Creative spirits

Yoshinori Aoyama: “a new perspective, beyond existing values…”

3rd March 2026

The eminent Japanese eyewear designer, Yoshinori Aoyama is well-known as the Founder of FACTORY900, a multiple award-winning Japanese eyewear label. He began the label in 2001 as Aoyama Optical’s ‘own brand’ and since that time he has been involved in all aspects of running the brand and developing its success in Japan and abroad. In 2023, Yoshinori Aoyama started his eponymous label, a collection that takes a new approach to titanium by exploring all its possibilities with depth, creativity and the innovative study of spatial design. Eyestylist.com was priveleged to find out more in a first interview exclusive about the launch of this distinguished eponymous collection.

Can you explain briefly your family connection in eyewear, and how eyewear design has become a focus in your life? I was born into a family that has been involved in eyewear making for three generations, starting with my grandfather. There was a factory right next to our home, so I grew up surrounded by the manufacturing environment and watching craftsmanship very closely in my childhood. Perhaps because of this, eyewear always felt like a natural option within my life.

When I was a child, the adults around me would often say, “Your father is a genius.” As I grew older and began helping out at my father’s factory, I came to truly understand the greatness of both my grandfather and my father, and the meaning behind those words. Anyone who has been involved in eyewear manufacturing can immediately recognize the excellence of what Aoyama Optical produces simply by holding one of our frames. It was at that time that I made the decision to work in the eyewear industry seriously as my chosen profession.

Your first own label was FACTORY900. How old is the brand and what is its focus today? Give us a little summary of how this brand has evolved? FACTORY900 celebrated its 25th anniversary last year. Since the brand’s founding, my constant goal has been to create “beautiful eyewear”. Building upon the specialized acetate craftsmanship established by my grandfather and refined by my father, we manage every step of production in-house to bring our vision to life.

By making full use of acetate as a material and pushing its possibilities to the absolute limit, FACTORY900 is known for its sculptural and avant‑garde forms. The brand has received numerous international awards, including two Silmo d’Or prizes and an iF Design Award. At the same time, we have continued to evolve through active collaborations with brands such as theo, Lexus, and Undercover.

Yoshinori Aoyama: exquisite Japanese craftsmanship and creative ingenuity +innovation converge

The new eponymous label YOSHINORI AOYAMA launched in Japan a few years ago. What is the concept and how did it come about? YOSHINORI AOYAMA made its debut at Silmo 2023 (A/W). The core concept is ambivalence. When it comes to FACTORY900, I spent many years focusing intensively on acetate as a material because of our family business. At the same time, however, I had a strong desire to challenge myself with different kind of materials.

YOSHINORI AOYAMA is an all‑titanium collection. By working with titanium, I feel my design expression has expanded significantly. I found it extremely fascinating, and I am dedicating myself fully to exploring the possibilities of titanium.

What materials, special features and innovative techniques are used in the production of your Yoshinori Aoyama frames? YOSHINORI AOYAMA collections are primarily with titanium, as well as 18‑karat gold. While FACTORY900 is known for sculptural forms, YOSHINORI AOYAMA is defined by spatial design. Although their expression is different, the philosophy remains the same: to create beautiful eyewear.

By separating the frame from the lenses, we introduce free, three‑dimensional curves into space—an idea that challenges conventional metal‑frame design. Technically, this work is supported by the high level of craftsmanship in Sabae, Fukui, Japan. In our production meetings, they tell me the designs are ‘too difficult’ or ‘take too much effort.’ But it is precisely this complexity that we overcome together, step by step, to bring YOSHINORI AOYAMA’s vision to life.

100% Optical 28 FEB - 2 MAR 2026, Excel London

MIDO 6-8 February 2027. Welcome to Eyewearland

Yoshinori Aoyama: a new direction for titanium eyewear

Do you already have optician stockists for this collection outside Japan? How are you working with partners in the rest of the world? The YOSHINORI AOYAMA collection is currently available in 14 countries across Asia, Europe, and the United States. Depending on the country, we work either through local agents or, in regions without agents, directly with individual retailers. We collaborate with partners with flexibility according to the conditions of each market as we expand internationally.

