precision. It resonates strongly with customers who appreciate subtle sophistication and innovation.We are also very proud of our relationship with Jacques Marie Mage. Their frames are produced in limited editions and feel more like collectible pieces than traditional eyewear. The level of craftsmanship, storytelling, and attention to detail is extraordinary, and each collection continues to elevate the conversation around what eyewear can be.

Another area that excites us is the emergence of AI and smart glasses. We believe this is a new frontier for the industry, and we have been fortunate to be at the forefront of introducing these technologies to our customers. For nearly two years, we have been offering Even Realities with digital lenses, along with innovations such as Nuance and Meta, and we are seeing increasing curiosity from clients who want to explore what the future of eyewear might look like.

LINDBERG by The Eye Piece concept

Chrome Hearts has also seen incredible momentum recently, with its bold identity and strong presence across the global fashion and social media landscape attracting a new generation of collectors.We are also particularly excited to be launching our own eyewear brand later this quarter. It is something we have been developing quietly, drawing from nearly two decades of experience in the industry. So I would say—keep an eye out.

Finally what’s next  in 2026, and what do you hope for in your business development for the next few years? Looking ahead, our focus remains much the same as when we first began. We are always challenging ourselves to rethink what it really means to provide exceptional customer service and experience. It is not something static; it constantly evolves as technology, design, and customer expectations change.We are now standing at what feels like the dawn of a new era in eyewear, particularly with the emergence of AI-driven and smart glasses. Our aim is to be ready for that future while staying grounded in the values that built our business: expertise, craftsmanship, and genuine human connection.

A big part of our development will come from asking how we can amplify what we do through our partners. Over nearly two decades, we have built strong relationships with global suppliers and innovators, and these collaborations allow us to bring new ideas, technologies, and experiences to our customers. When those partnerships work well, the result is something greater than what any one brand or retailer could create alone. At the same time, we remain careful about growth. We are not driven simply by opening more locations. Expansion only makes sense when we have the right people who share our values and are ready to carry the story of the brand forward. For us, people truly make the brand. If we can continue challenging ourselves, nurturing our partnerships, and balancing global insight with genuine local care, then I believe the future for The Eye Piece—and for independent optometry—will be incredibly exciting.

The Eye Piece, Sydney, 10 Hunter & 200 George Street, Sydney / Wahroonga / Balmain – find out more at www.theeyepiece.com.au

This interview was written and researched by Clodagh Norton at Eyestylist.com. All rights reserved.

  | Eyestylist 24th March 2026

Martin Guentert, Ørgreen Optics

Trained as an industrial designer, Martin Guentert is the Head of Design at Ørgreen Optics. With over 16 years of industry-defining experience, including pioneering laser-sintering techniques, Guentert is one of the optical industry’s foremost product designers. We asked him about his current approach to design in his work at Ørgreen Optics, Denmark’s premium eyewear brand.

When you joined the Ørgreen team in 2024, you talked about wanting to make the brand “future-proof” through even more innovation. Could you explain in a little more detail your production direction at Ørgreen so far? When I joined, Ørgreen already stood for great competence in colour and design and for highest quality in product and service. And while our titanium lines are still what we are most known for, since then, products like our ACETATE CUT collection with its flex hinge, and fresh shapes and a more sculptural approach to the QUANTUM HIGH collection – with models like MEGAHERTZ – have widened the horizon.

Last autumn, we launched a new family of frames called NYHAVN. Because they are made of stainless steel and with a simple monocolour concept, we were able to develop and add a feature hinge to the package and still keep an entry price level. It speaks to a slightly younger audience and opens up new clients to Ørgreen. Generally we try to sharpen our product identity along with a brand overhaul, which you are starting to see in everything we do.

And we won’t stop there. A stronger emphasis on sunglasses will help shape our brand in the near future and we will have more exciting titanium news this year. So watch this space… Above: portrait of Martin Guentert, Ørgreen Optics.

Ørgreen Optics offers a selection of high quality eyewear collections with timeless designs

What do you feel are key directions in eyewear in 2026, and how does this apply to the Ørgreen Optics’ collections? Honestly I don’t spend much time on trend research. I mostly trust my intuition, my team and our own statistics. On the Ørgreen side of things you are going to see that we lean into more sculptural details across sheet titanium, acetate and 3D printing. Well-placed chamfers and surface details can really enhance a great cut. On the other hand, in NYHAVN we are also trying to simplify and offer something that is reduced to outline and colour.

You have had an incredible career in eyewear design so far, first at MYKITA and now at Ørgreen. What did you originally train to be and how did you get into eyewear? I studied industrial design. I had done one eyewear project as a student, which was exhibited in Berlin and discovered by the MYKITA founders. They took me on board. I learned a tremendous amount and was able to specialise, experiment and grow with them. And after 16 years it was time for me to write a new chapter in a new city and I took the challenge to lead the design team at Ørgreen. Generally we try to sharpen our product identity along with a brand overhaul, which you are starting to see in everything we do. Although I was trained more as a generalist, I never wanted to return to classic industrial design. The longer I am in eyewear, the more interesting it gets.

What draws you to the eyewear product from a design point of view? We design fashion items, medical devices, lifestyle statements all at once. And we do it for the most sacred area on the human body, the eyes. To do this with the right respect for the wearer, expertise and brand awareness is no small feat. We’re not saving lives here, but we make everyday companions that enable our wearers to see better and express themselves. It’s a very intimate thing.