What is your priority with this collection and its positioning in the luxury segment? Creating beautiful eyewear is a central part of my design philosophy, and it is something I value highly. I aim to let this approach naturally shape how YOSHINORI AOYAMA is perceived within the luxury eyewear market and express a quiet, essential sense of luxury—something that resonates deeply with those who understand and connect with it.

Yoshinori Aoyama: new collection in titanium – made in Sabae

What have you added in the collection since we first saw it in Japan in October 2023? This is my first time working with titanium, so I am currently spending a lot of time exploring and understanding it through my collection. I am not too influenced by the market, and am conducting various experiments to find out how far I can go with titanium as a material.

How would you define the reaction to the collection in Japan so far? Overall, the response in Japan has been very positive. I know that preferences differ depending on the retailer, and the end user, and those differences become even more pronounced in a global market. That said, I don’t believe it is realistic—or even necessary—to create something that appeals to everyone.

What matters more to me is whether the collection can introduce a new perspective beyond existing values and conventions. Seen from my current standpoint, I feel the feedback we have received has been very encouraging, and I am satisfied with those responses.

Yoshinori Aoyama will exhibit at Eyecon Show in New York from 6th to 8th March 2026.

Find out more about Yoshinori Aoyama at https://yoshinoriaoyama.jp

Creative spirits

Fabian Burgard, fashion photographer, co-founder, Burbas

11th February 2026

Fabian Burgard co-founded Burbas with Max Bastian as a full-service creative studio based in Cologne. Working across photography and video, the team produces content ranging from e-commerce shoots to major campaigns for clients in Germany and abroad, with a growing presence in the eyewear sector. With AI beginning to influence how the perfect frame is captured, Eyestylist asked Burgard to share his perspective on photography, eyewear, and the future of image-making in luxury fashion.

When did you start specialising in eyewear and how does this style of photography fit with your expertise? I first worked for an eyewear brand in 2019. It fits well with what I do, as I also shoot in other areas of fashion. Outside of work I also developed a big interest in the fashion industry as well (even if my own outfit looks pretty much the same most days). A real “expertise” for eyewear came over time. Glasses are a tricky product: they’re reflective, often super delicate, and the photographed angle makes a huge diﬀerence. Over the years, I think I developed a feel for what makes a frame look right, how to place and light it. So it’s something that really grew through doing it and will probably keep growing.

What is your view on AI and photography campaigns? Are you using AI at Burbas and what advantages have you seen? AI is a great tool, when it actually makes sense. We’ve been developing workflows that let us keep the product design consistent, to use when it serves the concept. That can make it possible to create more complex looks without blowing the budget, which is a win for a lot of brands. At the same time, it’s very client- and brand-dependent. Above: Fabian Burgard, photographer @burbas.de

Coblens Eyewear campaign 2026 – shot by Fabian Burgard at Burbas

We actually still produce full analog shoots, and we even have our own in-house darkroom for film development. The main thing for me is that AI shouldn’t override a brand’s authenticity. If a label is rooted in tradition or draws from specific decades and craft, you need to reflect that honestly and sometimes that means AI simply isn’t the right tool (at least right now). In the end, I don’t think you should ignore AI either or use it just because it is new or even hyped at the moment.

What was the latest campaign you worked on? Our latest campaign was actually a special one. It was for Coblens Eyewear (https://www.coblens.com), a label from my hometown, they make beautiful frames. We shot it at the Gerling Quarter in Cologne, a 1950s building from the post-war modern era. The location as part of the building is run by a university that’s also one of our clients, so we were able to produce there. And the architecture matched the frames perfectly, so visually it feels like a match.

Besides the video assets, we produced a fully analog photo series: shot on film, then we made hand prints in our darkroom and scanned those for the final files. It’s a workflow I love, but in this case it also fits the brand so well because it has that crafted, handmade character. With a great team, it turned into one of those productions that’s just really fun from start to finish.

Do you also do still life work and what is your opinion of still life photography for eyewear? Yes we do still life, and I love it. It’s such a strong (and easy) tool for building brand identity, especially in eyewear. For me, still life works best when it’s reduced and focused — not overloaded with as many beautiful objects as possible. Sometimes texture and framing is already enough to set the tone. Putting frames on a material that fits the brand can do a lot. Technical frames on stainless steel, brands with a heritage feel on materials that reference older interiors or architecture, whether that’s marble, a specific carpet, or something similar. If the concept is more modern or playful, you can also go in a slightly more unexpected direction. I recently saw a jewelry campaign where the product was photographed on baking paper, super minimal, and it looked amazing. In the end, I think smart, reduced choices often make the frame look stronger than an overloaded set.

Coblens Eyewear campaign, shot by Fabian Burgard at Burbas

What’s your work goal/ambition for 2026? For 2026, we’ve got many goals. On the main side, we want us to keep producing strong work. Staying current, pushing new ideas, and doing more creative productions. We are happy to work with new brands. Partly because it’s creatively exciting to build visuals for diﬀerent brand identities, and yes, also because working with new clients is always a motivating part of the job.

And then there are the smaller, personal goals: pushing my own ongoing documentary work, refining my style, and finding a few dream locations I’ve been wanting to shoot at for a long time. Right now, I’m trying to get access to a museum space in Wuppertal that I’m completely obsessed with. So if anyone there is reading this… feel very free to reach out, and maybe we’ll end up seeing that shoot on Eyestylist.com very soon.

What is the future of photography for eyewear brands? Digital. Or Analog and Digital? I’m pretty sure it’s going to be both. AI will keep getting better, which makes it a great match for a lot of brands, and it’ll definitely lower the barrier for newer brands to create strong visuals. But at the same time, I don’t think the handcrafted side of production will ever fully disappear, especially when it comes to creative campaign assets. In marketing, it’s not only about the final image. Often, it’s also about how it was made, who was involved, and the human side of the process. That “made by real people” aspect has always been part of what brands communicate. Whether it’s a collaboration with a bigger artist people identify with, or just creatives in general behind the scenes. That human process often matters, because it helps sell the feeling around the product. Realistically, the balance will probably keep shifting further toward digital work because the possibilities are growing so fast, but I don’t see the traditional, hands-on side of production completely vanishing. There will always be brands that look for authenticity in craft and character not only in what they produce, but in how they communicate it.

To find out more about Burbas.de, click on the link: https://burbas.de

Creative spirits

Interview with David Duralde, OGI Eyewear

4th February 2026

15th anniversary at Eyestylist.com / Special Content: As we look back at the last 15 years in independent eyewear to mark our anniversary, we will be highlighting some of the people who have inspired us through the years – and who continue to do so – across the disciplines of eyewear design, optical retailing and related fields in the optical + eyewear worlds.

Our first ever interview on Eyestylist with David Duralde is dated July 2016 (https://www.eyestylist.com/2016/07/david-duralde/). A subsequent interview appeared in April 2019 when David was working as Chief Creative Officer at Kenmark Optical. Today, David is Chief Creative Officer of the US label, OGI Eyewear. OGI is part of The Optical Foundry, a collective of 9 independent eyewear brands, including l.a.eyeworks, Article One and Scojo NYC.

David, we have been in close contact over the last 15 years and enjoyed following your creative role in eyewear. What have been the highlights for you in these years? For me, the greatest highlight has always been creating eyewear that genuinely connects with people—pieces that influence how someone feels about themselves when they put them on. Eyewear is intimate. It sits at the intersection of identity, confidence, and self-expression, and I’ve always been drawn to that emotional power.

Earlier in my career, I had the opportunity to work at a scale that was both demanding and exhilarating—absorbing the DNA of many fashion houses, collaborating with creative directors across cities and cultures, and translating their visual language into eyewear. That process taught me discipline, restraint, and respect for brand integrity. You learn quickly what lasts and what doesn’t.

What’s especially meaningful now is seeing how certain design gestures—details that once required spirited internal debates—have quietly endured and evolved within those brands over time. There’s something humbling about knowing your work can outlive a season, or even a generation, while remaining largely anonymous. Those years felt like a masterclass—brief, intense moments of critique and clarity from people with extraordinary instincts for taste—and I still carry those lessons with me every day.

You were appointed Chief Creative Officer at OGI in January 2020 – part of The Optical Foundry. In these last years, what have you most enjoyed working on – and what has been most inspiring? What I’ve enjoyed most is the challenge of evolution—taking a well-loved, established brand with deep emotional equity and thoughtfully guiding it forward without losing its soul. That requires intention, patience, and a willingness to rethink familiar ideas.