What are your favourite contemporary materials and where do you  see the future of eyewear design headed?  I love working with additive manufacturing. I had a chance to pioneer 3D printing in the eyewear world back in 2011 and I still learn new ways to use it. Although 3D printing has its limitations, this production method represents the most direct way for me to shape what’s in my head. And this is also a field where most incremental improvements are being made, almost every month. Smart eyewear is making some interesting developments, but is still far from ubiquitous or unobtrusive. The industry needs more R&D here to really interest large amounts of people.However, the general eyewear market will hopefully focus on issues of sustainability first, especially in the field of preconsumer waste. And forcing the big players to have better answers here is a task for every designer and every consumer.

Ørgreen Optics – Western 3D Ring

Bright colours or a minimal palette (as they coexist in 2026) – what is your preference and how do you feel customers are now approaching colour in eyewear? There are no simple recipes here. It’s not about a certain palette, it’s about consumers understanding what you do and feeling a connection. What I am looking for is clarity and emotion. If the cut of a model is very austere and minimal, the emotion can be injected with colour, even if it’s just a small detail or on the inside of the frame. But a paint bucket is not a panacea for boring designs. Me personally… I’m a monocolour kind of guy.

When you are not working, what are your interests and do they somehow inform your work? I love great food and Copenhagen seems to be its capital. I like to make the act of eating a reward for myself and a joy to share with others. I like to always have a craft project going on. The one thing I keep coming back to with passion is costume making. I enjoy learning multiple techniques, from integrating electronics to sculpting with foam clay or classic sewing. I love the character design and people’s reactions to it. And yes, that absolutely informs my work.

When you look back at eyewear history, what product/products do you most admire or which eyewear designer do you look at as both original and inspirational? Of course there are seminal designs in eyewear, but the designer personalities I refer to are often generalists. If we only ever look at our own industry, the risk of generic and referential ideas is too high.Jasper Morrison has been an important influence for me as an industrial designer. And lately I have looked more at Danish designers like Finn Juhl or Grete Jalk to get a more nuanced understanding of the Danish design tradition, which we are a part of.

To find out more about the Danish eyewear brand Ørgreen Optics at www.orgreenoptics.com

This is an exclusive interview by Eyestylist.com. All rights reserved.

  | Eyestylist 23rd March 2026

A-Morir makes ‘Anime-Eye’ statement sunglasses

Unveiled this month in New York: Chibi – a collector’s piece for 2026

Kerin Rose Gold has unveiled her latest eyewear creation this month, a ready to wear concept “at the intersections of joy, rebellion, inspiration and aspiration”! The oversized ‘anime’ eye (inspired by Japanese animation) is meticulously designed and handcrafted out of four premium acetates with a smoke lens pupil. Inlaid crystals accent the irises like the reflection of surreal sun beams, and the custom shape “joyfully thwarts facial recognition technology” says the designer – with pride.

The anime eye shape, inspired by Japanese animation, is always full of character and distinctive highlights. In Kerin Rose’s sunglass design, the shape and colour combinations reflect the signature audacity of the New York designer with the stylised black upper lashes and bold colour expression transforming the frames into a fresh, playful piece of wearable art. Above: the Chibi sunglasses in purple by A-Morir

A-Morir Chibi – a new original design by Kerin Rose Gold

Each frame comes with a branded cushioned leatherette pouch, cleaning cloth, certificate of authenticity and care card. Just 50 pieces of each colour have been produced. The frame has been launched on the A-Morir website (https://shop.a-morir.com)  and for optical retailers via Julia Gogosha – https://templeofframes.com.

About the brand / a-morir pioneered the 21st century trend for embellished eyewear by combining bespoke production and premium materials with sophisticated design. What began as custom work for musical artists and performers in 2008 has evolved into a true luxury brand seen on global stages and editorials around the world.

  | Eyestylist 19th March 2026

Eyewear designer Nirvan Javan works with Alfredo Häberli

The designers have created a 3D printed collaboration collection

Developed to mark the 10th anniversary of the brand, NIRVAN JAVAN, this new collaboration collection pays homage to the two designers’ shared home city, Zurich.  The frames are described as following a strictly defined formal language, drawing on essential elements. Typographic principles and urban geometry serve as references: five geometric base shapes are varied, with that are proportions finely adjusted, and details providing interesting accents. Much like font design or typesetting, “the magic” of the frames is described by Nirvan Javan as “lying in the nuances”.

Designed, developed, and produced in Switzerland, these 3D printed models aim to marry technical consistency with creative finesse. Clean lines in 3D printing, seamless transitions, and a coherent materiality define the aesthetic while titanium temples merge with the organic fronts. Above: Nirvan Javan and Alfredo Häberli

Nirvan Javan x Alfredo Häberli

Swiss-Argentinian designer, Alfredo Häberli is renowned in the design world for his wide-ranging work, which includes furniture and lighting as well as everyday objects. As a designer he follows a clear aesthetic rooted in his personal credo: “Observing is the most beautiful form of thinking.” With his first eyewear designs, created in close collaboration with Nirvan Javan, a long-held passion project found its expression.

The collaboration between Nirvan Javan and Alfredo Häberli embodies an understanding of design as a cultural practice and exchange, locally rooted, yet internationally resonant. Find out more at www.nirvanjavan.com

This feature was written and published by Clodagh Norton. Eyestylist.com reviewed the collection first-hand pre launch at opti Munich in January 2026. All rights reserved.