I joined OGI at a moment of enormous change. The pandemic accelerated shifts that were already underway: consolidation, new ownership models, changing retail dynamics, and a redefinition of what it means to be independent in optical. At the same time, many long-standing industry leaders were stepping aside, creating both uncertainty and opportunity.

Against that backdrop, The Optical Foundry became a place to ask bigger questions. How do we support independent practices in meaningful ways? How do we celebrate individuality, invest in innovation, and approach business with optimism rather than fear? The most inspiring part has been aligning with people—internally and externally—who believe that independence is not about resisting change, but about shaping the future on your own terms.

You began your optical design training at l.a. eyeworks. How do you reflect on that initial phase of your work, and how does it influence what you do today? That early chapter shaped everything. At l.a. eyeworks, the driving question was simple: Why does eyewear have to be done the same way it always has been? We questioned materials, processes, finishes—everything. New technologies weren’t used for novelty, but as tools for expression. I’ve since seen the industry move through different eras: innovation-driven design, logo-centric fashion cycles, and now a renewed interest in authenticity and story. None of these phases are inherently better than another—they simply reflect what the market values at a given time. What influences me today is the return to curiosity. Consumers are once again asking why—why this shape, why this material, why this brand. That means we, as designers and optical professionals, have to talk about eyewear differently. We need to design with intention, communicate with clarity, and offer narratives that feel personal rather than prescribed.

Over the last 15 years, eyewear design has evolved significantly. What do you see as the fundamental changes, and how will they shape the future? One of the most fundamental shifts is how eyewear is perceived. It’s no longer just functional or purely fashionable—it’s expressive. People understand that eyewear can alter how they see themselves and how they’re seen by others.As a result, my design approach has changed. Today, I’m less interested in creating objects and more focused on capturing emotion—reflecting personality, individuality, and nuance. Consumers no longer want to be walking billboards. They want pieces that amplify who they are, not obscure it. Looking ahead, I believe the future belongs to brands that design with empathy—brands that understand the wearer as an individual rather than a demographic.

Absolutely in Grey by OGI Eyewear: showy front thicknesses and wide temple profile

Colour has always been an important part of your work. For OGI Eyewear and the Spring collection, what’s new in how colour is expressed and combined? What’s fascinating right now is the tension between caution and creativity. Many suppliers are seeing strong demand for safe, familiar colours—classic tortoises, neutrals, predictable palettes. That reflects the broader economic mood. For me, that challenge becomes an opportunity.

Blanding Turtle by OGI Eyewear: the matt camouflage features tones of khaki green, light green and black

This season is about the subtle wow—introducing surprise through refinement rather than volume. Colour is used strategically: navy instead of black, nuanced greens, controlled neon accents, and unexpected touches of orange. These are balanced with grounding tones like soft greys and warm beiges. It’s about confidence without noise—designs that reveal themselves slowly.

Do you have a favourite colour palette for this year? I’ve always been drawn to green, especially when it’s handled in a way that feels approachable and modern—even for those who don’t think of themselves as “green people.” I also continue to explore rich metallics and antique finishes, which bring a sense of craft and depth while still feeling contemporary.

By Golly in Green from OGI Eyewear offers a chunky square shape with personality

What other creative projects or brands are you working on this year that you can share with us? Across brands like Article One and Red Rose, the focus remains the same: bringing forward-looking ideas into highly wearable contexts. Whether through material innovation, proportion, or colour, the goal is always to balance relevance with longevity—designs that feel current, but not fleeting.

Is there anything else you’d like to add that’s relevant to Spring 2026? Spring 2026 reflects a quiet confidence—for OGI and for me personally. It’s about clarity of vision, thoughtful design decisions, and a belief that independence still matters deeply in optical. The collection is not about chasing trends, but about offering something considered, human, and emotionally resonant—eyewear that feels intentional, not incidental.

Find out more at www.ogieyewear.com

Creative spirits

Italian entrepreneur, Carlo Sestini, Sestini

19th December 2025

Independent eyewear label, SESTINI was created in 2020 by entrepreneur/influencer, Carlo Sestini. Made by artisans in Italy, the eponymous eyewear collection has a prestigious luxury design adhering to the finest levels of quality. With pieces created as collectibles, honouring craftsmanship, traditional techniques and Italian expertise, the designs have a freshness and elegance that feels discreet and yet perfectly curated. Eyestylist met Carlo at The Dorchester in London in December 2025 to learn more about Sestini and the story behind the creation of the brand.

How would you summarise the design philosophy at Sestini? Sestini combines minimal lines with sculptural intention, merging function with Italian sensuality. With Sestini, eyewear becomes part of a broader lifestyle — one rooted in art, refinement, and the beauty of restraint. The design language is discreet yet iconic, exemplified by subtle identifiers like the engraved half-lily detail. When you touch our product, you can feel that the temples, for example, have been shaped and carved by hand – that the material is really exquisite. I want people to feel that whenever they wear Sestini the fit and feel is phenomenal, very much like wearing a lovely cashmere sweater. We didn’t want a brand that was recognised just by its logo. Instead we have our own unique custom rivets and the attention is placed on the details of the product – and creating a frame design that can be passed on to new generations.

We decided to work also with deadstock and archival Mazzucchelli acetate, applying traditional techniques with modern precision. Our lenses are provided by Zeiss, and each frame is individually numbered to ensure traceability and exclusivity. Sestini’s production is deliberately limited to preserve quality and integrity, far removed from mass-market practices. Above: Founder, Carlo Sestini

Sestini: custom hardware, fine materials, dedicated craftsmanship: “a beautiful thing that you can keep”

Can you highlight some of the details of the frames? We have really focused on the crafting but also on the fit. I really do see each design as a beautiful thing that you can keep. You can feel the quality in the rivets. Their design was inspired by the big bolts you see on Tuscan doors – I wanted them to act as a reminder that whenever you wear them you feel protected; so rather than putting them inside the acetate I wanted to them to really stand out. To do this is more expensive, and everything is gold plated.

Our dolphin emblem was developed from a family memory. My mother and my grandmother had a real thing for dolphins. My grandmother had a cute dolphin necklace that she gave to my mum and so my mum always loved dolphins because of that. She used to call my brother and I dolphins as a nickname because we were quite cheeky together….so this dolphin sign really is symbolic for us. We have also incorporated a Florentine fleur-de-lis. And the hinges – although on the inside, are decorative as well as functional, to remind the wearer of the wonderful quality of the frame they are wearing.

How have you approached finding the right production for your brand in Italy, which is very much a luxury product, designed as an heirloom piece? This is definitely the hardest thing. When I was doing it we needed to rely on word-of-mouth, and attending a lot of meetings to work out who would be the right artisan. I am lucky to be working with an Italian family that understand my product and is able to offer a particular level of quality that is hard to find. This is a beautiful reality in the Veneto in Italy, passed down from the grandfather to the father…he is now training his daughter, and her daughter is just six years old.. but they hope she will also learn their family craft. When you see the attention to detail in the making of the frames, and this family dedication, it is really exciting.

Sestini: Italian quality and craftsmanship

What I really wanted to show is this craft, and the very authentic Italian expertise and love and passion that goes into that. For me, Italian craftsmanship is very much held in high regard, it’s just like in Japan. I wanted to really showcase this Italian excellence and the fact that artisans are the experts who will continue to be at the forefront of eyewear design in the future. Their craftsmanship, the hands-on work, it is so beautiful and it should be encouraged and continued. Supporting this reality is the most important thing.

Was it very difficult to launch in 2020? Initially, yes, at that time in the Covid pandemic. I decided to approach retailers and hotels directly and this is how we have built a very particular network for Sestini. Early on we decided not to take investors, I wanted to set up in a traditional way as a founder and take things slowly, step by step. I am now working closely with CP Agency (formerly Chapman Agency) for the distribution and global development of Sestini. We started working together in 2021, and since then we have already brought the collection to opticians in many new territories, including Turkey, India, Benelux and Australia. This relationship is a catalyst for the brand to grow.

Do you put out new collections regularly? I am showing at MIDO 2026. The collection is small but you will see new designs releasing at the event and some new colours too. This is very much on the back of having exhibited at Silmo in September and having had a really exceptional show. We will then have additional launches coming for Silmo in 2026 including our signature colour restyling, but always with a reference to timeless design that will be wearable in the future. My next step is developing my wirecore…I already have the Florentine inspiration and I’m looking forward to working on this in 2026.

What is your background in fashion? I started out actually studying international law and diplomacy in London and I wanted to become an ambassador. That was my goal in life. But then I was scouted by a modelling agency and I started working with them in 2014. At that point interest sparked in me and the shots and photography that I posted – to the point where I was then working for brands as a model and an influencer and travelling around the world…

I have always loved glasses and I have always seen them as a way to express myself. Glasses were also a way for me to hide my eyebrows and feel protected when I was young. Whenever I wore the glasses I felt like I could look at people in the eyes but at the same time – with something to protect me. I always loved that. The thought of making my own eyewear was there but before I started to do it in 2019 I bought a plot of land and experimented with making wine and olive oil.

I’m still working in fashion as a consultant and a model and influencer but now my new direction is very much all about Sestini and creating luxurious Italian eyewear. I did so many searches at the time to find out about Italian eyewear and I realised that there were no other young Italian eyewear labels with that focus on quality, luxury – and timeless appeal.

The packaging of the Sestini glasses is one of the notable details that remember catching my eye in New York two years ago – can you tell me more about it? Yes, the idea of the packaging is currently based on “carta fiorentina” – the paper that Florentine grandmothers use to line their linen drawers. The inside of the cases is printed to create this unusual texture and the effect is like a protective layer for the glasses. I have many more ideas for developing this! But we are taking our time to develop these unique concepts and this level of detail! I like to have my own expression in these accessories – where there is quality and attention to detail at the very highest level. With Sestini I don’t just want to give you the glasses. I want to give you history, craftsmanship, and the experience…

Sestini is available at selected opticians, department stores including Luisaviaroma, Florence and Harvey Nichols Riyadh as well as a growing number of high-end resorts and hotels, including The Dorchester in London.

About Carlo Sestini / Born in Florence and raised between Switzerland and London, Carlo Sestini brings a cross-cultural sensibility to the eponymous eyewear brand. Known for his distinct aesthetic and global presence, Carlo has been profiled in WWD, Vogue, L’Officiel, and numerous international publications. He is personally involved in every element of the brand — from storytelling and production to visual identity and retail strategy.

Find out more at www.sestini.com

Creative spirits

Sustainability in optics: Xenia Glutz von Blotzheim, Co-Founder, Frame the Future

12th November 2025

Sustainability in optics : Xenia Glutz von Blotzheim is a marketing and communications strategist with a specialisation in sustainability. For more than a decade, she was involved in shaping MYKITA as its Global Brand Director. Today, she works independently as an impact consultant and she has co-founded the industry initiative “Frame the Future.” She supports companies in weaving sustainability into their brand management and business models. At MYKITA, she still leads the corporate responsibility strategy and CSR communications, driving the company’s transformation into a sustainability pioneer in the eyewear industry. Eyestylist.com asked her to talk about the Frame the Future initiative as it launches its activities in the optical industry worldwide.

Xenia, could you explain what Frame The Future is? I know you have just officially kicked things off at SILMO with two key events? Frame the Future is a new non-profit alliance that brings the eyewear industry together to make sustainability easier, faster, and more effective. It’s a place for brands, suppliers, and innovators to collaborate instead of working in isolation — to share knowledge, create common sustainability standards, and find real solutions to challenges like acetate waste, recycling – where quantities are a key stumbling block, or preparing for regulation.

We launched at SILMO 2025 with a panel talk on the newly created Silmo CSR booth and our first Breakfast Club meet-up — and the response was enthusiastic. People from every part of the industry told us: “Finally, someone’s connecting the dots.”

How did the idea come about? While working on sustainability at MYKITA, I realised how difficult it was to make real progress alone. Even with full company support, we hit limits — missing data, no shared standards, and no common recycling systems, the lack of peer to peer interaction.

In other industries like fashion, licensing or jewellery, there are alliances and working groups that connect companies to learn and act together for greater impact. I couldn’t understand why eyewear didn’t have one.

Then, while studying sustainability management at Cambridge (CISL), I met Johanna Skans, Founder of Skans Eyewear, who shared the same vision. Later, we met Andrew Clark, an environmental scientist at the Eyes on Sustainability Conference— and the idea for ‘Frame the Future’ was born. At MIDO 2025 we ran a first closed door round table meeting with sustainability leaders we curated from across the industry, from manufacturing to retail. The response was positive – so we decided to give it a go. Early conversations and exploratory meetings have included the following companies who have expressed interest in contributing to the dialogue shaping Frame the Future’s foundation: Eastman, Regenesis, Marchon, Mazzucchelli, MYKITA, Killine, Safilo, Sea2See, Skans, Vanni and many others.

What are the biggest challenges you see in the eyewear industry today? One main challenge is that there are no shared standards — so every brand defines “sustainability” differently, and consumer trust – our highest good – gets eroded. Then, fragmentation, or isolation. Some players are doing something, but in different ways. The lack of data, information or knowledge is a great obstacle. Acetate offcuts from production still have no large-scale recycling system in Europe, because no single company can reach the volumes needed. And for smaller players – or even big ones, new regulations like CSRD or EPR can feel overwhelming. Frame the Future wants to change that by creating a shared standards, a common roadmap and making collaboration the new normal.

What are the next steps? We’ve just started the Catalyst Study, which will map the state of sustainability in eyewear — where the real challenges and opportunities are. This will orient our work in the most effective and efficient way. On the basis of that we’ll launch peer-to-peer calls on topics like acetate recycling and demo lens waste, leading into working groups and later pilot projects, with the aim of channelling them into working groups.

We’re also discussing a series of webinars — practical sessions on things like sustainability storytelling or regulatory readiness — to help teams learn and adapt quickly. It’s all about helping to turn talk into action.

What can independent eyewear companies do as initial steps immediately to set themselves up for the future? How can independent brands or suppliers get involved? Sustainability is often simply about efficiency. Then, 80% of the inpact of a product is decided at design stage, so revisit how/what you design, and try to embed circularity in your process. Lastly, include your value chain into the conversation, ask suppliers and partners how you can optimise – this might be the easiest first step when commencing.

Then by joining the FTF conversation. Share your challenges, ideas, or examples of what works. You don’t need a big sustainability department — what matters is curiosity and openness. Independents bring creativity and agility, while larger groups bring scale and structure. When those come together, new possibilities emerge. That’s exactly what Frame the Future is built for.

And what’s your goal for the next year? By the end of 2026, we want to have: completed our first industry-wide study on the state of sustainability in eyewear; grown a diverse member base representing every corner of the industry; formed a few working groups tackling key issues like materials, circularity, and education; and built a shared resource library for materials impact data and best practices. It’s about building something solid and inspiring that everyone can benefit from — not another campaign, but the foundation for a more responsible, collaborative eyewear industry.

Can you add any further details about Frame The Future for our readers and how they can be a part of it. Will there be an event at MIDO? We’re definitely at MIDO, and we’re still hatching a plan on how this will translate in detail. We have a Linkedin group, so come and find us there to hear about our latest developments and what MIDO will bring. Sustainability can connect us. Some of the most interesting innovations come from unexpected interactions. Frame the Future is here to make those connections happen — and to help the eyewear industry thrive responsibly, together.

About Frame the Future (FTF): Connecting vision to action, driving sustainability in optics collectively. Frame the Future (FTF) is a global non-profit alliance uniting industry leaders to build a thriving, responsible eyewear industry — in harmony with people and planet. As an action-driven platform, FTF fosters collaboration across the entire value chain, turning shared vision into measurable impact. We believe sustainability is the key to innovation, resilience, and long-term growth. By joining forces, we can set common standards, drive collective innovation, and future-proof our businesses in a changing world. FTF Focus Areas: 1/Resource Conservation – advancing circularity, scaling recycling, and replacing fossil-based materials. 2/Climate Resilience – reducing emissions and building sustainable, future-proof supply chains. 3/Social Equity – ensuring fair wages, safe working conditions, and well-being for all.

Find out more about the initiative by following: https://www.linkedin.com/company/frame-the-future-the-responsible-eyewear-alliance